A/forART
A/forART @ Thessaloniki Port | 03-04.05.14
Art is Hard changes name and returns in May to shake up the city and close the circle as A / FOR ART FESTIVAL.
For more information visit http://www.a-forart.com/
Manu Chao La Ventura
Manu Chao La Ventura @ Thessaloniki Port | 23.06.14
Day: Monday, June 23, 2014. City: Thessaloniki. Venue: City Port. Group : Manu Chao La Ventura. Need something else? Manu Chao La Ventura promise to rock the concert events of the city presenting a show that will be remembered for a long time!
Immigrant (Clandestino), activist and King of the Bongo, Manu is an artist with music for his country. He sings in English, French, Galician, Spanish and Arabic giving a very powerful show on stage . Rebel with a cause, he always condemned every form of power through his politicized lyrics.
From the great days of Mano Negra, Manu Chao because of his special nature as an artist, was at the center of the music industry, winning unprecedented success without being corrupted not for a single moment. On the contrary he continued to battle through his songs, ideas and general attitude against injustice and social inequalities.
From reggae to punk, and from rock in ethnic forms, music of Manu Chao is a melting pot of cultures and musical genres, with his distinctive voice gripping his fans. His songs were adored by the public immediately turning Manu Chao into a phenomenon for the modern music industry. Each of his appearances can be described like a live time experience!
Manu brought back Spanish music in the foreground and through his personal albums did not stop for a moment to experiment, giving his fans more of a reason to dance, sing and stop swallowing without chewing profusely what social reality offers. Street musician, a conscientious objector, “crazy” in a world of knowledge, hippy of a bygone era, Manu Chao is one of the most interesting musical entities of our days. This gifted artist along with his band will be on 23 June 2014 at the Port of Thessaloniki, rousing their friends from all over Greece!
Tickets Presale:
Stereodisc: Aristotelous 04, Τ: +30 2310 262912
Musicland: Mitropoleos 102, Τ: +30 2310 264880
Ticket House: Aristotelous 5
E-tickets: shop.ticketpro.gr/manu-chao
M.A.N.D.Y.
M.A.N.D.Y. @ Club le Freak | 05.04.14
Saturday 05 April, Club Le Freak in collaboration with Plus Thirty bookings / promotions / productions and Cosmic Expeditions presents a duo which has carved a unique niche in electronic music, M.A.N.D.Y.
Producers at Get Physical, one of the biggest labels in the world come after a long time in Thessaloniki. Along with them Valano, Toni Manga and Thanassi Psarras.
With the support of “NEXT FM 96.1”
M.A.N.D.Y.
There is an air of mystery shrouding the true meaning behind the acronym of M.A.N.D.Y., an alias which embodies the mutual talents of childhood friends Philipp Jung and Patrick Bodmer. The pair readily indulge this curiosity by toying with various clever possibilities, including Me AND You, but the truth is likely a giggle under each of their talented breaths. P and P have carved a unique niche in electronic music by consistently selecting productions that induce their audience into a somatic frenzy. On the platform of their aptly titled Get Physical label, M.A.N.D.Y. has achieved massive success in colluding to create music that simply makes bodies move. Their foot stamping, hair flying passion is the ultimate expression of a dance music phenomenon for many years.
When M.A.N.D.Y. and Booka Shade joined as musical soul mates with DJ T., first in Frankfurt, then in Berlin, Get Physical produced a caliber of electricity that rippled throughout the EDM community and into the relative mainstream. Philipp’s charm and savvy, Patrick’s allusive artistry, DJ T.’s killer entrepreneurial sense and Booka Shade’s collaborative genius combined to form a masterpiece of intelligent design that reflects romantic sensibility and technical virtuosity. Together, they push the boundaries of dance music to compile an enviable arsenal of electro kissing house while caressing disco and flirting with techno. Body Language was the ubiquitous hit of 2005 and M.A.N.D.Y.’s Fabric Series three years later cemented their reputation as two of the most captivating selectors on the planet. One of their most recent prestige was a complication for Renaissance in 2009 which was met with tremendous accolades and described by Resident Advisor as “maturity, smarts, and cohesion…that is rare these days.”
