Clubbing at The Tivoli!

Bren M

^^^^^ LETS ****ING GO

Lenny

Influx Presents


Jon Carter
Medicine 8 (Live)
Johnny Moy
Philth


Upstairs:

Doves ( Dj Set)
Freelance Hellraiser


Club Tivoli
Francis Street

Bank Holiday Sunday - 16th March

Admission : €17.00 Incl. Booking Fee From Ticketmaster outlets nationwide

Jon Carter’s rise to prominence was triggered, like so many of his generation, by the acid house revolution of 1988-89. A move to Southampton also signalled Carter’s move into making music as he put together his own band. With Jon on vocals and handling the production, they performed dark, maddening music dub and funk in an Irish Dockers pub and where ever else would have them. With a sound not so far removed from Carter’s current output his days at Southampton were a crucible for the ideas and influences that continue to shape the Carter style.


In tandem with this, Jon began his training as a sound engineer before returning to London where he gained vital experience with drum n’ bass pioneers ‘no u turn’. While engineering and programming tracks for early stars like DJ Trace and MC Rhyme Time, Jon began to circulate tapes of his own musical ideas and through the label Soul Trader he met Mark Jones who was later to become head honcho of Wall of Sound. A formidable alliance was formed and Jon was introduced to the infamous Heavenly Sunday Social; a night of electric beats n breaks that is now synonymous with Carter’s name. The breakthrough came in 1994 with a dub coloured 4/4 track entitled The Dollar. Bored with house music’s gradual decline into self-parody, Jon’s own product and style was the remedy, taking the breaks downtempo and rediscovering the funk that makes all good music so vital.

Jon’s very next release, on Heavenly Records was the momentous Blow the whole joint up. His residency at the Heavenly Social, alongside the Chemical Brothers and Richard Fearless, watched Carter’s mask of musical styles blow the rest of British clubs out of the water. It formed the platform for Monkey Mafia to develop as a live band and for Jon Carter to release a string of memorable singles, Work Mi Body which featured the vocals of Patra, and the 10 Steps EP both utilized reggae styling to create a towering mass of raga, hip hop and breaks that defined a sound that has since been much emulated but never bettered.

As a remixer, Jon’s most noted work has been with the likes of U2, Manic Street Preachers, St. Etienne and the Prodigy (with whom Jon toured as a DJ). 1998 also saw the release of the Monkey Mafia album Shoot the Boss, a powerhouse debut which was a Mixmag album of the month and universally critically acclaimed.

Back at Wall of Sound, Carter’s alto ego ‘Junior Cartier’ has been given his first commercial release with Women Beat Their Men and who knows when Monkey Mafia will re-surface from the backburner either. In 2001 Jon Carter was married to the Radio 1 DJ Sara Cox, but it’s fitting that Jon’s initial inspiration, house music – music which was once perceived as a negative force in dance music’s fight against the mediocre – has become an inspiration once more to the man in the forefront – Jon Carter
Last summer Medicine 8 were called Medicine and signed to Wall Of Sound - 12 months on and they’ve changed their name for "legal reasons", been snapped up by Regal, and have a blistering new album waiting in the wings. Luke and Liam May, the brothers behind one of the most exciting house acts in the biz are on their way to join Johnny Moy and Jon Carter for one hell of a party!





Rough Guide to...Freelance Hellraiser
Bootlegs by Freelance Hellraiser
XFM Superchunk DJ set

Freelance Hellraiser has been DJing for around ten years now. In that time he has honed to a fine art the practice of mixing acappellas and instrumentals from different records together - unusual combinations that result in dancefloor brilliance. Perhaps the most celebrated 'bootleg' of recent times - 'A Stroke Of Genieus' - was the work of this man. The track caused some controversy as both Aguilera's and The Strokes' labels issued 'cease and desist' letters to radio stations warning them not to play the track as it infringed copyright. Seems some corporate heads just don't recognise the notion of unorthodox free publicity always...

Of course, man cannot live on one bootleg alone. The Hellraiser has produced several other quirky unofficial remixes and examples of bastard pop, and he is currently working on his own material with collaborators including members of Snow Patrol and in 2002 completed remix work Gomez, Ian Brown and Richard Ashcroft.

But 'A Stroke Of Genieus' seems to have ingited the trend for bootlegging, capturing the imagination of bedroom producers and DJs like no other booty before it. While people attempt to emulate FH's success however, the man remains one step ahead and at the top of his game thanks to continued support from radio stations such as XFM (London) and BTTB (Germany).

Bootlegs by the Freelance Hellraiser include:

Supersimon
Stevie Wonder's 'Superstitious' as covered by an electronic Simon toy!

Lick Pops
Missy Elliot finds herself licking shots over N Sync's devastating pop beats

Just Can't Get Enough Pills
The twisted drug-fuelled dirty dozen meet their match in Dave Gahan and the Basildon crew

Step On Man
Bootleggers favourite Missy flirts with the Happy Mondays, all for the love of money

A Stroke Of Genieus
The flawless fusion of grinding Noo Yoik rawk and sauntry sly pop - the one that everybody talked about - made both The Strokes and Christina Aguilera actually seem interesting

Grange Hill Grammar
Yokel bad boy Nelly goes back to school and finds Mr Bronson less receptive to his excuses for not doing his homework ("Snoop Doggy Dogg ate it Sir...")

Musical Know How
The token Madonna bootleg, but it sounds phat as ever with Young MC spewing his dope old-skool rhymes over the top - and there's a little Isaac Hayes in there too for you soul brothers.

Trapped Dreams
Military smoothie Colonel Abrams runs predictably into Dave and Annie and their memorable warm synths and the result is a pleasant splicing of two well crafted 80s pop hits.

