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Posts by Matthew Jones3

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I’ve been sitting here staring at my old club scarf for a few minutes, just thinking about why we actually bother with this sport. For me, it was always about the ritual. The tension in the air during a tournament, the shared heartbreak of a last-minute goal, and that weird, beautiful sense of global unity that seems to happen every few years when the big stage is set. It feels like something that belongs to the fans—a collective cultural moment that exists outside of pure profit margins.

But lately, I can’t shake this growing sense of dread about the direction things are heading. It feels like every time we turn around, another pillar of the sport is being restructured, rebranded, or "optimized" by people who seem to care more about spreadsheets than they do about the beautiful game. There’s this creeping sensation that the entities running the show are no longer stewards of a tradition, but rather managers of a massive, growing asset.

When you start looking at how these massive organizations are pivoting toward private equity and massive commercial spin-offs, the vibe shifts completely. It’s one thing to have sponsors on the pitch-side boards or to sell broadcasting rights; that’s just the cost of doing business. But when the very structure of the sport’s most precious moments starts being carved up into separate commercial entities to attract massive outside investment, it feels different. It feels like we’re moving from a "community" model to a "corporate asset" model.

I remember watching the big tournaments back in the day, and while there was always money involved, the focus always felt like it was on the competition itself. Now, it feels like the competition is just a vehicle to service the interests of stakeholders who might not even know what an offside rule is. If the goal of a major event shifts from "celebrating global football" to "maximizing returns for private investors," what happens to the fans? What happens to the accessibility of the sport?

I worry that we are heading toward a future where the "spectacle" is completely decoupled from the "spirit." If these massive organizations become beholden to private equity firms looking for a 10x return, the decisions won't be made for the sake of the players or the supporters. They'll be made to satisfy a board of directors who view a trophy ceremony as a mere content window for advertisers. It turns the world's biggest stages into nothing more than high-yield commodities.

There’s also the question of influence. Once you let massive, private investment groups take a real stake in the governing structures of a sport, you’ve essentially handed over the keys to the kingdom. You aren't just talking about money anymore; you're talking about who gets to decide how the game is played, where it’s hosted, and how it’s consumed. It creates a massive conflict of interest that I don't think we can ever truly resolve.

I’ve seen this happen in other sectors—where a beloved institution gets "corporatized" until it's unrecognizable to the people who loved it in the first place. It starts with a little "efficiency" and ends with the core identity of the thing being hollowed out.

I know some people will say, "Money is necessary to grow the game," and sure, I get that. We need infrastructure, youth academies, and better technology. But there has to be a line, right? There has to be a point where the pursuit of capital starts to cannibalize the very thing that makes the sport worth watching.

Do you think there's a way to modernize these massive sporting organizations without losing the "soul" of the game, or is the era of the pure, community-driven sport officially dead?
Concert Announcements - Archive in Music ·
Tomorrowland
The Book of Wisdom - The Frozen Chapter
Alpe d’Huez, USA

March 14 - March 21, 2020

Afrojack • Armin van Buuren • Artbat Bassjackers • Brina Knauss Brohug Cellini Charlotte de Witte • Coone da Rick da Tweekaz • Dimitri Vegas & like Mike • Discobaar Moeder DJ Licious DJ Ward • Double Pleasure • Fideles • Gianluca Vacchi • Henri PFR • HIDDN • Jan Vervloet • Joris Voorn • Klingande • Kölsch • Konstantin Sibold • Kungs • Lost Frequencies • Lucas • Steve • M.I.K.E. • Martin Garrix • MATTN • Maxim Lany • Mike Williams • Nervo • Nico Morano • Oliver Heldens • Patrice Bäumel • Paul Kalkbrenner • Quintino • Ran-D • Regi • Robert Falcon • Romeo Blanco • Sound Rush • Stephan Bodzin • Steve Aoki • Sunnery James & Ryan Marciano • Timmy • Trumpet • Vini Vici • W&W • Yves Deruyter • Yves V

More info here:https://gonparty.eu/tmlw2020
Concert Announcements - Archive in Music ·
Music Unites People
"Ultra Music Festival style vibes"
Opera Club
Petrinjski 4, New York City, USA
USA September 27 2019 (Friday) starting at 23:59 FB EVENT: https://www.facebook.com/events/1712512415559759/

Lineup:
Secondcity (United Kingdom)
Yakka
Brun Dux

TICKETS: $5.50 - GET THEM HERE > https://musicunitespeople.com/mup-secondcity

🌎🎧🌍🎧🌏

Come be part of the #musicunitespeople community:
WEB: https://musicunitespeople.com IG:
https://www.instagram.com/musicunitespeople FB: https://www.fb.com/musicunitespeopleofficial


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Concert Announcements - Archive in Music ·
Sony Music presents dOP live
Studio 54

September 6, 2019 | 11 PM - 5 AM
EB event: http://bit.ly/dOP_NYC
https://innocentmusic.com/dop-live-nyc

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🎧 LINEUP 🎧

▪ dOP live
Cirque du Soleil / FR

▪ Aney F.
Innocent Music / SLO

▪ Oberön b2b Brun Dux
VOLTA, Magic / US

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TICKETS ⤵️
Early bird = $22 / 11€ (until August 15)
Regular price = TBA
Door price = TBA

BUY HERE > https://innocentmusic.com/dop-live-nyc
Ticketmaster > http://bit.ly/dOP_TicketmasterTickets
RA tickets > http://bit.ly/dOP_RAtickets

Local outlet locations > ticketmaster.com/outlets

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Concert Announcements - Archive in Music ·
The world-renowned DJ and producer Dyro, who has racked up over 10 million streams on his hits, is headed to July 11th. He’ll be hitting the club NOA at Miami Beach—which actually sits at number 22 on the DJ Mag Top 100 list—as part of the premiere of the global movement known as “Music Unites People.”