Philipp and Patrick know exactly which buttons to press to make that bass jiggle up your spine and seduce your body free. Alongside many lives compadres Booka Shade, M.A.N.D.Y. has taken some time from their hectic global tour schedule to devise new
elaborations, culminating in the release of Body Language Vol. 10 in April 2011. In addition to a single release that will be the first Booka Shade vs. M.A.N.D.Y. cooperation to be heard in years, the boys have closed on a revolutionary touring show that utilizes infrared technology and a new mapping technique to project inverted video effects onto their Physical form as they perform. It is no doubt that their plans for this never before seen live visual component will conjure the kind of visceral excitement that only this duo can. In the feat of the imagination, M.A.N.D.Y. powers on through a perpetual rebirth into pulsating beats and pretty lights.
https://www.facebook.com/
http://m-a-n-d-y.com/
Valano (Us & Them)
https://www.facebook.com/
Toni Manga (Active Soul Group Dj)
https://www.facebook.com/
Thanassi Psarras
http://facebook.com/
Cosmic Expeditions
www.facebook.com/
Plus Thirty
More info:
Facebook: facebook.com/
Youtube: youtube.com/
Cosmic Expeditions: facebook.com/
Plus Thirty: plusthirty.gr
Doors Open: 23:00
Guest list till: 02:00
Address: 26is Oktovriou 27, Sfageia, Thessaloniki, Greece
Reservations / Info: +30 6946 46 1714, 6941 56 2747 / info@clublefreak.gr
E-tickets: viva.gr/
Gogol Bordello
Gogol Bordello @ Principal Club Theater | 07.05.14
The most uplifting band in the world, the Gypsy Punk Rockers Gogol Bordello, true to their appointment with the Greek audience coming back for a concert in Thessaloniki.
Combining elements of punk, gypsy music, and Brechtian cabaret, Gogol Bordello tells the story of New York’s immigrant diaspora through debauchery, humor, and surreal costumes. Leader and singer Eugene Hütz’s taste in music was spun out of black-market tapes of the The Birthday Party and Einstürzende Neubauten in his native Ukraine.
After being evacuated to Western Ukraine in 1986 following the Chernobyl disaster, Hütz became enamored of the mystical, outsider qualities of gypsy music. Living as a refugee in Poland, Hungary, Austria, and Italy before moving to the United States in 1993, he experienced life as an outsider himself.
After arriving in New York, he teamed up with guitarist Vlad Solofar and squeezebox player Sasha Kazatchkoff. American Eliot Fergusen added a strong rock sound on the drums and the band was also augmented by Sergei Riabtsev on fiddle, a former theater director from Moscow whose past experience would prove helpful in the future in crafting Gogol Bordello’s bizarre stage shows (like one which tells the story of super-powered immigrant Ukrainian vampires).
The group’s early gigs involved playing straight gypsy music at Russian weddings, but their music soon evolved into the hyper-kinetic explosions that earned them a solid following amongst New York’s downtown hipsters. The band issued a single in 1999 entitled gogol bordello, quickly followed by their debut full-length, Voi-la Intruder, which was produced by Nick Cave & The Bad Seeds’ drummer Jim Sclavunos. Solofar and Kazatchkoff were replaced by accordionist Yuri Lemeshev, who hails from the Russian island of Sakhalin, and two Israelis, guitarist Oren Kaplan and saxophonist Ori Kaplan, who despite their similar names were not related.
Hütz helped bolster the band’s popularity by becoming somewhat of a celebrity in the downtown scene, in part fueled by his Thursday night DJ gigs at Bulgarian club/restaurant/bar Mehanata, where he played Ukrainian, Gypsy, raï and flamenco music for a crowd of artists, models, Ukrainians, Russians, Gypsies, and Bulgarians with tendencies toward exuberant dancing and smashing plates. In the spring of 2002, Gogol Bordello embarked on a European tour and performed as part of the Whitney Biennial, bringing their music to a whole new audience.
In 2007, the band released their fourth studio album, Super Taranta!.
The members of Gogol Bordello have also made appearances in film. In 2006, their song “Start Wearing Purple” was featured in the film Everything Is Illuminated (starring Elijah Wood and Eugene Hütz), bringing their music to an even broader audience throughout the US.
Gogol Bordello all appeared in Madonna’s first short film as director, Filth and Wisdom. Eugene Hütz is to play one of the lead roles. The band have contributed three original songs to the soundtrack.
Their music was also featured in the film Wristcutters: A Love Story and the character of Eugene was based on and partially written by Eugene Hütz.
