Producteur de talent, label manager Dj fou qui derrière son masque de Jason en fait trembler plus d’un sur les dancefloors techno et house de France & de Navarres. Une grande culture musicale lui font élaborer des sets énergiques, d’ une richesse avant gardiste incontestable tout en restant au cœur de la fête spontané et précis pour l’explosion totale du dancefloor… 
Les associations Versus emotion & Les Lez'arts de l'espace proposent samedi 20 novembre à partir de 23 h 30 au Noumatrouff de Mulhouse ? la soirée « Plug & play », deuxième volet de l'anniversaire de Versus emotion, qui fête 10 ans d'activités dans le domaine des musiques électroniques. À l'affiche de cette nouvelle soirée, le Parisien Ark, membre de Circus company et Brif records, fer de lance de l'électro minimale française, acclamé pour ses productions énergiques et pleines d'humour. Il donnera un de ses DJ sets toujours riches en surprises et en rebondissements. Les Belfortains Speep et Fab (Selectronic), DJ-producteurs et managers du label, distilleront un set haut en couleur à l'éclectisme certain, mélange aigre doux de différentes influences. Plusieurs artistes se produisent en live, dont Innerstep (Strasbourg), compositeur et architecte sonore entre jazz groove, tek et house minimale, ainsi que Midlife crisis (Kiptik rec., Mulhouse), créateurs d'une techno groovy qui prend ses racines dans le blues, le jazz et la soul. Enfin Aerosoul (alias Gomor) est un DJ entre techno minimal, funky house et électro. À la tête du label Natural undergroove resource, il est aussi producteur de talent. Entrée 10 € en prévente et 13 € sur place. E-mail : vemotion free.fr.Ø
SAMEDI 1er AVRIL à 22h - Soirée
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LaLILLE EN CHANTIER
DANCEFLOOR EN CHANTIER
MIXES MINIMAL TEK, BLIP’N’CUT HOUSE & BOOTY
à La Verrerie le 1er avril
DJ Gomor (Nur rec. / k2 / youppala.com)
DJ Toy-O (Nur rec.)
L'association rue des Verriers a été créée afin de gérer un atelier loué
au 4, rue des Verriers à Mulhouse.
Les participants sont aussi bien musiciens que photographes ou illustrateurs.
A terme, tout ce petit monde aimerait présenter des expos, des performances
et des projections.
SITE EN CONSTRUCTION!
Retrouvez le crew dBfx + guests au Jet7 bar en plein centre de Mulhouse pour la seconde édition des soirées "Saturday Invaders" le Samedi 15 Octobre avec:
- Abkari (dBfx)
- Dj Gomor and Dr. Transistor (Natural Undergroove Resource)
- Jun'x (Brique Rouge-Citizen)
Au programme: House-Electro-Tek-Acid..............
Du gros gros son avec Jun'x nouvelle recrue du label Citizen, le label de Vitalic, qui viendra mettre le feu rien que pour vous au Jet7 bar et du fun avec Gomor et Dr. Transistor qui vous feront transpirer avec leurs expérimentations sonores... up!!!