XFM Superchunk DJ set - Jan 2002
The Strokes - "Hard To Explain" (Rough Trade)
Christina Aguilera - "Genie In A Bottle" (RCA)
Outkast - "So Fresh So Clean (Fatboy Slim Mix)" (Arista)
Freelance Hellraiser - "Supersimon" (Strangelove)
Adam F + LL Cool J - "Greatest Of All Time" (EMI)
Deltron 3030 - "Positive Contact (Charlie Clouser Rmx Inst.)" (75 Ark)
Erick Sermon + Marvin Gaye - "Music" (NY.LA)
Ice T - "New Jack Hustler (David Morales Stress Mix)" (Warner)
Ol' Dirty Bastard + Kelis - "Got My Money" (No Info)
The Jackson Sisters - "I Believe In Miracles" (Tiger Lily)
Giorgio Moroder - "The Chase" (Casablanca)
Kelis - "Young Fresh & New (Timo Maas Mix)" (No Info)
My Mate Svante - "Push It Around The World" (unreleased)
Badmarsh & Shri - "Get Up" (Outcaste)
Stereo MCs - "Deep Down & Dirty (Jon Carter Basement Mix)" (Island)
N'Sync - "Pop (Instrumental Mix)" (Jive)
Missy Elliot - "Lick Shots" (East West)
Depeche Mode - "Just Can't Get Enough" (Mute)
D12 - "Purple Pills" (Interscope)
Shirley Bassey - "I'd Like To Hate Myself In The Morning (And Raise A Little Hell)" (EMI)

piscean

Originally posted by Hugs-E
Just heard as well last nite from Philth that Christian Smith & Mr C are on the next Cream night !

Had the pleasure of catching Mr C in Space Ibiza last year and he played a great set, definately gonna be checking him out!

Hugs-E

I've necer seen the muched talked about excellent Mr.C before so I'll be making an appearance in the Tivoli that night

Lenny

Kerri Chandler

Ronan O
Conor G,
Dave Treacy


Friday 28th March.
Club Tivoli,

Francis Street,
Dublin Eight.

Few artists in the music business reach the level of accomplishment and status that Kerri Chandler has achieved. He is known throughout the universe as one of the original creators of the deep house sound and his "basslines" are now legendary. Kerri grew up in the New Jersey area during the days of the infamous Zanzibar club with resident DJ Tony Humphries. Kerri's father was a DJ as well, which gave Kerri a rich background in the origins of the New York Underground Sound (known also as "Garage" music). He made his DJ debut at the Rally Record Club in East Orange, New Jersey at the tender age of 13.

Kerri eventually found himself intrigued with the production element in dance music and soon began to create his own grooves on his one man label, Express Records. In 1991, Atlantic Records signed his debut single, "Superlover/Get It Off" and the rest is house music history. Despite his success, Kerri Chandler has always remained true to the spirit of the underground. When listening to tracks such as the "Atmosphere EP" on Shelter Records and the seminal, "A Basement, Redlight and A Feeling" album on his own current imprint, Madhouse, one has to marvel at Kerri's ability to not compromise his unique sound for commercial gain.

Large Music (his latest label release) is pleased to have an ongoing relationship with Kerri Chandler. They encourage him to experiment and grow , and hope this is evident in his Raw Grooves and Digital Soul series. They trust Kerri will keep pushing the boundaries in house music for a long time to come.

Lenny

IAN POOLEY

Johnny Moy
Philth

Club Tivoli
Francis Street
Saturday 29th March

Doors 10.30pm - late
Adm. 16.90 Euro incl. booking fee.

---

Biography

Only two years have passed since the release of Ian Pooley's debut album "Meridian". Although there had been an earlier released album collection of his tracks, "The Times" (1996), Ian never considered that a to be a true Ian Pooley album. "The Times", however did succeeded by getting to the heart of what every clubber has come to expect from of Ian PooleyŠthe satisfaction of the dance floor in one track. Those who valued this talent considered Pooley a master of the uncomplicated floorfiller: functionalism as an artform that deserves to be respected.

Respect was not long in coming, as Ian Pooley's musical signature became a sought-after commodity. Remix commissions soon arrived from the likes of Daft Punk, Dee-Lite, The Cardigans and Yello to name a few. For Ian an investment, which he had started to make at the age of 16, began to pay off. Back then he refused to consider his musical capital as an investment, but it soon became apparent to him that the music world would not continue to exist forever merely out of supreme rapture on the most recent Derrick May or Kevin Saunderson releases. His love for a certain kind of techno sound from Detroit inspired Ian to send a reader's letters to music press, but a whole new world spread before him when he'd acquired his first musical equipment.

While still as a student in a Mainz grammar school, Ian released his first original productions together with his sidekick Thomas Gerlach (better known today as DJ Tonka). Their co-operation worked and Pooley and Gerlach gave to a Frankfurt record store called "Boy" (and thought it pretty cool that somebody was actually prepared to release them). It was with their first attempts at their own interpretation of the Detroit techno sound mixed with their boisterously breakbeat orgies that Pooley/Gerlach brought out music under the "Space Cube" alias at first, and than under the name Force Inc. When their label, owned by former "Boy" shop assistant Achim Szepansk, developed into a respected techno independent, Pooley and Gerlach decided to followed their own musical visions on separate paths.

Eventually Ian was signed by V2 that led to the "Meridian" album. Equipped with plenty of props from the international club scene, this signing was commented on by the German music press as his chance "to make it from the 12" springboard" (Spex 07/98). The effectiveness of Ian Pooley's production on the dance floor was sufficiently known, but the question of whether Pooley would be able fill a whole album remained to be answered.

