Clubbing at The Tivoli!

Influx & Bugged Out Presents....

JUSTIN ROBERTSON
ANDREW WEATHERALL

Philth
Saturday 1st Feb 2003
Club Tivoli
Francis Street
Dublin Eight

Doors 10.30pm - late
Adm. 16.90 Euro incl. booking fee
*Tickets available from Ticketmaster



Justin Robertson
Justin Robertson has plotted a successful career as a DJ, remixer, and producer (the latter under his own name as well as Lionrock). Aloof from the limelight and popular almost despite himself, Robertson took an almost laughably conventional route to a level of success reached by probably less then one percent of dance music producers.

A native of Manchester, Robertson earned a degree in philosophy before taking a job as (what else) a record clerk in the Eastern Bloc record shop, where he began collecting the funkier side of progressive house and DJing on a regular basis. After remixing a track for Mad Jack on in-house label Creed (his mix of "Feel the Hit" became something of an underground smash), Robertson was subsequently flagged down by the likes of the Shamen, Candyflip, the Sugarcubes, and Erasure to lend his evolving signature to their material. As his style matured, he became associated with the burgeoning Balearic scene (a hodgepodge subcategory of house encompassing a range of influences, from rock and R&B to disco and garage). Robertson released his solo debut, "Roots and Culture"/"Lionrock," on his own Most Excellent label in 1992. After raising a few brows and spawning another round of remix work, Robertson was courted by pop/dance label Deconstruction, with whom he signed in 1993.
Robertson released an additional EP, Packet of Peace, on Deconstruction in April of 1993 before settling in to record his full-length debut. Released late the following year as Lionrock, An Instinct for Detection was an ambitious effort to say the least, featuring scads of instrumentation resolutely untraditional by U.K. dance music standards, mixed and matched with dirty house breaks and aggressive but accessible arrangements. Although the record was met warmly, its subtle abuse of pop (in the Beach Boys -- not the Mariah Carey -- sense) was lost on many, and it remains something of a cult favorite. Robertson embarked on an elaborate tour following the album's release, and the presence of guitars, percussion, and drum kit on the stage of a Lionrock show became standard from word go. In 1996, the popular mix CD series Journeys by DJ contracted a mixed set from Robertson, resulting in a massive two-disc set spanning the range not only of Lionrock's influences, but of the last two decades of electronic dance music as a whole. Robertson continued to be a popular remixer, and Lionrock releases -- including 1998's City Delirious -- appeared on a sporadic basis until he ditched the designation for his first production album under his own name, 2001's Revtone.

One of the UK's most respected players and most versatile covering all bases - techno, electro, deep house, twisted funk, experimental & downtempo.
Andy Weatherall
One of the UK's most respected players and most versatile covering all bases - techno, electro, deep house, twisted funk, experimental & downtempo.

Numerous projects in the studio most recently as Two Lone Swordsmen with Keith Tenniswood who together signed with the formidable Warp Records. '98 saw the 'Blue Sparks' EP followed by the album 'Stay Down'. An EP 'A Virus With Shoes' and remix project was released in '99, 'Tiny Reminders' 2000 and their new remix project 'Further Reminders' is now.

Andrew's exclusive London residency is for our very own 'Haywire Sessions' every 1st Friday of the month at 93FeetEast.. He can also be found making regular appearances throughout the UK and overseas. Last year saw his Two Lone Swordsmen tour 'Turnatables & Machines' with more dates to follow this year, including Fuji Festival in Japan and 2 dates in Holland September.

Weatherall's new label RGC Records saw three excellant 12"s out this year with an album from Radioactive Man released on 17th September. Watch out for the RGC Tour kicking off in September... download 'press pack' for more Weatherall info and check www.rottersgolfclub.co.uk

UMEK
Philth



Friday 28th February 2003
Club Tivoli
Francis Street
Dublin Eight




Doors 10.30pm - late
Adm. 16.90euro incl. booking fee. On Sale from Ticketmaster



Born in 1976 Lubljana, Slovenia, Uros Umek began DJing in 1993 while he pioneered large scale techno parties with some of his friends in his home country which quickly became the county's favourite. Through his hard work creating these parties, techno became the most popular form of music in Slovenia and made him a very popular individual. He is the most popular and most famous DJ in Slovenia, his nickname is "Votter", which means father..

He currently co-owns runs Consumer Recreation Records, as well as releasing on, amongst others, Tortured (as Mumps), Planet Rhythm, Audio, Missile, Communique. His current style is the combination of many different roots, which the more long term Umek fans may recognise. Starting with a rough, uncompromising edge he quickly built a reputation in the studio.