et tout ça gratos s'il vous plait! www.dbfx.fr
Check the flyer>>>
POWER PACK (Catégorie : Clubbing)
Date : Samedi 21 Septembre 2002
TECHNO floor : Laura Pamer, Marco Bianci, Kabal, Pom Poui, Acsess, Terence Fixmer (Gigolo rec. Bruxelles),
Durm, D-late, Simba & dj Gomor
Prix : 10 €
Adresse : PALAIS BEAU-BOURG
68730 BLOTZHEIM
APHEX TWIN ATTENTION DANGERZONE : http://www.ginto.info/
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| Richard D James is the alpha male of electronica, a sinewave surfer and synthesiser symbiant, as likely to set up his FX under the polythene peaks of a well appointed Wendy house as choreograph the flexing of a bunch of fully pumped female bodybuilders whose muscle profiles suggested they’d changed their order from cheesecake to beefcake. Of his multiple alias and alter egos - AFX, Polygon Window, Caustic Window, The Dice Man - none are active, even Aphex Twin, the primary conduit for his creativity is at rest or play, compensating for the years of accelerated development. Maybe he’s just enjoying the fruits of his labour. The six figure sum he received for supplying the cranked-up soundtrack to tyre manufacturers Pirelli’s world spanning athlete ad proved that all the extra income from company’s risqué calendars, de riguer fixtures on the workshop walls of grease monkey mechanics the world over, wasn’t going to waste. Like any modern mercenary, Aphex sunk his lucre into a tank and a bank, both decommissioned husks, one several tonnes of army surplus hardware sitting in his parent’s front garden, the other a disused financial institution converted into living quarters. Growing up in Cornwall, subject to a perverse combination of spectacular scenery and bone-crunching boredom, Richard cultivated life-long friendships with the Rephlex crew, the label he co-founded with Grant Wilson Clarriage to explore “new innovations in the dynamics of acid” but whose remit grew to encompass the nouveau E-Z listening of the Gentle People, the hard-edged electro of Detroit legends Drexciya and Dynamix II and the nascent productions of close friends and audio allies Squarepusher, Muziq and Luke Vibert. An affinity with electronics took him out of the South West for full time studies at Kingston Poly, where he sussed out how to make machines sing and aced the competition by dropping out of the course when techno’s calling became irresistible. Skipping lectures, he synthesised Digeridoo and Analogue Bubblebath, the one that had grown men brawling like adolescents unbalanced by the sudden uprush of testosterone in their bloodstreams as they tried to secure the last white label copies in stock. His first full-length release for Belgium’s R&S label, Selected Ambient Works 85-92 emitted meditative serenity, a balm that dampened neural noise and eased synaptic traffic in the gridlocked heads who played it. Even if titles like Green Calx, Delphium, Actium sounded like noxious compounds conjured by industrial chemists, SAW85-92 avoided clinical spick and span sterility. Richard’s profile was hotting up but his creations were getting cooler, past the point of chill out and down the Celsius scale toward shivery unease. Now signed to Warp, Selected Ambient Works Volume II was like a X-ray of its predecessor, pitched between the discreet music devised by ambient OG Brian Eno on his mid-70s bed of pain and the paralysing drones of electroacoustic endeavour. It’s icy beauty ensured Aphex’s inclusion in the Isolationism strand of serial anthologist Kevin Martin’s vital Virgin compilation series while the discs’ dislocated moodstates would later underscore the queasy routines of dark comedy magus Chris Morris’ Blue Jam. SAWVII conformed to a colour scheme whose spectrum ran from rust to ochre to copper to terra-cotta, assigning each track a different pigment of brown instead of a name. The chromatic coding befitted the music’s darkening hues, but it wasn’t an arbitrary act to escape easy classification. Richard revealed he was one of the tiny percentage of the population blessed/cursed with Synesthesia, the sensory disorder that short circuits sufferer’s receptors into picking up mixed messages from the 5 senses. Morsels in the mouth assume a precise geometric shape and musical notes can spark colourfloods in a field of vision, the kind of hallucinations most of us have to jack a tab to access. So days were filled with tasty colours and tactile sounds and nights were spent dreaming lucidly, calling the shots in mental movies where, as he confessed to David Toop in The Face, he regularly defied death in an escalating series of scenarios, savouring every detail of the mise en scene. “I often throw myself off skyscrapers or