When "Meridian" came out, Pooley proved he could, as the album proved that Ian Pooley had matured into one of the most diverse house producers around. "Meridian" gained fans with it's supreme diversity in all those areas where Pooley had previously been thought of with a certain one-dimensionalism. The tracky sound so typical of Ian Pooley still dominated the album, but at the same time "Meridian" offered a sensitive feel for melodies that always seemed to find their proper place. Mixing discreet disco and wild pitch references, deep downbeat numbers like "What's Your Number" revived a relaxed soul authenticity with pop music qualities that gained support from Gilles Peterson to Jazznova.

Since then a lot of water has flowed under that bridge across the river Rhine near Mainz, where Ian still calls home. "Since Then" has turned out to be even a little more musical, beautiful and romantic in many places than "Meridian" has led us to assume or indeed expect. With it's laid-back Brazilian atmosphere, a certain ease and unrestrained vitality runs through the album, but the very elements that impressed us on "Meridian" continue to develop consistently on "Since Then". Pooley's versatile talent is no longer restricted to little melodies, as there are a number of solid songs among the tracks on the album. Also, for the first time Pooley has invited female vocalists to join him on the production and has recorded live with them. On "Coração Tambor", the Portuguese voices of Rosanna and Zélia are showcased in a sensitive Brazilian deep-house track, which changes to an almost Balearic atmosphere thanks to an airy guitar sample. In "Visions", Kirsty Hawkshaw's (vocalist for Opus 3's "It's A Fine Day Today") almost breathy vocals seems fragile & tenderf next to the soulful and deep-house rhythms of "Visions". Later in the album, Rosanna and Zélia's voices develop a virtually spiritual equilibrium that accompanies the Afro- beat elements of "Menino Brincadeira".

Music aficionados will recognise that Ian Pooley plays among the very top of the Champions League with his technological abilities, programming and arrangements of samples and beats - quite aside from all the highly elaborate intricacies. This particular way of dealing with sound has been turned into an Ian Pooly trademark & can still be easily identified as his alone among hundreds of productions. The tight drum arrangements, as in the title song "Since Then", that occasionally fall into B-Boy type breaks are typical of Pooley's production skills.

Pooley is still an unasked member of that group of super producers surrounding Armand van Helden, Basement Jaxx, Roger Sanchez & Co that call themselves the Mongoloids. They are likely to lay back benevolently when they hear that honorary Mongoloid member Ian has not neglected one talent on the album, despite of all the musical diversity apparent on "Since Then". Ian has managed to create a floorburner out of nowhere, and his music is likely to make many dance floors revolve on their own axisŠ by about "900 Degrees".

Lenny

This weekend in Dublin's sees Club Tivoli on Francis Street celebrate its first very successful year in operation. Since opening last March as a new force to be reckoned with on the the ever expanding club scene, the club has gone from strength to strength. From opening 2 nights a week to it current 5 nights a week, the club now offers all strands of clubbing in dublin to the dancing public.

Some of the stars that have made Club Tivoli so memorable over the last year include, David Holmes, Orbital, Mr C, DJ Falcon, Billy Nasty, Goldie, Zinc, Yousef, Jazzy M, Andy Weatherall, Justin Robertson, Jon Carter, Trevor Nelson, Dave Angel, Slam, Mr C, Adam Beyer, Phil Kiernan, Rons Mobile Disco, Francois, Redsettaz, Darren Emerson, James Lavelle, Dave Clarke, Felix Da Housecat, Ian Pooley, Andy Cato, Joey Negro,Tom Middleton, Tim Deluxe, Etienne De Crecy, Alex Gopher and many many more.

This weekend is a veritable house music fans fantasy, with Kerri Chandler coming in from New York on Friday, and German tech / house legend Ian Pooley drops in on Saturday. With the inclusion of drum'n'bass on the clubs roster, Club Tivoli has proved that they are not going to be ruined by the blinkered vision of other clubs, in their unabated Masonic like praise for only Techno or House! If Proof of this was needed, then the full dance floor for DJ Hype's recent visit makes that point. With an exciting bill on April 19th of Shy F/X, J Majik, Razor, and DAVID HOLMES coming up, things are looking safe for clubbers who enjoy the broader spectrum of dance music in Dublin. See you over the weekend I'm sure!

More Info : Buzz O Neill

---

I Love House Presents,

Kerri Chandler

Conor G,

Friday 28th March.
Club Tivoli,

Francis Street,
Dublin Eight.

Few artists in the music business reach the level of accomplishment and status that Kerri Chandler has achieved. He is known throughout the universe as one of the original creators of the deep house sound and his "basslines" are now legendary. Kerri grew up in the New Jersey area during the days of the infamous Zanzibar club with resident DJ Tony Humphries. Kerri's father was a DJ as well, which gave Kerri a rich background in the origins of the New York Underground Sound (known also as "Garage" music). He made his DJ debut at the Rally Record Club in East Orange, New Jersey at the tender age of 13.

Kerri eventually found himself intrigued with the production element in dance music and soon began to create his own grooves on his one man label, Express Records. In 1991, Atlantic Records signed his debut single, "Superlover/Get It Off" and the rest is house music history. Despite his success, Kerri Chandler has always remained true to the spirit of the underground. When listening to tracks such as the "Atmosphere EP" on Shelter Records and the seminal, "A Basement, Redlight and A Feeling" album on his own current imprint, Madhouse, one has to marvel at Kerri's ability to not compromise his unique sound for commercial gain.

Lenny

IAN POOLEY

Johnny Moy
Philth

Club Tivoli
Francis Street
Saturday 29th March

Doors 10.30pm - late
Adm. 16.90 Euro incl. booking fee.

---

Biography

Only two years have passed since the release of Ian Pooley's debut album "Meridian". Although there had been an earlier released album collection of his tracks, "The Times" (1996), Ian never considered that a to be a true Ian Pooley album. "The Times", however did succeeded by getting to the heart of what every clubber has come to expect from of Ian PooleyŠthe satisfaction of the dance floor in one track. Those who valued this talent considered Pooley a master of the uncomplicated floorfiller: functionalism as an artform that deserves to be respected.