More info:
Tickets Presale:
Ticket House | 102 Mitropoleos, +30 2310 264880
E-tickets: shop.ticketpro.gr/gogol-bordello
Clutch
Clutch @ Fix Factory of Sound | 25.06.14
HVenerateIndustries and FuzzProductions present Clutch, Wednesday, June 25 at FixFactoryofSound (Thessaloniki).
lutch is a rock band from Germantown, Maryland, United States. They have been playing together since the early 1990s. They released their first EP, Pitchfork, in October of 1991.
Each of Clutch’s albums is marked by its own distinct and cohesive sound and the band’s musical style may be said to have migrated from hardcore punk to hard rock and blues over the course of their career. Clutch’s lyrics, at first angry and serious in tone, had by the time of 1993’s Transnational Speedway League become characterized by intelligence, wordplay, and often humor (although comedy is not usually the focus). Their songs make frequent reference to history, mythology, popular culture, and religion. Bam Margera often uses Clutch songs in his MTV show “Viva La Bam.”
The members of Clutch often perform on albums with other bands as well as side projects. JP played drums on Five Horse Johnson’s album The Mystery Spot. Neil Fallon sang some backing vocals for Dozer’s Beyond Colossal album as well as a side project called The Company Band. The band also has a side band they perform in called The Bakerton Group. The music consists of all instrumental jams with a blues feel to it.
Clutch has often performed more than 100 shows per year since their formation. They are managed by Jack Flanagan out of NYC.
Members
- Dan Maines: bass guitar
- Tim Sult: guitar
- Jean-Paul Gaster: drums
More info:
E-tickets Presale:
Thievery Corporation
Thievery Corporation @ Babylonia, Mylos | 18.06.14
In 1996 Thievery Corporation released Sounds from the Thievery Hi-Fi; an album that defined an entire genre of music and crystallized their distinct “outernational sound” aesthetic. Over the next 14 years the duo would write and record four more critically acclaimed studio albums (The Mirror Conspiracy, The Richest Man in Babylon, The Cosmic Game, and Radio Retaliation), three remix albums (Abductions and Reconstructions, Babylon Rewound, and Versions), and various DJ mixes and film soundtracks (The Outernational Sound, and the recent Babylon Central Film Soundtrack).
Now Rob Garza and Eric Hilton have selected their favorite Thievery Corporation tracks and are set to present It Takes a Thief; their first retrospective album chronicling over a decade of revolutionary outernational sounds. With a rotating cast of instrumentalists and vocalists It Takes a Thief unfolds in a kaleidoscope of sonic color.The album showcases classic Thievery Corporation tracks like “Warning Shots” featuring incendiary reggae toaster Sleepy Wonder, “Vampires” featuring Afrobeat heir Femi Kuti, “Shadows of Ourselves” featuring multi-lingual Persian singer Lou Lou, and of course the hit track “Lebanese Blonde” featuring the late jazz chanteuse Pam Bricker. It Takes a Thief also features an exclusive, never before released track “The Passing Stars” featuring Pam Bricker.
From the beginning, it’s been remarkable to witness the growth of Thievery Corporation’s fan base as it’s steadily grown in such a DIY, organic fashion since the duo’s first LP. “We were so inspired by Washington, DC’s Dischord and the true do-it-yourself ethos of the DC punk scene that Rob and I both grew up on. A lot of great music reaches fans without the typical hype and fanfare enjoyed by bands on the majors. Music eventually finds its audience through a myriad of alternative routes. And when that connection is made, that bond is strong,” says Hilton.
Certainly that bond is so remarkably strong, that Thievery Corporation has been able to sell out the famed Hollywood Bowl, London’s Shepard’s Bush Empire, the Theatro Vrahon Melina Merkouri in Athens, Greece, and countless other legendary venues around the globe. Spreading their unique sound far and wide, Garza and Hilton were always great admirers and curators of dusty grooves and all but forgotten music styles. They borrow from the classically sensual and blunted sounds of their favorite Brazilian bossa nova, Jamaican dub reggae, vintage film soundtracks, Afrobeat, Latin and psychedelic rock to forge into new sonic territory.
“As we are in the midst of recording our sixth studio album this year, it just seemed like the time was right to release this collection. It’s been a great journey – musically and personally – and we just wanted to have that one definitive document. It Takes a Thief is it, ” explains Garza. “We feel like it’s a great look back for some; and, for others, an excellent introduction to our sound.”
