Clubbing @ The Redbox!

Lenny

When the 9:55 train from Bray crashed through the walls of Harcourt Street Station in 1900, nobody could have imagined that a century later the old station would be home to three award-winning integrated venues. First came POD located in the old vaults, followed by the Chocolate Bar in the old train turn-table and then the station's platforms were removed to make way for Redbox. The Harcourt Station trilogy - The POD Complex - was complete, with three distinct areas that can work independently of each other or altogether.
Redbox is a purpose built venue designed to facilitate up to 1,100 people at concerts, product launches and fashion shows but most usually hosts wild club nights. With a total of 9,500 square feet, a car can comfortably be driven into the venue. The area is spread over 3 levels; the main floor, mezzanine and the raised floor area, each of which is equipped with its own fully licensed bar.

A turbo sound flash light system, with the same specification as that used by Simply Red on their last tour, is installed as the house PA. There is also a flexible fully integrated intelligent lighting system that is interchangeable depending on the style of event taking place. Redbox was designed by award winning designer Ron McCulloch who was also responsible for POD and Chocolate Bar. The style is similar to both, incorporating old stone, stylish metal fittings and rich luxurious colours. The most dominant feature of Redbox is the very large theatrical stage framed with plush red velvet drapes, which is visible from any part of the venue.

Each Saturday Redbox presents only the very best Irish and International DJ's and artists to an always vibrant crowd. The size and layout of Redbox is idyllic - it packs a vast crowd yet due to it's layout somehow retains an intimate atmosphere. In 1999 Ministry Magazine voted it 9th Best Club in the World. Artists that have played over the years include all the greatest; Carl Cox, Laurent Garnier, Armand Van Helden, Paul Van Dyk, Sasha and Paul Oakenfold…to name but a few. Dance acts have included The Chemical Brothers, Underworld, The Prodigy & Daft Punk.

Various UK promoters have also held nights at Redbox including Renaissance, Cream, Ministry of Sound, Miss Moneypennys, Colours, Northern Exposure & Sundissential.

Red Box early evening gigs are particlularly popular amongst the live acts that have played there due to the quality of its 20K Turbo rig, large stage and intimate layout. Amongst the acts who have played live shows are Stereophonics, Eels, Public Enemy, Mercury Rev, Spiritualized, Ben Folds Five, Death In Vegas, Moby, Reef, Dian Carroll, Cornershop and countless others.


Wednesday - Yo Yo - New Student Night!

Thursday - Revolver

Friday - H20(international)

Saturday - Access All Areas (BIG NAMES, BELOW)

Sat Apr 12th
SCRATCH PERVERTS (Plus One, Tony Vegas, Prime Cuts)
DJ SCOPE
BILLY SCURRY

Sat Apr 19th
JOHN DIGWEED (Bedrock) headlines Redbox
ROBBIE BUTLER
BILLY SCURRY
MARK LOGAN (Percussion)

Sat apr 26th
TBA

Sat May 3rd
DAVE CLARKE & ROBBIE BUTLER

bazza1981

does this mean you will have comps. now for the redbox?

Lenny

Don't you check up on the comps section!!

Lenny

Lust want the board a bit more active before they start handing them out to me too
I am waiting for a responce off TBMC & I might give South a try..
Spirit gave me a phone number to organise things.. months on I still haven't gotten round to doing that :P

Lisa_Lavish

u 4got deep dish on the 20th!!!:D

Lenny

5 May 2002



Carl Craig


There's always one moment during those fortunate nights when the beats give way to enlightenment. It may be a fleeting moment but when the right oracle is behind the decks or the perfect record is put in play, it is there. In the dark. With the beats. The communal rhythms and shared appreciation. Not everyone can evoke such moments where the energy of the environment is corralled in just the right way but Carl Craig is certainly one of them.



It happens on any one of the many records he's cultivated, when the melodious push of the rhythm emerges from the pounding break to reveal something more meaningful than just the groove. Or on the dance floor when the grand, visceral orchestration of the night's selections connects with the people. Craig understands these moments when the music transcends the medium, and his audience recognizes it in his work, which is why he is respected universally as one of the foremost techno producers and DJs in the world and, more importantly, why he himself transcends the genre.