cliffs and zoom off right at the last minute. That’s quite good fun. It’s well realistic.” Because his creative urges wouldn’t conform to the tyranny of the body clock, he indulged in marathon sleep depravation sessions to maintain an edge. When his brutalised constitution went west, he applied his somnolent skills to the task, proving that he really could make music in his sleep. By third album I Care Because You Do Rich was back making beats, rhythms percolated into a cascading cavalcades or wheezing like a chronic asthmatic scaling a five story stairwell before realising he’s left his inhaler on the front porch. But I Care…’s real breakthrough saw Rich becoming witness to an enraptured marriage between the divided disciplines of modern classical and electronica. The avant garde old guard got hip real quick, ears pricked by the young pretender’s assimilation of their innovations. Aphex performed studio surgery on Gavin Bryers elegiac Sinking Of The Titanic while Philip Glass accepted his first ‘pop’ commission since S’Express, sympathetically rescoring Aphex’s Icct Hedral chiller. By the bite-sized Richard D James Album, Aphex’s abstract beats became an exact science, anglepoised to ricochet with terminal velocity, from To Cure A Weakling Child’s fitful whip-pan rhythms and Yellow Calx’s corrugated breaks. The philharmonic splatterbreak of Girl/Boy proved Rich hadn’t forsaken his avant classical muse, but the raging pH values of trax like Cornish Acid and Peek 824545201 indicated Rich’s lysergic flashback was in full effect. To Cure A Weakling Child’s cherubic, cut-up choristers and radiophonic fanfares linger on in daffy dynamics of the closing Logon Rock Witch, rolling out on a rhythm section designed by Heath Robinson, all cog sinister rotary motions, cuckoo clock chimes and broken bedspread springs. However advanced Richard’s rhythmic science became, it was the devastatingly beautiful melodies underpinning his tracks that forged genuine emotional connections with people, turning initial fascination into hardcore devotion. One fan, a Japanese poetess was so profoundly touched by Richard’s music that after her death she was buried along with her Aphex collection. Yet it’s Richard’s visual identity that’s arguably cemented mainstream attention. A string of unforgettable videos proved Aphex is the lone twin who seeks community in crowd of clones. At first it was a tag team of giant teddy bears raised on a diet of jujitsu and Donkey Rhubarb who wandered off into the sunset before the Tellytubbies could gorge themselves on their first bowl of tubby custard. Then in Chris Cunningham’s wicked promo for Come To Daddy, Aphex latex transforms Gingham girlies and Parka-sporting pre-teens into monstrous, shape-throwing ankle-bitters tearing around decaying estates and necrotic towerblocks, a newsprint nightmare made flesh. Subliminal social commentary cedes into a sardonic riff on celebrity when the immaculately conceived TV travesty of Jesus arrives on the scene - a demon seed birthed from a cathode womb, part Nosferatu, part alien abductor archetype and part emaciated concentration camp survivor – to bust a biddy’s eardrums and claim his bastard offspring. By 99’s Windowlicker vid he’s still the daddy but this time his dominion is over loot and booty, a hirsute narcissist cruising LA streets in a mile long limo for ho’s to freek into same face hootchies. Richard’s involvement with the visual arts has seen his first tangible manifestation of this century, providing soundtrack to old ally Chris Cunningham’s first short film flex, a hardcore video instillation filmed not under the unremitting glare of studio-tanning arclights but in the murky depths of an underwater pool for The Royal Academy’s Apocalypse: beauty and horror in contemporary art in London, exhibited alongside work by avant provocateurs Jeff Koons and Jake and Dinos Chapman whose perverse power to confound and confront, alarm and delight provides Richard D James with the most fitting company he’s ever kept.  |
AÏ dj
Dj Aï alias Jean Nipon. Live à l’École supérieure d’art d’Aix-en-Provence. Arborescence 04
Passionné de culture japonaise connu aussi sous le pseudo de Jean Nipon, Aï est un alien de la planète électro catapulté bien au-delà de l’atmosphère de cette dernière. Armé d’une paire de MK2 et d’un micro sous effets, ce DJ bavard livre des mixes sauvages et survitaminés entre électropop, techno, punk, hip-hop et hardcore.
C’est à lui que reviendra l’honneur de poser les dernières plaques de cette nouvelle édition du festival Arborescence. Qu’on se le dise, quand il est platines, ça fait « Aï » et les accros du dancefloor en versent des larmes de plaisir.