More info:
facebook.com/thieverycorporation
E-tickets Presale:
Tricky
Tricky @ Fix Factory of Sound | 12.04.14
Where do you start with Tricky? How about one of the most important albums of the ’90s. No, not ‘Maxinquaye’―we’ll get to that later―but ‘Blue Lines’, Massive Attack’s 1991 debut. It’s easy to forget that a young Adrian Thaws appeared on three tracks as Tricky Kid. Listening to the reissue released last year it’s clear that he was an integral part of the record, not a bit player. In itself, it’s an impressive achievement, but it was just the overture, the sound of one of British music’s most prolific talents clearing his pipes.
In 1993, following the release of ‘Blue Lines’, Thaw cut a track called ‘Aftermath’ with a singer he’d discovered called Martina Topley-Bird (he’d actually met her before working on ‘Blue Lines’). However, when he played it to the Massive Attack crew, they said no thanks. Undeterred, Thaw pressed up some white labels, on the back of which he got a deal with Island Records. ‘Aftermath’ became the blueprint for Thaw’s 1994 debut album ‘Maxinquaye’, a zeitgeist-capturing collision of half-whispered raps, Topley-Bird’s golden vox and dusty hip hop beats paired with sharply chosen samples. It’s so perfectly formed it’s easy to forget it was recorded on the fly: Tricky made much of it up as he went along, and many of the vocals were first takes. Even so, the result was a crystal clear vision. To borrow the opening line from Jon Savage’s review of the 2009 reissue, “Time has not dimmed this extraordinary record.”
Tricky was born in the Knowle West area of Bristol in 1968 to a Jamaican father and Ghanaian-English mother, called Maxine Quaye, hence the title of his debut, made all the more poignant by the fact she committed suicide when he was just four. He was brought up by his grandmother. As a teenager, he became involved in the Wild Bunch sound system, which would eventually evolve into Massive Attack.
He was always going to be a star in his own right, however. ‘Maxinquaye’ turned him into one, but it didn’t always sit well with him. In 1996 he released ‘Nearly God’, a kind of unofficial second album that he described with some accuracy, as “a collection of brilliant, incomplete demos”. But it was ‘Pre-Millenium Tension’, released the same year, that was his next big statement, that statement being: “I’m not making another ‘Maxinquaye’. It was a dark and claustrophobic record, a sound befitting the title.
It was also the start of a process that saw him seemingly trying to alienate fans of ‘Maxinquaye’, with ever spikier and more difficult sounds. 1998’s ‘Angels With Dirty Faces’, named after the 1938 film of the same name about childhood miscreants―a hint perhaps―took things a step further with a sound as menacing as Tricky’s glowering portrait on the artwork. But if it wasn’t always an easy record to listen to, Tricky’s mercurial creativity was there for all to hear, even if it was smothered in layers of black.
‘Blowback’ followed in 2001, a star-studded record that included guest appearances by Cyndi Lauper and John Frusciante and Anthony Kiedis from Red Hot Chili Peppers. No new ground was broken, but the sound was more ambitious than before. By the time he released ‘Vulnerable’ in 2003 he was living in Los Angeles, hence the brighter, sunnier mood. It is perhaps the forgotten Tricky album, far better than its reception, either critical or commercial, deserved. But there was an undeniable sense that, although ‘Vulnerable’ was a thoroughly solid proposition, the formula had run its course. Tricky seemed to think so: he didn’t release a new album for five years.
His comeback began with 2008’s ‘Knowle West Boy’, which saw him making good on his own description of himself as a “brown punk”. Hip hop, reggae, punk, hard rock and pop collided on a hard-hitting album that was his finest release since ‘Pre Millennium Tension’. Next came ‘Mixed Race’ in 2010, which dialed down the in-your-face sonics, but retained the power and menace. In retrospect, Thaw is dismissive of these two releases, but while it’s true they aren’t the most consistent records in his catalogue, there are moments of brilliance. Look no further than his cover of Echo Minott’s dancehall classic ‘Murder Weapon’ from ‘Mixed Race’, for example.