Respect was not long in coming, as Ian Pooley's musical signature became a sought-after commodity. Remix commissions soon arrived from the likes of Daft Punk, Dee-Lite, The Cardigans and Yello to name a few. For Ian an investment, which he had started to make at the age of 16, began to pay off. Back then he refused to consider his musical capital as an investment, but it soon became apparent to him that the music world would not continue to exist forever merely out of supreme rapture on the most recent Derrick May or Kevin Saunderson releases. His love for a certain kind of techno sound from Detroit inspired Ian to send a reader's letters to music press, but a whole new world spread before him when he'd acquired his first musical equipment.

While still as a student in a Mainz grammar school, Ian released his first original productions together with his sidekick Thomas Gerlach (better known today as DJ Tonka). Their co-operation worked and Pooley and Gerlach gave to a Frankfurt record store called "Boy" (and thought it pretty cool that somebody was actually prepared to release them). It was with their first attempts at their own interpretation of the Detroit techno sound mixed with their boisterously breakbeat orgies that Pooley/Gerlach brought out music under the "Space Cube" alias at first, and than under the name Force Inc. When their label, owned by former "Boy" shop assistant Achim Szepansk, developed into a respected techno independent, Pooley and Gerlach decided to followed their own musical visions on separate paths.

Eventually Ian was signed by V2 that led to the "Meridian" album. Equipped with plenty of props from the international club scene, this signing was commented on by the German music press as his chance "to make it from the 12" springboard" (Spex 07/98). The effectiveness of Ian Pooley's production on the dance floor was sufficiently known, but the question of whether Pooley would be able fill a whole album remained to be answered.

When "Meridian" came out, Pooley proved he could, as the album proved that Ian Pooley had matured into one of the most diverse house producers around. "Meridian" gained fans with it's supreme diversity in all those areas where Pooley had previously been thought of with a certain one-dimensionalism. The tracky sound so typical of Ian Pooley still dominated the album, but at the same time "Meridian" offered a sensitive feel for melodies that always seemed to find their proper place. Mixing discreet disco and wild pitch references, deep downbeat numbers like "What's Your Number" revived a relaxed soul authenticity with pop music qualities that gained support from Gilles Peterson to Jazznova.

Since then a lot of water has flowed under that bridge across the river Rhine near Mainz, where Ian still calls home. "Since Then" has turned out to be even a little more musical, beautiful and romantic in many places than "Meridian" has led us to assume or indeed expect. With it's laid-back Brazilian atmosphere, a certain ease and unrestrained vitality runs through the album, but the very elements that impressed us on "Meridian" continue to develop consistently on "Since Then". Pooley's versatile talent is no longer restricted to little melodies, as there are a number of solid songs among the tracks on the album. Also, for the first time Pooley has invited female vocalists to join him on the production and has recorded live with them. On "Coração Tambor", the Portuguese voices of Rosanna and Zélia are showcased in a sensitive Brazilian deep-house track, which changes to an almost Balearic atmosphere thanks to an airy guitar sample. In "Visions", Kirsty Hawkshaw's (vocalist for Opus 3's "It's A Fine Day Today") almost breathy vocals seems fragile & tenderf next to the soulful and deep-house rhythms of "Visions". Later in the album, Rosanna and Zélia's voices develop a virtually spiritual equilibrium that accompanies the Afro- beat elements of "Menino Brincadeira".

Music aficionados will recognise that Ian Pooley plays among the very top of the Champions League with his technological abilities, programming and arrangements of samples and beats - quite aside from all the highly elaborate intricacies. This particular way of dealing with sound has been turned into an Ian Pooly trademark & can still be easily identified as his alone among hundreds of productions. The tight drum arrangements, as in the title song "Since Then", that occasionally fall into B-Boy type breaks are typical of Pooley's production skills.

Pooley is still an unasked member of that group of super producers surrounding Armand van Helden, Basement Jaxx, Roger Sanchez & Co that call themselves the Mongoloids. They are likely to lay back benevolently when they hear that honorary Mongoloid member Ian has not neglected one talent on the album, despite of all the musical diversity apparent on "Since Then". Ian has managed to create a floorburner out of nowhere, and his music is likely to make many dance floors revolve on their own axisŠ by about "900 Degrees".

Lenny

Storm

Razor
Kormac
and special guest

Mc Fats

Club Tivoli.
Friday Apr 04th.


Storm.
As one of the only girls on the drum and bass circuit Storm is definitely
holding her own. From blowing audience's away all over the world, to label
management, to lecturing, Storm has always been an integral cog in the wheel
that is the drum and bass scene. From her early days as a fan at the now
legendary Rage, Fabio and Grooveriders mecca for D'n'B, Storm has
established herself as one of the top Dj's and without doubt one of the top
female Dj's over any genre.

Only a couple of years ago her best friend and Dj partner, Kemistry,
tragically lost her life. Such a devastating blow might of made anyone throw
in the towel but Storm has heroically kept at it with huge popularity.
Kemistry will never ever be forgotten and in a way Storm's contributions of
late must please Kemistry wherever she may be. Appropriately it was in Dublin
where Storm did her first solo gig and the huge amount of love that the
Dublin audience showed her that night will always be remembered by her.

Storm's talents are there to be listened to on the Dj Kicks compilation
along with a sublime mix on React records among countless others. She never
plays the big obvious tunes but takes you through a journey of each
different sub genre never limiting herself to one style. There is something
that remains a constant in her Dj sets and that is they always Rock!
We await with baited breath as Storm makes her debut in Club Tivoli on
Friday April 04th. Along with the legendary Mc Fats, local lad come good
Razor and upcoming talent Dj Kormac this is set to be a night to remember.

Lenny

Mr C.