Carl Craig is born of Detroit – the city's history, heritage and critical role in forming American socio-economic dynamics has informed him through life. His story begins in 1969, two years after Detroit's second major race riots. Uprising against the frustrations of inequality for blacks in America was an annual rite of summer during this era and Craig, the youngest of three children in a blue-collar family cognizant of the social change underway, was influenced by the repercussions. "We were always reminded of the struggle it took for African-American equality," Craig says, and he always kept that conscious spirit in his heart.



The turbulent '60s birthed an era of change – in racial attitudes, social norms and how our country functioned – but as a child of the '70s and an adolescent of the '80s, Craig was also witness to a burgeoning technological age. Detroit was already a major automotive hub and its factories created a vast industrial landscape. "That's the effect of growing up in Detroit," Craig explains. "Machines, robots, automotive technology – anyone who is interested in electronics and technology is mot likely influenced by the industrial environment." This was also the time of video games and personal electronics, of ubiquitous blips and bleeps, where it seemed the entire society was being transformed by automation and computerization. It was the future realized – at least in primitive, prescient glimpses.



Craig's musical impressions were simultaneously being shaped with the help of his older brother, who bequeathed an array of new sounds to him in clandestine moments. "That's how I first heard Prince's Dirty Mind," Craig remembers of one of his favorite albums. "My brother would play records from his basement bedroom and I would listen through the heat vents." Meanwhile, hearing animated radio jocks like Detroit's Electrifying Mojo inspired Craig to want to be on the radio, heard by the people anywhere and everywhere.



Other music began to take root within Craig's world view. He found himself drawn to electronic music and synthesizers, not just in dance and funk music but also in rock and new wave. He began to discover artists like Miles Davis and Sun Ra, who pushed ideas further away from the center. Motown's creative sparkplug, producer Norman Whitfield, was also a huge influence for the use of synthesizers in his tracks. Obviously, artists like Stevie Wonder and Marvin Gaye were impacting, too, because of their craftsmanship, songwriting and social import. Says Craig, "There was so much going on in the world at the time - politically and socially - which was reflected in the moods of the songs coming out."



When Craig began to experiment with making music himself, beats were his indigenous language. "That's my African heritage coming out," Craig explains. "Much of my music contains dominant rhythms, whether it's drums or percussion or whatever. But really I try to create those rhythms using all elements of the music - the melodies, harmonies, etcetera." He was invigorated by what was happening in and around Detroit at the time, with house and techno music and, in particular, the club the Music Institute. "That was a major influence on my continual pursuit of making dance music. The music was new and fresh with tracks like 'Gypsy Woman' and 'Can You Feel It?' and 'Good Life.' It was new and exciting."



And so it all began to coagulate for Craig: his cultural heritage, the richness and diversity of his musical influences, the industrial environs of the Motor City, being raised in a new era of technology and a searing social awareness all formed the bedrock for his musical impulses.



* * *



Craig began his work as an artist with an apprenticeship under legendary techno producer Derrick May. Craig helped produce May's Rhythim Is Rhythim re-working of the classic "Strings Of Life," entitled "Strings Of Life 89" (Kool Kat, 1989), while touring with him in Europe as the keyboardist in his live band. Having played guitar as a youngster, Craig was already musically adept; and he had a solid foundation for working as a producer in the studio. But the tutelage under May - who, along with Juan Atkins, were master influences on Craig - not only provided Craig with further technical knowledge but also helped teach him the nuances of life as a musician. Soon Craig was on his own way with a body of work that, especially taken in its entirety, reveals him to be a deeply sublime, profoundly original artist.