Which brings us to the future? Tricky’s new album, ‘False Idols’, is the record he’s refused to make throughout his career, a spiritual follow-up to ‘Maxinquaye’ “My last two albums, I thought they were good, but I realise now they weren’t,” he says. “But this new album I’ll stand behind every track. I don’t care whether people like it. I’m doing what I want to do, which is what I did with my first record. That’s what made me who I was in the beginning. If people don’t like it, it don’t matter to me because I’m back where I was.” And as far as Tricky is concerned, ‘False Idols’ is every bit as good as his debut, perhaps even an improvement. “This new record is better than ‘Maxinequaye’,” he confirms. “There’s no doubt in my mind.”
There will be those who argue different, of course. When a record becomes a landmark, as ‘Maxinquaye’ did, it’s almost impossible in some people’s minds to top it. However, what’s beyond question is that Tricky is one of British music’s national treasures, a talent who deserves his full recognition alongside the greats.
And he’s back with a record to claim those rights.
More info:
Tickets Presale:
Lotus Record Store | 7 Skra, +30 2310 260776
Ticket House | 102 Mitropoleos, +30 2310 264880
Public | Tsimiski 24 , +30 2310 227288
E-tickets: viva.gr
Dub Trio
Dub Trio @ Block 33 | 04.04.14
Given that their new album opens with a guitar riff that could melt lead—a theme, incidentally, that extends throughout Another Sound Is Dying—you’d be forgiven for wondering what connects Brookyln’s Dub Trio to the nearly 40-year-old Jamaican style that makes up half their name. The answer, you’ll find, comes just minutes later, as the riffs, riddims and raw power at the core of Dub Trio’s sound get chopped apart, bounced across speaker channels and charged with subsonic frequencies. This is dub as mixing-board art form, not as literal genre exercise, and it’s absolutely fugging massive.
Recorded in a week at New Hampshire’s Studio Metronome, and reconfigured in an additional week at Studio G in Brooklyn, Another Sound Is Dying finds Dub Trio—drummer Joe Tomino, bassist Stu Brooks and guitarist D.P. Holmes—again working with producer/engineer/honorary fourth member Joel Hamilton on tunes that simultaneously embrace metal, hip-hop, punk and reggae while pushing all of the above into dazzlingly unfamiliar areas. From the dramatic, shoegaze-style post-metal of “Respite” and the straightforward roots-reggae nods in “Mortar Dub,” to the contrapuntal, lid-peeling violence of the closing track, “Funishment,” the album showcases Dub Trio’s chops and vocabulary (all three members are also seasoned session players) as much as it finds them swinging, grooving and pummeling with wrecking-ball force.
While again a mostly instrumental set, Another Sound Is Dying features a return vocal cameo (in the politically charged, thrash-influenced “No Flag”) from Ipecac co-owner/art-rock jack-of-all-trades Mike Patton. The musicians’ first collaboration, “Not Alone,” appeared on Dub Trio’s 2006 album, New Heavy, as well as the eponymous debut that same year from Patton’s Peeping Tom project; and when he took Peeping Tom on the road, Brooks, Tomino and Holmes became the only constant members in Patton’s backing band. “We just click with him,” Tomino says. “Since this was our first record on Ipecac, we figured it’d be fitting to collaborate again, so we sent him a few tracks to choose from—a few obvious ones and some not-so-obvious ones—and he picked one of the not-so-obvious ones, which made it that much cooler to hear when we got it back with vocals.”
The 13 additional tracks on Another Sound Is Dying prove that, ripping though the Patton collaboration is, Dub Trio have never needed a vocal mic to get their point across. Though a mere hint of what the group would become, their 2004 debut album for ROIR, Exploring the Dangers of, testified to Dub Trio’s jaw-dropping live skills: the album was literally recorded as a live-dub experiment. But with New Heavy, the trio of multi-instrumentalists (besides operating some serious effects rigs, the members double on keyboards and melodica) made good on their album’s title, creating a metallic K.O. grounded in serious low-end theory. That year’s Peeping Tom tour, in which they shared stages with the likes of Gnarls Barkley and The Who while opening for and being part of the headlining act, proved that Dub Trio’s sound crossed genre and audience barriers as much as it bridged them.