Christian Smith
Johnny Moy
Philth
Club Tivoli
Francis Street
Dublin Eight
01 - 4536002



Saturday 5th April

Doors : 11pm Till Late
Tickets a ailable from Ticketmaster Outlets Nationwide.


Biog :

1987 - PRESENT



International dj, innovative producer, founder of plink plonk , Shamen frontman and co- owner of the end, Mr C emerged as a pioneering force in the house music scene in 1987 and has continued to be instrumental in the proliferation of dance music on a global scale.

His commitment to experimentation and credibility in setting the standards for sophistication in all sub-genres of dance music has earned him world-wide prestige as he endeavours to take the sounds of the underground to new and more accessible heights.

At 16, Richard, a keen Chelsea fan and aspiring rapper decided to ditch his CB radio moniker Chelsea Boy. "C goes with everything. It's easy to rhyme," he says. With his mate, he formed a rap duo: Mr C and Double B. Richard gave up a job as a roofer at 21 and famously became a milkman - the perfect job for someone who had fallen head-first into London's vibrant acid house club scene because he could stay up all night, then go straight into work. Right at the beginning of British dance music, Mr C was a rapper for DJs like Kid Bachelor, 'Evil' Eddie Richards and Colin Faver. He made his first record in 1987 with Eddie Richards. Called 'Page 67', it came out under the name Myster-E. He became a DJ. "The mixing was spot on - straight away," he says. "Before you know it, I was one of the biggest names in London." He played at Enter The Dragon at The Park, TransAtlantic at the Wag, and at the famous RIP parties in a recording studio at Clink St near London Bridge. The Clink St parties played a key part in the genesis of acid house and are detailed in Matthew Collin's book Altered State: The Story Of Ecstasy Culture And Acid House. They were a grungier alternative to Danny Rampling's more famous Shoom - but it was here, at parties throughout 1988, that streetwise London clubbers who'd grown up on reggae, hip hop and warehouse parties raved next to loved-up football hooligans, gangsters, fashion victims and city boys.

THE Shamen started life in the mid-80s as a Scottish psychedelic act, founded by former psychiatric nurse Colin Angus and inspired by groups like Pink Floyd. After releasing their debut album 'The Drop' in 1986, the band were joined by Will Sinnott, who bought an interest in sampling and hip hop rhythms. In 1988, The Shamen, slimmed down to a duo of Colin Angus and Will Sin, moved to London and became regulars at Clink St. Inspired by acid house, their second album, 'In Gorbachev We Trust', amalgamated guitars, samples and programmed beats. "The influence for them was me, Eddie Richards and Colin Faver," says Mr C.

When the Shamen wanted a rapper to appear on their track 'Move Any Mountain', Paul Oakenfold recommended Mr C. It was one of those combinations of disparate characters that acid house threw up. "The Shamen were grungey rock turned into an acid house outfit. My friends were all casual boys into reggae and soul," says Mr C. "But everything was totally in line with my Buddhist / experimental beliefs." Their third album 'Entact' featured the single 'Pro>Gen', a dynamic techno-house number which starred Mr C rapping. It became a club anthem. In 1989, The Shamen turned the worlds of clubbing and live rock music upside down with a rolling tour called Synergy which fused live shows from themselves, Orbital and Pentatonik with DJs like Paul Oakenfold and Mixmaster Morris and rap from Mr C. Between 1989-90 Mr C also found time to play as resident DJ at The Barn in Braintree, Essex. A young Liam Howlett and his pal Keith Flint used to hang out. "I remember Liam Howlett handed me a mix tape. It was early rave stuff. I said to him, lose the breaks, lose the cheese, and you'll go a long way," says Mr C. Howlett went on to form The Prodigy. "Thankfully," laughs Mr C now, "they totally ignored my advice."

The Shamen recruited Mr C as a full member and the band re-recorded 'Pro>Gen' with his rapping, and one eye on the pop charts. But while shooting a video for the song in Tenerife, Will Sin tragically died in a drowning accident. Inspired by fans who wrote and told them not to split and Will Sin's family, The Shamen decided to carry on. 'Move Any Mountain - Progen 91' was released in July 1991 and became a Top Five hit. In 1992 they released the 'Boss Drum' album, starring Mr C and new vocalist Jhelisa Anderson. It featured the cult author and psychedelic thinker Terence McKenna on the trancey 'Re-Evolution', but it also featured a song that combined pop gimmickry, techno and a Dickensian pastiche of the rave scene called 'Ebeneezer Goode'.

C0LIN Angus got the idea at a Synergy show, where a charged-up raver insisted to him that "the E's are good". He told Mr C they should create a character called 'Ebeneezer'. As the record shot to Number One and stayed there for the month of September 1992, there was a national outcry about its subject matter. It turned The Shamen into heroes for some, villains for others.

But the while the press focused on the chorus - which celebrated 'Ebeneezer' "the main geezer" - they failed to spot that it was the verses that talked about the drug. You just had to drop the 'H' from 'he'. "No one ever got it," Mr C declares. 'Boss Drum' sold 750,000 copies in the UK and the singles 'Love, Sex, Intelligence' and 'Phorever People' became anthems. To put that into perspective, Leftfield's 'Leftism' and Chemical Brothers 'Surrender' - both regarded as classics - did significantly less: 500,000 each. Now celebrated as great pop pranksters, The Shamen were the first group to release a remix album and created the kind of stadium techno shows that made groups like the Chemical Brothers and Underworld possible. "We opened the doors for many, many people," says Mr C. "If we'd have carried on in the same vein as the 'Boss Drum' album, we probably would have been the biggest electronic band in the world now." In 1992, they even won the Ivor Novello Songwriters Of The Year Award.