Mr Oizo
Il sort son premier single #1 en 1997 vend, deux ans plus tard, plus de deux millions d'exemplaires de Flat Beat avec la complicité de la marionnette Flat Eric conçue pour l'occasion. Son premier album Analog Worms Attack sort la même année. Quentin Dupieux n'abandonne par pour autant ses activités de réalisateur. Il dirige le clip d'Alex Gopher Party People.
Le second opus de Mr Oizo sort en septembre 2005 et s'intitule Moustache (Half A Scissor). Cette deuxième production a été entièrement composée par le deejay en personne.
Wishmountain (1992-1997)1. Petite histoire
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| A la suite de sa rencontre avec Tom Middleton et Mark Pritchard (connus églament sous le nom de Global communication) le rythme des morceaux devient plus régulier, dansant, et ses nouvelles productions house sont enfin distribuées. Radio est ainsi le premier EP signé par Wishmountain qui sort en 1996 sur le très réputé label : Evolution / Universal Language, s’en suivront quelques autres chez Antiphon (se reporter à la discographie pour plus de détails). En 1997 Matthew Herbert pense avoir épuisé les règles de composition qu’il avait développées avec Wishmountain (se reporter aux caractéristiques) et après avoir acquis une solide technique de sample, met un terme à son existence avec la complicité de Radio Boy.
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Radio (1996)
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2. The Wishmountain show
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3. Les caractéristiques de Wishmountain :- Les morceaux signés par Wishmountain sont tous composés à partir d’uniquement 8 sons ayant pour origine une seule et même source.
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Wishmountain is dead long live Radio Boy (1997)
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ARK is the artist who first brought the minimal style to many French. As soon as 1997 he issues on the Brif label "Siderurgie esthtique" and "De derrire les fagots", two EPs which were not much of a great success... It's logical; Ark is a precursor, always light years ahead of his time.
But he doesn't loose faith in his craft for that, and collaborates in 1999 with Herbert (UK) and Losoul (GER) on "Belle lurette". Everyone got skeptic listening to this new music and yet, as today Losoul or Herbert have became stars of the genre, they discover the sound of Ark!
Ark doesn't begin his career at that moment. He first plays guitar in an 80's funk band and then starts with the heavily talented P Bradock the band Trankilou . Remember, "Saint Glin-Glin" and especially "Escalope de dingue" which became an interplanetary hit. After that, he inexplicably misses the jackpot with "Le magicien d'os", its funky as hell & hypnotic chant ("I like the way your booty shake, ah, ah") and its monstrous remixes.
Ark has now joined forces with French fellow artist Cabanne as Copacabannark (on Perlon); he also issued an album as Shalark (Ark with Shalom) in 2001 and even manages to find the time to pursue his solo career, with the release of an EP on the prestigious Playhouse label (GER), as well as a LP/CD compilation entitled " Alleluyark" on the French label Circus Company. Two new tracks will also be available soon on the Katapult "Various Artists" upcoming compilation, as well as a few exclusives on the next T.I.M.E.C. releases, the Parisian label with a twist which gracefully helped him with the site web you're now visiting...
His live sets always include stupendous and now famous surprises. The public of the Pulp in Paris won't forget anytime soon his incredible energy-fuelled mixes from reggae to hardcore with Mr. Oizo , Feadz or Herbert. He's also been heard at the Rex, the Batofar, the Scene, the New Casino in Paris or the Panorama Bar from Berlin. When he plays, his hair gets moving all around, his body is a prisoner of the beat, and he becomes the most beautiful man in the world... and the most unforeseeable.
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Cela ne le décourage pas pour autant, il collabore en 1999 avec Herbert et Losoul sur "Belle lurette". Tout le monde est sceptique sur ce nouveau genre et pourtant, aujourd'hui beaucoup ne jurent que par Losoul ou Herbert, et découvrent le son de Ark!