A live album for ROIR, Cool Out And Coexist, kicked off 2007; and between session work—the members have recorded with 50 Cent, Mos Def, Common, the Fugees, Tupac and Matisyahu among others—and tours with artists as far-flung (but somehow fitting) as Gogol Bordello, Clutch and Helmet, Dub Trio teamed with Ipecac to unleash Another Sound Is Dying. As much as the album continues the louder, heavier progression of New Heavy, it also finds Dub Trio melding their preferred styles into a sound that’s at once bigger and more cohesive than ever. “Our first two studio records were pretty much in-your-face in terms of production,” says Tomino. “With this one, there’s a lot more breathing room, a lot more space than before.” At the same time, adds Holmes, “It’s got these elements of metal, because that’s a sound we all love, but we never set out to make this a genre-specific record. The dub technique is the underlying foundation to it—it’s all been composed and produced and arranged with that sort of aesthetic.”
Reggae aficionados may also note that the new album’s title is a line from Tenor Saw’s 1985 cut “Ring the Alarm,” perhaps the most famous dancehall song ever recorded, and certainly the most widely heard boast ever from a sound system that was too dangerous to stay obscure for much longer. As Brooks puts it, that’s a sentiment that echoes through Dub Trio’s m.o., as well. “If you really think about the idea in that song, where you’re creating this thing that’s out there just destroying speakers, it’s actually pretty dark and aggressive. We loved that idea, because this is the darkest record we’ve ever done, and it’s also our way of opening people’s minds.” He laughs. “It’s kind of a cocky sentiment, maybe, but it means we’re killing it.”
More info:
Tickets Presale:
Stereodisc: Aristotelous 04, Τ: 2310 262912
Rover Bar: Salaminos 06, Τ: 2310 544304
Ticket House: Mitropoleos 102, Τ: 2310 264880
Moshic
Moshic @ Club le Freak | 22.03,14
Saturday, March 22, Club Le Freak presents for the first time in the city of Thessaloniki the Israeli artist with his dark progressive unique style, MOSHIC. Alongwith him, Tash in a special closing set and Simos Tagias, Billy Woo, Andy Basque.
Moshic
We could introduce MoShic in many ways, but none of them would be enough to describe this unique & diverse artist from Israel. He’s been touring the world for many years and has established an amazing name for himself as a great performer and an extraordinary studio artist. Northern Israel, Haifa (1977), Moshic Shlomi is born. A man, whose name thrills millions of progressive House fans today, He grew up in a family of musicians, but not everything in his life inclined cheerful singing. At the age of 18, he was enlisted to National Service, where as a medic, he had to deal with death every day. Soldiers brought from Lebanon were dying right in front of his eyes. Continuous suicide attacks and living on a time bomb made Moshic understand, what the most important thing in life is; to seize the day. When he finished paying his debts to the country, he decided to devote himself completely to electronic music. He fell in love with progressive, which wasn’t too popular at that time in Israel. He was handing out his mixes wherever he could, but the scene ignored his “too dark” style. Disillusioned, he moved to New York – the city where John Digweed and Sasha were spinning records in Twilo, and Moshic’s progressive darkness finally found a susceptible breeding ground. Moshic released his first singles under the Argonout guise. Got Supported by the best world dj’s and featured in the best Classic compilations such as:
Tiesto (in search of sunrise3), Armin van Buren, Global-Underground “after-hours”, Gatecrasher (discotech), -Bedrock-Jimmy Van M, Kasey Taylor (Balance), Nubreed 5 mixed by Lee Burridge, Danny Howells Nocturnal Frequencies 3 …And Many More
However the true fame and publicity came with the “Nightstalker” production. “Nightstalker” was included in Danny Howells’s “Nocturnal Frequencies 3” and Jimmie Van M’s “Bedrock: Compiled & Mixed” compilations. When “Dj Magazine” announced the tune as the “underground hit of the year”, nothing could stop Moshic’s carrier to expand. The Moshic mix for John Digweed’s broadcast on Kiss 100, was marked in history. Moshic is the owner of the dark progressive house label “Contrast” with classic releases such as “Nanok” , “me myself and life” and “Tokyo Taxi” ,this label expose the unique sound signature of Moshic and the home label of his Dark Tribal and Trancy housy style. Moshic establish Contrast records with the idea to expose fresh new prog artists from around the globe with the same flavor and style moshic kept in his own label till now with no compromising or giving up to the “trendy” sound like a lot of international artist changed in the last 2 years.