But after 'Boss Drum', future albums like 'Axis Mutatis', 'Hempton Manor' and 'UV' moved in progressively less populist directions. Colin Angus stopped doing personal performances and interviews, communicating with the press only via e-mail. The Shamen finally disbanded in 1998. THROUGHOUT Mr C continued his life as an underground activator. In 1992, he formed the Plink Plonk label. "I was trying to break good, experimental, electronic dance music into the clubs," says Mr C. No artists were even allowed to use their own names, and the label pioneered producers, like Derrick Carter, who have become international names today. Plink Plonk came to an end in 1996, after 40 releases and made a welcome return in '99. In 1993, while still an international popstar, Mr C also ran a series of illegal, all-night parties in Farringdon called The Drop. These were cool parties that in attitude predated his club The End: cool music in a stylish venue. Mr C was often to be found on the dancefloor. On one occasion, he brazenly fronted off a nosy posse of policemen by telling them he was rich enough to throw this bash for free. So when Mr C's friend Layo came to him and said his dad, the architect Douglas Paskin, had a space in central London to convert into a nightclub or restaurant, Mr C didn't hesitate. He could see the potential for a well-designed West End nightclub that played the kind of underground music he loved - not the populist 'handbag' styles that DJs played at the time. The End opened in 1996.

"We wanted to do a club that represented our beliefs in music and electronica," says Mr C. In 2002, clubs like Fabric and 333 Old St thrive on a menu of underground music, but The End was first to make a formula of underground techno, house and drum n' bass into a success. For the first year the club struggled financially. "In the 90s, people got used to dirty, nasty warehouses, and getting that underground crowd into a nice venue in the West End was very difficult," says Mr C. But now The End represents an international standard for high-quality electronic dance music: the original, and still the best. It was the first British club to give out free drinking water. The first to do a live ISDN link up - between Detroit legends Claude Young and Derrick May. And The End has programmed the best marquees for techno and drum n' bass at dance festivals around the world. Three years ago, they opened the bar/restaurant AKA next door. "The End has been a direct influence on the whole of club and bar-restaurant culture in London," concludes Mr C. The End launched its own record label two days after the club opened, End Recordings (the first release being the Killer Loop black label from Layo and Mr C). The End label has now released over 40 records of high-quality house and techno and featured artists as diverse as DJ Sneak, Robert Owens, plus Mr C himself. The End even launched its own genre: tech house. The phrase - which can mean anything from house and techno, to breaks and tribal - signifies more of a mindset that a type of music. "It's an attitude. Like acid house was an attitude." Tech house has come to represent the style played by End DJs like Layo and Matthew Bushwacka! But it was Mr C who was the catalyst. "I phoned round the main movers and groovers in the tech-house scene and said, 'Look, if we all start using this word to create a genre for ourselves, the press can jump on it. All of a sudden we're going to be seen as the leaders of this music.' And it worked." It's a story that's typical of someone who's always been a scene leader, who's spent most of his career being ahead of his time. "I've got a very low boredom threshold," he grins. Finally, it seems the rest of us are catching up.

anthonymcg

Can i throw my two cents into the ring about the tivoli here? If not then please move it to a new thread.

I've been there twice now for two college do's and have to say the music contrasted enormously. The second night I was there, the music was pure class (he threw in some stuff from 1994/5) which went down a storm. The one thing which annoyed me was the fact that they kept running out of drink. Case in point:

Me: Can I've a pint of Bud and a pint of Heineken please.
Barman: We're out.
Me: Of what? Both?
Barman: Yep
Me: Eh, ok what do ya have?

They need to sort that out cos its happened both times I've been there and it wasn't that jammers the first time.

Lenny

Shy F/X
J Majik
Razor

David Holmes(upstairs)
Saturday 19th April
Club Tivoli
Francis Street

Tickets Now On Sale

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David Holmes :

Belfast born DJ and producer who made his name on the acid house and techno scenes. As the 90s progressed he began to follow a more individual path, with his own particular brand of cinematic soul and leftfield soundscape. Increasingly successful in Hollywood.


In reality I'm an ideas person. I spend my days in my house, playing records, sourcing music, nicking bass lines, nicking string sections and putting my own slant on themŠI'm probably a 'non-musician' with lots of ideas.

Holmer on what he does for a living.



David Holmes is the among the best in a growing cadre of invisible-soundtrack producers inspired by the audio verité of classic film composers ‹ Lalo Schifrin, John Barry, Ennio Morricone ‹ as well as the usual stable of dancefloor innovators and a large cast of jazz/soul pioneers to boot. Similar to the work of Howie B., Barry Adamson, and Portishead's Geoff Barrow, Holmes' productions are appropriately spacious and theatrical, though usually focused on future club consumption as well. His first album, hotly tipped in England, rose the stakes significantly for his second. Let's Get Killed hardly disappointed, gaining critical and artistic success given the constraints of instrumental dance music. The increased exposure even helped him hire in on Hollywood's bankroll to provide the score for the 1998 feature film Out of Sight, and more recently the Oceans Eleven Soundtrack

David Holmes The Facts -
DAVID HOLMES IN ONE MINUTE
*
Started his DJ career at the age of 15 playing soul and r 'n' b in Belfast pubs
* Before going into music full time he worked as chef and a hairdresser
* Played acid house to Protestant and Catholic ravers at Belfast's legendary Sugar Sweet Club
* Prog. rock legend Steve Hillage plays guitar on his 1995 album This Film's Crap Let's Slash The Seats
* Rarely seen without a fag in his mouth
* He did the film scores for Ocean Eleven, Out of Sight and Resurrection Man
* Recently formed his own funky hip-hop soul group, The Free Association uth
* He did the film scores for Ocean Eleven, Out of Sight and Resurrection Man
* Recently formed his own funky hip-hop soul group, The Free Association