Mais Ark ne commence pas sa carrière à ce moment-là. Il joue d'abord de la guitare dans un groupe de funk 80's puis crée avec le non moins talentueux Pépé Bradock le duo Trankilou. Rappelez vous, "Saint Glin-Glin" et surtout "Escalope de dingue" qui est devenu un tube interplanétaire. Par la suite, il manque de décrocher le jackpot avec "Le magicien d'os", son refrain hypnotique & funky ("I like the way your booty shake, ah, ah") et ses remixes monstrueux.
Aujourd'hui il forme avec Cabanne le groupe Copacabannark (sur Perlon). Il a sorti un album de Shalark (en collaboration avec Shalom) en 2001 mais continue sa carrière solo et sort prochainement un maxi sur le prestigieux label outre-Rhin Playhouse ainsi qu'un lp/compilation intitulé "Alleluyark" sur le label Circus Company. Deux morceaux seront aussi à découvrir sur une compilation à venir chez Katapult, ainsi que quelques exclus sur les prochaines compilations T.I.M.E.C., jeune label parisien en charge de son site web.
Ses sets réservent toujours de fameuses surprises. Le public du Pulp n'est pas prêt d'oublier ses incroyables mixes allant du reggae au hardcore en compagnie de Mr Oizo, Feadz ou Herbert. On l'a aussi entendu au Rex, au Batofar, à la Scène, au Nouveau Casino ou au Panorama Bar de Berlin. Quand il joue, ses cheveux s'agitent, son corps est prisonnier du beat, il devient alors l'homme le plus beau du monde... et le plus imprévisible.
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| "Style is looking at fashion and ignoring it" -BEANS Beans’ musical adventure spans back to his early days in suburban White Plains, New York. For him exposure to hip-hop back then, as for so many others, took the form of underground radio shows and mix tapes. A love affair was born. Later involvement in the Brooklyn Boom poetic collective spawned ‘Anti-Pop Consortium’ where Beans joined forces with fellow emcees M Sayyid and High Priest. Long-term silent partner and production wizard Earl Blaze augmented and further strengthened the emcee trio. Anti-Pop Consortium’s mission statement was to “disturb the equilibrium” in what they saw as an increasingly stagnant and creatively barren scene. The group’s lifespan ran from 1997 to 2002 - those five glorious years gave the world; ‘Tragic Epilogue’, ‘Ends Against The Middle’, and ‘Arrythmia’, along with several intense and powerful live shows. Their sound fused hip-hop with electro which when coupled with the three emcees’ spectacular wordplay gymnastics, won loyal fans across the globe. This unique musical vision helped pave the way for a whole movement of ‘alternative’ hip-hop that was quickly rising out of the boroughs of New York at the time. However, in 2002 A.P.C. imploded leaving Beans as a solo adventurer and free to become the director of his very own in flight space ship movie. Still signed to Anti-Pop Consortium’s latter day home, the highly respected Warp Records, Beans presented his debut record ‘Tomorrow Right Now’ which marked his arrival as a solo artist in his own right. Soon after followed the ‘Now, Soon, Someday’ EP on which Beans teamed up with El-P and Prefuse 73 for some sonic alchemy. Live dates now saw Beans take to stage accompanied only by a mic and, for most of the show, a backing track. The minimal set-up further emphasised Beans’ vocal talents and ability to ride a rhythm either over one of his own beats or a cappella. Beans has shown he’s here to stay and in it to win it. Showing no signs of standing still Beans now moves fearlessly on into 2004 with fresh material and more live dates planned… To date, Beans has toured and shared stages with - Radiohead, Prefuse 73, Tortoise, El-P, Mike Ladd, DJ Krush, The Rapture, DJ Shadow, Aesop Rock, Cannibal Ox, Attica Blues, Terranova, Jean Gray, Aceyalone, Missy Elliott – and had the pleasure of musical collaborations with - Bill Laswell, Pharoahe Monch, Prefuse 73, Vernon Reid, Funkstorung, Mike Ladd, Arto Lindsay, New Flesh For Old, Techno Animal, Matthew Shipp, DJ Spooky, Terranova, Aceyalone, DJ Shadow.  |