More recently he has developed a new funkier sound highlighted on his last double pack on Tortured under his Mumps guise, a real winner due to its funked up style - this was Carl Cox's number 1 record for 3 months. Recent productions included the hugely successful Recycled Loops (with close friend Valentino) and as Zeta Reticular on Billy Nasty's electro label, Electrix.

The last two years have been massive for Umek, with him being voted into DJ Magazines top 100 DJs in 2002.
He now stands as one of techno highest profile names, with DJing skills and production that far outstrips many of his contemporaries.

2002 saw him release the Torture Chamber Vol 2, plus an experimental album on Technika, showing the depth of his talent.

Originally posted by piscean
Had free passes for the Tivoli on Sat nite but alas nobody was willing to go with me,

:eek: :eek: :eek: :eek:
Are you sure there yea?
/me checks fone, nope no messages or anythin

lol,
I knew that 140euro for the 3510 was too good to be true brand new
I just got a fone off a friend there on fridya too,
I couldn't read any messages for 2 weeks with broken screen

Influx proudly presents

LOTTIE

& the return to Club Tivoli of

TERRA DEVA

Philth



Saturday 22nd February 2003
Club Tivoli
Francis Street
Dublin Eight
PH : 01 - 4536002
Doors 10.30pm - late

Adm. 16.90. in Advance only, incl. booking fee From Ticketmaster Outlets Nationwide




LOTTIE - BIOGRAPHY



It has been a great couple of years for Lottie. Winning the Best New DJ prize at the Ericsson Muzik Awards in 1999, she then went on to grab a Top 50 spot in DJ Magazine’s DJ Of The Year poll in one of only nine women in a chart of 100 DJs.


Lottie’s talent was first spotted by the promoters of London’s leading night The Gallery where in 1996 she was selected as their weekly resident. Today as well as a host of International gigs, Lottie plays all over the UK and holds the title of being Bugged Out’s first lady, an honour indeed to be so highly regarded at this legendary Liverpool club.

Where Lottie shines as a DJ is in her quality of music and her insistence in only playing proper house. Spinning deep and tribal, through to tough and techy house with an added twisted disco and funky sound from UK and American labels; she is a consummate spinner. Although her insistence that music come first has strongly directed what media coverage she chooses, entering the world of TV and Radio was a natural step for Lottie, presenting for MTV at Homelands (2000) and appearing on Channel 4’s award winning Faking It show as a mentor to a classical musician who was trying to make it as a club DJ, she has also become a regular guest DJ, filling in for Danny Rampling on Radio 1.


Productions include ‘The Sound’ on Duty Free Recordings and ‘The Yob’ with Trade DJ Malcolm Duffy on Remote. Others include ‘Relax’ by Robbie Rivera, and Lottie’s favourite track, ‘Happy Days’ for Defected came out in June ‘99. During 2000 she completed a remix of Junior Cartier’s ‘Women Beat Their Men’ again with production partner Malcolm Duffy. Towards the end of the year she finished a remix of “Walk Of Life” by Billie on Innocent Records and her second solo single “Bushroot” (on Duty Free Recordings) was released in December.


Remix wise, Lottie added her flavour to ‘mountains’ by Meeker on Darren Emerson’s label Underwater, ‘Salsoul Nugget’ by M&S on FFRR and Desert's 'Lettin' Ya Mind Go' on Futuregroove/ Mute Records.




TERRA DEVA - BIOGRAPHY


- What is your name? Terra Deva is my real name.

- What do you do? Singer, songwriter, producer, actor, counselor.

- How old are you? I was born in June 1976 to a family of music loving educators.

- Where are you from? The Bay Area, California

- Training? I trained as a dancer from age three with a few stops around gymnastics and the violin. I then started singing seriously and became a pageant queen - mostly A's in school - found time for drama...classes.

- First big job? I was on the TV show the "Mickey Mouse Club" for two seasons, no kidding. I sang, acted, danced and interviewed celebrities five days a week.

- Why dance music? I fell in love with the people I met at raves and clubs around 1993. Eventually, I figured out there was music playing and I enjoyed dancing to it. A DJ/producer in the scene asked me if I could sing, so I did. The trip to England didn't hurt. Then came San Francisco Jazz shows, funk shows, and UK track shows in between TV and radio commercials and industrial films.

- Why not go for a career making cheesy music? The cheese factory will inevitably melt all sense of reality and personal growth. I learned of alternatives to save myself and grew tired of plastic and "fame for no good reason." I was immersed in Al Green, Bob Marley, Joni Mitchell, Cocteau Twins, Tori Amos, Bjork, Seal, Brazilian Goddess Joyce and Nick Drake. To me these folks represented true artists and remain a constant source of inspiration. I also liked the fun boogie factor of early Brand New Heavies and Deee Lite.