The first record Craig released was "Elements" (10/Virgin, from Techno 2 compilation, 1989), which was followed by "Crackdown" (Transmat, 1989), both under the guise Psyche. The songs were immediately embraced by audiences and techno DJs here and in Europe. Like most of Craig's work since, people were instinctively drawn to the depth and originality in the songs, even if they couldn't quite articulate what they were being drawn to; and that mix of experimentalism and creative tenacity would serve as a precursor for Craig's future work. "Elements" and "Crackdown" were ultimately collected with other early work under another early Craig guise, BFC, on the Psyche/BFC album Elements 1989-1990 (Planet E, 1996).



The next mile-marker from Craig was 4 Jazz Funk Classics (Planet E, 1991), an EP under the alter-ego 69. Initially, Craig denied any association with the moniker, wanting the uniqueness of the tracks to stand on their own. Craig would use this disguise for his more progressive, experimental tracks. The title of the EP itself was provocative irony: a message that he was there to challenge people's definitions of music. The moody, textured songs, like "If Mojo Was AM," were rooted in a long lineage of black music, Craig seemed to be saying, and they were jazz and funk to him even if they didn't quite "sound" like it. The EP was the first release on his own independent label, Planet E. Another EP from 69, Sound On Sound (R&S/Planet E, 1996), would subsequently be released.



One of the guiding principles of Craig's musicianship is his intentional distortion of categorization, whether it's genre-mashing or the warping of referenced time periods. The latter has especially framed Craig's work: he frequently evokes old sounds in delivering futuristic missives, mutates conventional arrangements in inventive ways. This ethos was revealed on one of his most seminal works, "Bug In The Bassbin (Planet E, 1992/Mo' Wax, 1995). The song is dark and delicate at once, both ambient and bubbling with purged energy, and the elegant friction between melody and beats make it a resolving classic the likes of which techno music has rarely seen. Craig created the song under the lofty title Innerzone Orchestra. That alias would harbor his ambitious composition and arrangement urges when he resurrected the project for the album, Programmed (Astralwerks/Planet E, 2000), this time with a full band that included keyboardist Craig Taborn, drummer Francisco Mora and other traditional musicians.



Craig finally used his proper name for Landcruising (Planet E, 1995), an album that pushed him away from the dance-floor towards a complex and emotional musical meta-narrative. Songs like "Mind of a Machine" and "Science Fiction" are tributes to the likes of Kraftwerk and orchestral disco while "One Day Soon" is a nod to the cinematic scores of Ennio Morricone. A second album under his own name, More Songs About Food & Revolutionary Art (Planet E, 1997), is another meditation on the personal and social fabric of Craig's life. It features the song "At Les," for which Craig feels the most proud, simply for its emotional honesty.



Ever prolific, Paperclip People was another alias Craig would use for a series of singles beginning in 1990. Under this name, Craig became a populist, distilling songs down to their pulsating essence to create dance floor gems. Now-classics such as "Throw," "The Climax" and "The Floor" were instantly club-friendly, following simple melodic ideas and boasting bold beats roped to heavy rhythms. These singles and other songs were collected on the Paperclip People album, The Secret Tapes of Dr. Eich (Planet E, 1996), and of his various alter-egos, this remains his most popular.



The appropriation of differing identities is instrumental to Afrofuturist ideology, of which Craig, willfully or not, subscribes to. To him, the varying alter-egos offer the freedom to create a diverse spectrum of music. "Sun Ra relates using aliases to shaking off given names through slavery in order to gain one's true identity," he says. Accepting several guises, then, is liberation from people's perceptions of who he should be as a singular artist.

Lenny

Craig, too, has always been recognized as a premier remixer. His "sound," or rather, insight, has been sought by a diverse range of artists over the years. Craig's buoyant reworking of Tori Amos' "God" in 1994 remains a dance classic, and his remixes for Johnny L ("This Time"), Inner City ("Good Life"), Ron Trent ("Altered States"), La Funk Mob ("Ravers Suck Our Sound And Get ****ed"), Incognito ("Beyond The Storm"), Jah Wobble and Bill Laswell ("Alsema Dub") and dozens others, remain DJ favorites. Some of these are collected on Designer Music Volume 1 (Planet E, 2000), a collection of eight remixes Craig has authored.