Full Biog

David Holmes

b. Belfast, Northern Ireland. This leading house mixer, DJ, recording artist and soundtrack composer is a former member of the Disco Evangelists. After the latter band's successes for Positiva Records ("De Niro", "A New Dawn"), he recorded his first solo effort, "Johnny Favourite", for Warp Records. An enormously popular DJ, Holmes also found time to collaborate with former Dub Federation musicians Andy Ellison and Pete Latham as one third of the Scubadevils. The latter two met him while performing at the Sugarsweet night-club. Together they recorded "Celestial Symphony" for the Trance Europe Express compilation, which was also remixed for a Novamute Records 12-inch release. This was backed by Holmes solo on "Ministry" (credited to Death Before Disco). He has also recorded as the Well Charged Latinos ("Latin Prayer") and 4 Boy 1 Girl Action ("Hawaiian Death Stomp'). Holmes" remixing projects have included commissions for the Sandals ("We Wanna Live"), Robotman ("Do Da Doo"), Fortran 5 ("Persian Blues", "Time To Dream"), Freaky Realistic ("Koochie Ryder"), Secret Knowledge ("Sugar Daddy"), Abfahrt ("Come Into My Life"), Bahia Black ("Capitao Do Asfolto") and Sabres Of Paradise ("Smokebelch"). He was also partially behind Sugarsweet Records, the Belfast dance music label, run with Ian McCready and Jim McDonald.
As Holmes explained at the time: "It's more of a front to feed our obsession with music, to put out what we like, when we like.' Releases on the label included the Arabic house excursions of Wah Wah Warrior (essentially Ian McCready), plus Holmes" Death Before Disco. However, when it was clear that Sugarsweet was not going to take off it was replaced by the Exploding Plastic Inevitable imprint.
In 1994, Holmes signed with Sabres Of Paradise as a solo artist, but when that label's Andrew Weatherall decided to rethink his strategy, he found a new home at Go! Discs. His debut album emerged in 1995, with Sarah Cracknell (Saint Etienne) contributing to the quasi-James Bond theme, "Gone", while elsewhere Holmes luxuriated in the possibilities of the long playing format by incorporating cinematic elements, Celtic flavours and ambient guitar (provided by Steve Hillage). The excellent follow-up Let's Get Killed expanded on the debut's sound, and provided enough of a breakthrough for Holmes to place two singles, "Don't Die Just Yet" and "My Mate Paul', in the UK Top 40. In 1998, Holmes composed his first full-length movie score for Steven Soderbergh's highly acclaimed Out Of Sight. The superb Bow Down To The Exit Sign was recorded as the score for a screenplay in progress by Lisa Barros D'sa, with the two projects developing in tandem.
Holmes eschewed the sample-heavy style of Let's Get Killed in favour of a heady stew of neo-funk and sleazy swamp rock, with vocals provided by Bobby Gillespie, Jon Spencer, Martina Toppeley-Bird, and poet Carl Hancock Rux. It was followed by Holmes" second collaboration with Soderbergh on the director's remake of Ocean's Eleven.
DISCOGRAPHY: This Film's Crap, Let's Slash The Seats (Go! Discs 1995)****, Let's Get Killed (Go! Beat 1997)****, Stop Arresting Artists (Go! Beat 1998)***, Out Of Sight OS film soundtrack (Jersey/MCA 1998)****, Bow Down To The Exit Sign (Go! Beat/1500 Records 2000)****, Ocean's Eleven film soundtrack (Warners 2002)****.
COMPILATIONS: Essential Mix (ffrr 1998)****, as David Holmes Introducing Free Association Come Get It I Got It (13 Amp 2002)***.

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SHY F/X

Shy by name, shy by nature.
Shy f/x is one of the true legends of Drum and Bass. This is his first appearance in Dublin and let's hope we can show him some true Dublin hospitality. From his early Ragga influenced tunes like "Original Gansta" and of course the top 20 hit"Original Nuttah" both from way back in 1994, Shy has remained a constant in the world of Drum and Bass. Think of "Bambatta" another seminal tune and of course last years "Shake your Body." It seems everytime people think Jungle is going through a lull period Shy comes out with another classic. Everyone played these tunes, from Fabio to Bad Company and everyone in between. This is his first time playing in Dublin and believe me it's been a long time coming.
Like so many other producers, he also does a turn behind the decks, and while he doesn't push himself for bookings, he likes to play out regularly for other reasons. 'Since I've started DJing, I've found the tunes I've made are better. I don't think you can understand the effect of a tune until you've mixed it yourself and seen the response it gets. I used to make tunes with edits in the wrong place and whatever else would throw you off and wonder why DJs weren't playing it.'
Shy's output was so prolific he set up his own label, Ebony , as an outlet for his material. From there he has gone from strength to strength and as Fabio say's "When Shy gives you a CD you listen because you always know he's gonna come at you with something different. The unexpected, a different angle on things."


Shy had his taste of commercial success, albeit unintentionally, early on in his career and more so of late with the success of "Shake your body" but the bottom line behind his tunes is underground success and anything else is a bonus. While he is highly regarded amongst his musical peers and any true junglist, his profile outside isn't as big as some other producers, and I wonder if this bothers him at all. 'A lot of people have got respect outside of the scene and it's the deals that they've signed that's got them there,' he concludes. 'As long as I've got respect in the scene, that's all that matters.'
You have our respect Shy, we can't wait for him to make his debut in Dublin.

Lenny

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J Majik

Once known as the "Luke Skywalker" of Drum and Bass it seems J Majik has been around a long time. Still only a young man it gives us great pleasure to welcome Jamie back to Dublin after an over long absence. Expect some disco flavours and the usual impeccable mixing from one of the most talented DJ's on the scene.
After early releases on Metalheadz amongst others, J started the label "Infra Red" in 1994 initially as an outlet to release some of his more experimental material.
The profile of the label grew quickly with early releases from artists - Goldie, Peshay, Lemon D, and Dego from 4 Hero and within a few years Infrared has become a household name on the Drum and Bass scene.
The label released J-Majiks debut LP Slow Motion in 1998 and since, Infrared released a string of devastating 12s.
The Nightvision LP featured exclusive tracks from Goldie, Photek, John B, Total Science and Futurebound.