http://www.moshic.com/
https://www.facebook.com/
https://twitter.com/
http://www.beatport.com/
https://www.facebook.com/
http://www.beatport.com/
Doors Open: 23:00
Guest list till: 02:00
Address: 26is Oktovriou 27, Sfageia, Thessaloniki, Greece Reservations / Info: 30 6946 46 1714 / clublefreak@hotmail.com
MORE INFORMATION:
Tel: ( 30) 6946461714, ( 30) 6949418714
Reservations: ( 30) 6946461714 / clublefreak@hotmail.com
Facebook: www.facebook.com/clublefreakthessaloniki
Youtube: www.youtube.com/clublefreaktv
Cosmic Expeditions: www.facebook.com/CosmicExpeditions
John Digweed
John Digweed @ Club le Freak | 07.03.14
A good DJ playing records, a great DJ makes these records sound like an extension of the DJ playing. JOHN DIGWEED … Perhaps the most likable dj of all clubbers coming to Thessaloniki and Club Le Freak Friday, March 7 guest for the Anniversary Party 2 years of Cosmic Expeditions. Intro: XPRiens | Outro: Toni Manga … Diggers … Get Ready …
Originally hailing from England but having clearly arrived on the global scene nearly a decade ago, John has long since cemented his name in the pages of dance music history. His list of achievements is groundbreaking to say the least.
Highlights would be the first proper dj mix compilation (“Renaissance”, done with Sasha), being the first British dj to hold a residency at what was then the world’s most well known club in NYC (Twilo, also with Sasha) as well as having remixed tracks by Danny Tenaglia, Underworld and New Order.
John Digweed is a DJ’s DJ. The beauty of what he does lies in just how different he really is from his contemporaries. From his early beginnings in Hastings, England at the age of 15 in the blossoming scene of acid house to the apex of the international dj’ing world, he has created and maintained a level of integrity that is the benchmark for both dj’s and producers globally. In fact, he has reached the very top of his profession, being voted #1 in a voter’s poll by DJ magazine in 2001. John Digweed has become the people’s choice while maintaining his longstanding presence in underground dance culture. His popularity as both a dj and a person seems to have no limits, but his efforts transcend dj’ing alone, he is as much a producer and promoter. His moniker “Bedrock” is actually three things: a record label, a promotions company and a studio production partnership (with Nick Muir).
In fact, the name John Digweed is synonymous with quality, ingenuity and integrity. From the nights he has either created or been a part of (Bedrock, Northern Exposure, Renaissance) to his world renowned mix cd’s (Renaissance, Global Underground, Northern Exposure, Communicate and Bedrock) he has consistently produced characteristic products that stay in demand, himself included. Even with all of his global traveling he has still been able to hold down two monthly Bedrock residencies in both London (Heaven) and Brighton (The Beach).
As one half of Bedrock the production duo he has landed two tracks in the top 40 (“Heaven Scent” and “For What You Dream Of”) the latter of which made it into the hit movie “Trainspotting”. He has even tried a bit of acting himself (“Groove”). He and Nick Muir as Bedrock the production team also recently scored a Hollywood film (“Stark Raving Mad”).
As a person John’s lack of pretense is enveloped in imagination and invention. Good reason for John being one of the most respected, analyzed and imitated dj’s in the world. Digweed is both solid and durable with unyielding precision. His sinuous dj’ing and production sound has become its own convincing dance ethic. He is centered to the principles of life, living and friends in such a way that he generates an aura of self-explanatory excitement and enthusiasm. Without heroic pretensions his sets are filled with moodiness and musical mystery but held down with a punchy distinctiveness and earthly rhythm. Always emanating a sense of boundlessness he overlaps dream events that spill into reality with an enormous certainty.
https://www.facebook.com/djjohndigweed/
http://www.youtube.com/bedrocktransitions
https://soundcloud.com/bedrock_rec
Doors Open: 23:00
Guest list till: 02:00
Address: 26is Oktovriou 27, Sfageia, Thessaloniki, Greece Reservations / Info: 30 6946 46 1714 / clublefreak@hotmail.com
PRESALE TICKETS (limited tickets)
12 € Regular Ticket
25 € Includes: 1 bottle in 4 people – 1/2 bottle in 2 people / Phone Book for your better convenience / (+30) 6946461714)
MORE INFORMATION:
Tel: ( 30) 6946461714, ( 30) 6949418714
Reservations: ( 30) 6946461714 / clublefreak@hotmail.com
Facebook: www.facebook.com/clublefreakthessaloniki
Youtube: www.youtube.com/clublefreaktv
Cosmic Expeditions: www.facebook.com/CosmicExpeditions