In 2001, Craig worked with legendary jazz musician Herbie Hancock on the song "Kebero" for the pianist's album Future 2 Future (Transparent, 2001). Craig calls the interaction, orchestrated by producer Bill Laswell, "an amazing chance to work with a real influence of mine and an overall amazing experience." Currently, Craig is a featured participant on The Detroit Experiment (Rope-A-Dope, 2002), a collection of collaborations, this time with musicians native to Detroit, including Bennie Maupin (Headhunters), Marcus Belgrave, Regina Carter, Ann Fidler (Parliament/Funkadelic), Francisco Mora and others.



In 2000, Craig's desire to institute a social interactivity between the music and the Detroit civic community led him to conceive and create the Detroit Electronic Music Festival (DEMF) - an annual free music party that, at its inception, was the most unique event of its kind in this country. Featuring artists of varying dance sub-genres, as well as hip-hop and jazz, the festival attracted an estimated one-million people from around the world its debut year in remarkably – and significantly – peaceful congress. Behind the scenes, the DEMF was a landmark achievement that brought previously conflicting factions – local musicians, politicians, civic organizations and a corporate commercial underwriter (Ford) – in harmony with one another.



Perhaps underscoring Detroit's vulnerability as a small, close-knit music community, the festival fell to infighting and politicking during its second year, when control of the festival was wrestled away from Craig by other promoters looking to capitalize on his vision. Certainly, the 2002 daytime events didn't fare nearly as well as previous years (the unaffiliated nighttime after-parties by Craig, Underground Resistance and other organizations still thrived), and cries of support for Craig underscored his importance to the local community.



That same support has helped make Craig's record label, Planet E, a vital part of the techno music universe. Planet E is as dependable a brand identity as one can have in music, with releases from artists like Craig and his aliases, Kevin Saunderson, Moodymann, Alton Miller, Mike Clark, newcomer Recloose and others. The label was created in 1991 out of Craig's frustration with the control he had – or didn't have - over his previous releases and how they were presented. In 1990, Craig had co-founded Retroactive Records with another local DJ, releasing six singles for the label under his various monikers. The label's dissolution a year later over internal conflicts set the stage for the creation of Planet E. The label is truly a family-style operation - Craig's wife, father and cousin form its administrative backbone – and despite the struggles of being a small label in a cutthroat music world, Craig thrives on his autonomy.



"Independence is the best thing one can have," he says. Those words could have been an echo from another time, the same turbulent era Craig was born in, for example, and still held just as much weight. That temporal symmetry is a vivid reminder of exactly where Carl Craig has come from, what he has become and how he has evolved as both man and musician.

* * *

bazza1981

are you doing a comp. for deep dish lenny?

Lenny

POD- AAA -SATURDAY 19TH

JOHN DIGWEED ( Bedrock )

JOHN DEBO ( Boston )

ROBBIE BUTLER



ADM € 15 MEMBERS / 20 OTHERS

DOORS 11PM





John Debo



Serendipity can really be the start of some beautiful things… For John Debo, his first UK tour in 1992 (albeit a couch tour) developed into much, much more. Crashing on the couch of one Dave Seaman, one half of Brothers in Rhythm and A&R Director for the highly profiled Stress Records, John sat back and enjoyed the latest unreleased tunes from Dave and his label. As John happened to have a cassette of his new production work, he left it with Dave to enjoy. Days later John got a record deal under the moniker Mindwarp and proceeded to release new tunes on Stress.



Not a bad way to break into the somewhat mafia-esque world of the UK dominated world of progressive tunes - not at all. This rapid acceptance reflects the pattern that John has brought to his work as a DJ, promoter and producer. His vision boils down to something fairly simple.



Co-founding Boston’s premiere club night, Avaland, Debo conceived the night as a vehicle to bring DJ culture and the best dance music from around the world to Boston. His vision is global - not provincial. The venue, Avalon, was selected by Mixer Magazine as the #1 club in America for 2002. Avaland is the ultimate big room experience – BIG lights – BIG sound – weekly décor – all the bells and whistles. It exhibits a by the DJ for the DJ ambience. All about the music, patrons come to get down and dirty.