- What artists are you into right now? Aside from who I work with-Basement Jaxx, Green Velvet, Royksopp, Miss Kitten, Chemical Brothers, Missy Elliot and Timberland, No Doubt, Daft Punk, Bebel Giberto, Coldplay and Kylie of course.

- Albums? To date, one solo album called Pulled Apart released on Om Records. It was made in '96-'97 and released in 1998. It was inspired by DJ mix tapes and sounded like Portishead recording R&B after crashing a car into Nancy Wilson and all of them meeting Bjork and Grooverider's love child at a club on a house night...er ambitious and well-executed for the independent budget.

- Singles? Current: "At Night" with Shakedown – went to #6 in the UK, "Sting Me Red (Clever)" with Who Da Funk, "After 2" with Pete Moss - #4 Billboard Hot Dance chart, and "How You Thrill Me" with Junior Jack and Erick Morillo - #27 UK. Shakedown follow up “Drowsy With Hope” and "Dizzy" with YumYum coming soon.

- Classics: "Soothe" and "Want Me Like Water" as Furry Phreaks with Charles Webster (Presence and Love From San Francisco), "Wrapped Up" and "Broken" (Bugs) and "Fresh Start" and "Inside" from Pulled Apart (Om album). These singles attracted global attention and made joining BMI worthwhile.

- I have worked with: Shakedown, Erick Morillo, Charles Webster (Furry Phreaks, Love From San Francisco, Presence), Who Da Funk, Pete Moss, Yum Yum, Satoshi Tomeii, Jimmy Van M (Vantage Point), Junior Jack, Harry Choo Choo Romero, AK 1200, Scott Hardkiss, Electric Skychurch, Marc Mitchell, Richard Schiessl, and Andy Chatterley, Young American Primitive, Dave Biegel (Bugs, Puracane, Skyjuice), Josh Michaels (DJ Iz).....underground for sure with moments of greatness and accessibility.

- What are you doing now? I'm still writing in the studio with different artists and producers with several singles coming out on various labels including Defected, Subliminal/Subusa, Cream, 352, and Definity.

- What do you want out of life? Balance, strength and flexibility... I'm still training. I want to make fair deals and get some things off my chest. I want to travel, do more live shows, and films. I want to help people raise awareness for important causes and enjoy life's adventures while learning some new tricks. I want to hear and make lots of great music and dance with good people for many years to come.

Originally posted by piscean
Hmmmm can my pennies stretch to 2 nites out clubbing, or will Lenny sort me out with passes for Fri nite:rolleyes:

I put your name down then, buy a drink for me for yourself!

Hi All,
Just a quick reminder about this Thursday's benefit gig in Club Tivoli for Chernobyl's children's Project.

They are trying to raise funds to Fill an Ambulance and drive it to Belarus, with some much need medical aid for the children that are still affected by the tragedy even to this day.

The Line - up so far is.


Alistair,
Paddy Casey & his band,

Special Guest Appearance

Sinead O'Connor,

Also Appearing

Aidan Roberts,
Declan O Rourke,
Joe O Connor.

Thursday 6th March 2003
Club Tivoli
Francis Street.


Doors Open 8pm

Tickets €15.00 From Ticketmaster and Tivoli Box Office

DJ Hype
Spectrum Is Green
Philth
Razor
Upstairs : Keith Sheridan & Guests
Club Tivoli.
Francis Street
Sat Mar 15th.
Admission : €16.90 Incl. Booking Fee From Ticketmaster outlets nationwide

Hype is back. Some might call him "the ultimate drum and bass party DJ." Every time he plays here he blows the crowd away. He doesn't just play the latest dub plates or the blackmarket top 10, he play right across the Drum and Bass spectrum. From funky to hard to jump-up his plan is to entertain the crowd and he does this in true style.

Hype is to Drum and Bass what Afrika Bambatta was to Hip-Hop. A true pioneer, he started out with the shut up and dance sound system, spun reggae, hip-hop and house in the 80's and represented Britain in the1989 DMC's.He started radio with fantasy fm and then moved on to Kiss Fm picking up several awards along the way. Production wise, he had releases as Scientist on Suburban Base, and in 1993 teamed up with Pascal to form The Ganja crew which of course has featured Zinc's classic "Super Sharp Shooter."

Since 1997 Hype, Zinc and Pascal came together as the True Playaz crew. Staunchly independent, the trio has released several 12's and albums and continue touring the world. Hype is in fact one of the most popular Dj's in the world, in any genre, and his trademark scratching, selection of tunes and unbelievable energy make one of his sets unmissable. Catch him with support from Razor. @ Tivoli Mar 15th

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)

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".

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".

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.

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.

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