The album was an underground success and catapulted the label into the premier league of the drum and bass market.
Since then the profile of the label has risen, releasing more 12s from J-Majik, Futurebound, Future Cut, putting on club nights all around the world.
The label has most recently collaborated with the Ministry of sounds label Defected Records, putting out the massive "Love Is Not A Game," so with the strong ties in the drum and bass scene and more recently its association with the disco house scene, the door is wide open for this label to cross over into a territory of a whole new market.
The Infrastructure album has had mouths watering already.

The underground buzz is huge and with J-Majik putting drum and bass back in the charts, the future of Infrared looks very brightŠŠŠ..

Bren M

i will give my left arm if you can enter me for the comp for the shy fx/dave holmes guestlist thing... pleaseeeeeeeeeee

dnb massif haha

Lenny

Bren, you know the usual, email me

Lenny

There have been two famous JFK's in this world - one led a great country, the other leads one of the UK's top clubs - this one is very much alive, around and rocking some of the country's top clubs on a weekly basis. JFK (aka Jason Kinch) is resident and promoter at Passion. His DJ career began in 1989 when he travelled to Greece for the summer. Djing in the resorts largest clubs, he stayed for five years, taking his earnings from £8 a night to £700 per gig a few years later.

He then moved back to the UK bringing his talent and enthusiasm with him.

Upon arrival in the UK a new club opened 20 minutes from his house called Passion. JFK played the first ever record at Passion alongside Todd Terry. There were 700 people on the opening night. In 1998, JFK took over as in-house promoter, taking the club from an average 700 clubbers a night to over 1500 every Saturday night and putting Passion in the Top 5 clubs in the UK.

Passion moved on consistently over the next few years with JFK at its musical helm, steering it through vocal house to the more banging tunes of late. A typical crowd pleaser and entertainer, he states "The day people don't dance to the music I play is the day I give up. The response from the crowd still sends shivers down my spine and if I ever lose that I'll hang up my headphones forever."

Playing alongside the people he books, such as Paul Oakenfold, Judge Jules, Tall Paul, Ferry Corsten, Seb Fontaine, etc, he takes pride in always doing the last set and always rocks it even after the biggest named DJ.

A ‘pioneer of the hard trance era, JFK is a regular guest at some of the countries top nights, including God's Kitchen, Slinky, Inside Out - Glasgow, Temple Theatre - Dublin, Scream and The Cross, London. In 2001, he played at the Gatecrasher Summer Sound System and God's Kitchen Global Gathering. As well as playing regularly in Ibiza, Norway, Canada, the US and with an upcoming tour of Japan, Australia and New Zealand.

Production work began with a top 40 hit with Tzant back in '96 with a track called Hot & Wet. JFK's monsoon mix did all the damage on the clubcharts and went in at number 36 in the Top 40. In 2000, he put together and mixed Dedicated Followers of passions and in 2001, Good God was released on Y2K entering the national charts at No 71, making Top Ten on all the leading dance charts and was licensed for four UK compilations. It was also played out by the likes of Fergie and John Kelly. His follow up, Whiplash, is due out in December. He has also just completed a remix of Signum, ‘What Have YouS'S. for Tidy Trax. JFK's mixes are a regular feature on KISS FM and Ministry Radio and he is a regular name in the music press.

In JFK you have a very professional, hard working and committed DJ who has the talent to adapt to different crowds from disco vocal warm ups to stomping full on crowd pleasing late sets. He is one of the most talented, entertaining DJ's on the circuit today.

Friday 25th April
Cream presents
JFK
Club Tivoli
Francis Street
Dublin Eight
Doors 10.30pm-late

Lenny

Saturday 26th April
Influx presents

Tortured Records night with
BILLY NASTY
JOHNNY MOY
PHILTH
Doors 10.30pm to late
Adm. 16.90euro incl. bkg Fee
Student and membership discounts apply


**EARLY SHOW HEINEKEN GREEN ENERGY WEEKENDER**
Sat 3rd May 2003
in association with Note productions, The Irish Times and Lyric FM present
NILS PETTER MOLVAER
plus special guests
Doors 7.30pm show starts 8pm
Tickets 22.50euro


Saturday 3rd May 2003
INFLUX presents
ASHLEY BEEDLE
PHILTH
Doors 10.30pm - late
Adm. 16.90
Student and membership discounts apply
Sunday 4th May(bank holiday)


INFLUX presents
SHY FX rescheduled date - All Tickets from original show still valid.
Doors 10.30pm-late
Adm. 16.90 incl. bkg fee
Student and membership discounts apply


Saturday 10th May 2003
INFLUX presents
HIGH CONTRAST (D&B)
Doors 10.30pm- late
Adm. 16.90euro incl. bkg fee
Student and membership discounts apply


Saturday 24th May 2003
INFLUX presents
Bugged Out
Doors 10.30pm -late
Adm. 16.90incl bkg fee
Student and membership discounts apply



Friday 30th May 2003
INFLUX Presents
SVEN VAETH
Doors 10.30pm- late
Adm. 16.90 incl. bkg fee


Saturday 31st May 2003
INFLUX presents
LEE COOMBS
GLEN BRADY
JOHNNY MOY
PHILTH
Doors 10.30pm- late
Adm. 16.90 incl. bkg fee
student and membership discounts apply


Sunday 1st June
BUGGED OUT & INFLUX Present
FELIX DA HOUSECAT
PHILTH
Doors 10.30pm-late
Adm. 22.50incl bkg fee
Tickets from March 1st show valid
Student & membership discounts apply