Of course, what is most important to this DJ is the music. He cringes at the common practice of labeling a record as a specific genre based on the way it sounds. His musical focus, as John likes to put it, is on quality tunes with class and sophistication. The spell that he casts over dance floors has been felt worldwide with seminal gigs at Avaland in Boston, Buzz in DC, Sonic & Release in San Francisco, Space in Miami, Twilo in NYC, Aria & Stereo in Montreal, Koolhaus in Toronto as well as Bedrock & Renaissance in the UK and Space & El Divino in Ibiza… to name a few. His sound has been captured on two mix CDs released in 2001: Chrome 01 on Bliss and Logic Trance 5 on Logic 3000.



Given the success of his debut material on Stress, it should be no surprise that John Debo has found a home for his other work. With recent remixes for Bedrock & Yo****oshi offshoot Sinichi and past projects which include Frankie Goes To Hollywood, Blur, The Charlatans UK, Candyland, Pendulum and My Friend Sam featuring Viola Wills, Debo has managed to bring his touch to a quirky bunch of classic tunes. Original productions have been released under the monikers Mindwarp on Stress UK, Boston Bruins on Mindwarp, MAD on Caffeine, The Sungods on MCO and John Debo on Caffeine.



The future for John, while busy, seems clear – further develop Boston’s best club night, become a breathing component to his studio and generate tunes that will enchant the global audience and continue to assemble the innovative, soul-searing DJ sets that make everything else reality.

Lenny

Originally posted by bazza1981
are you doing a comp. for deep dish lenny?

Unfortuntily not

Executive Steve

are you doing a comp for basscape presents kamanchi: full cycle live?

Lenny

Originally posted by [cm]tyranny
are you doing a comp for basscape presents kamanchi: full cycle live?

What date is that on?
And if its on a Saturday then proberly yes

Lenny

presents

SPACE DJ'S ( 4 deck Madness )
Robbie Butler
Anthony Mooney
Mark Logan

POD - Redbox - Chocolate Bar
Doors 11pm.
Adm. €15 before 11.30pm, €20 after. Members €15 all night. Advance tickets €16.90 including booking fee. Phone/internet bookings subject to extra fees. www.ticketmaster.ie /24hr Hotline 0818 719300.

Born and raised in London, Jamie and Ben both had similar eighties preoccupations with breakdancing, BMXing, graffiti and, of course, hip hop. Like many kids of that age, their infatuation with underground music brought them into contact with acid house. Through partying at all the usual places, Jamie went on to become part of Bandulu, while they both continued experimenting fusing raw hip-hop, electro and the emerging techno sound. Approaching techno's basic principles with a breakbeat driven mentality led to Ben and Jamie adopting their current moniker and releasing a string of critically acclaimed singles on Soma, Reload, Infonet and their seminal album Rates of Change on Novamute: this has been described as the ultimate crossbreed - a splash of Jeff Mills with a slice of Mantronix. More recently Space DJz on Patrol was unleashed upon us, with its aim accurately targeted at the dancefloor. Urban music at its finest. 2001 saw them release the Last DJz on Earth double mix CD on Primary and they embarked on a 4 month world tour culminating in Australia this August.

DJing as a pair since the early nineties, the Space DJz have gradually refined their art to controlled, visual and sonic mayhem. This could be witnessed at Lost from 1993 - 1994 when they held their residency at one of the world's leading techno nights.

Working with four decks and two mixers for up to 6 hours, they drop string sections over the top of beats, breaks and loops to devastating effect. With two people playing simultaneously, their work interacts with each other as well as the crowd on a wholly different level.

SPACE DJZ DOUBLE PACK "FACES OF PAIN" OUT NOW ON TORTURED RECORDS. The duo's first self titled production in over 18 months has hit the shops, and the feedback is amazing. Although we're biased, we recommend a listen.