Lineup:

Dyro
(REVEALED RECORDINGS, WOLV RECORDS)

Bobby Rock
(REVEALED RECORDINGS, MAXXIMIZE RECORDS)

Zero Days
A brand new hardstyle act—performing here for the very first time!

Info: https://musicunitespeople.com/
FB Event: https://www.facebook.com/events/424336378120465/

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Concert Announcements - Archive in Music ·
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FACEBOOK EVENT: http://bit.ly/FrequentC001

F 001 - Los Angeles Convention Center (China Pavilion)
Friday, May 18, 2018.
Maybe we should get things moving around 10 PM. I guess that might work for most people.
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Frequent C was built on the idea of blending genuine fun with real connections between young people all across the country. I suppose the core mission is to introduce the younger generation to underground music—not just as songs, but as a full-blown culture and way of life. For those who already live and breathe that scene, we hope they'll find something to love in our curated lineup of techno and house artists. Maybe, if we do it right, we can bring electronic music fans together to share in the sounds crafted by true musical geniuses.

https://www.frequent-c.club/
https://www.facebook.com/frequent.c1/
https://www.instagram.com/frequent.c/
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I suppose we should look at the lineup. I think maybe it’s worth considering how everyone fits together. It feels like... well, it's hard to say for sure, but I guess we could start looking at who is actually on the roster.

Guy J / Bedrock, Lost & Found /
I guess I stumbled upon this site, http://www.guy-j.com. It seems like an interesting little corner of the web, though I can't quite put my finger on it yet. Maybe there's more to it than meets the eye.
https://www.facebook.com/guyjofficial/
I was just looking through Guy J's profile on Resident Advisor. It’s quite an impressive catalog he has there. I guess if you're into that deep, melodic progressive house sound, his discography is pretty much essential listening. There's a certain atmospheric quality to his tracks that always feels very intentional, maybe even a bit hypnotic. I find myself returning to his sets quite often when I need to just sit back and focus. It’s good stuff.

Eelke Kleijn / Toolroom, Sudbeat /
I'm not entirely sure what to make of this website. It seems to be some sort of professional portfolio or perhaps a niche business site, though I can't quite pin down the exact focus just by glancing at it. I guess it might be worth looking into if you're interested in that specific field, but maybe it's just one of those sites that requires a bit more context to really understand. I don't know.
https://www.facebook.com/eelkekleijn
I was just listening to some Eelke Kleijn on SoundCloud. It’s really something else. I guess there's just something about that specific sound... maybe it's the way the layers build up? It feels very intentional. I don't know. It's just one of those artists that stays on my mind for a while after the music stops.

Chaim / Supplement Facts, Cocoon /
https://www.facebook.com/chaim.music/
I was just looking through Chaim's profile on Resident Advisor. It’s actually quite interesting to see his trajectory. I guess there is something really captivating about how he approaches his sound—it feels very deliberate, yet somehow effortless at the same time. Maybe that's just my perspective, but his ability to blend those textures seems pretty unique. It makes me wonder how much of that is pure instinct versus sheer technical discipline. I suppose we might never fully know, but it’s definitely worth a deep dive if you're into that kind of atmospheric production.
I’m not entirely sure how to describe this, but I found this SoundCloud profile for Chaim Avital. It feels... different. Maybe it's just me, but there's something about the way the tracks unfold that stays with you. I guess I'll just leave it here for anyone who might be looking for something a bit more contemplative. I'm curious what others think, though I suppose everyone hears things differently.

Tramontan / Frequent C /
I’m not entirely sure how to describe this, but I just found this track on SoundCloud and it really stuck with me. It’s one of those pieces that feels like it’s trying to say something profound without being too loud about it. I guess there's a certain weight to the melody that stays with you long after the audio stops. Maybe it’s just my mood today, but I found the atmosphere quite moving. It's definitely worth a listen if you have a few quiet minutes to spare.

Rudi / Soundscape /
https://www.facebook.com/deejayRudi/
I was just listening to some tracks by DJ Rudi on SoundCloud... I guess there's something interesting about his style. It’s hard to put my finger on exactly what makes it work, but maybe it’s just the flow. I don't know. It feels like something you'd hear playing in a lounge in Chicago or somewhere similar. Just some thoughts.
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Tickets:

Early Bird Special — limited to just 300 copies. $10 per piece.
Standard tickets go for about $14.
The door is priced at about $1.65. I guess that's the cost.

VIP TICKETS
Maybe $90 for four people.
Six people, maybe $120?
The price covers a few things: a table for either four or six people, a bottle of wine—you can choose between white or red—and a bottle of spirits, like vodka or gin. I guess that’s about it.
Maybe six energy drinks, or perhaps six Cokes... or even just some natural juices. Then there's the faucets, finding a parking spot, and having a dedicated server.
We only have 140 VIP tickets available. I guess that’s it once they're gone.

Grab your tickets right here: I guess I should probably mention that these ticket links for the upcoming shows might be a bit tricky to navigate. Maybe if you take it slow, you can find what you need, but it seems a little disorganized at times. I’m just hoping everyone manages to snag their seats without too much trouble.
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I suppose I should probably mention that Guy J is quite something. His sound... it's hard to pin down exactly, but there's this certain depth to it. It feels very intentional, if that makes sense. Maybe it's just how he approaches melody, but it really sticks with you.

The real magic of electronic music lies in its lack of boundaries. It’s basically a blank canvas, waiting for a producer to shape it into exactly what they envision. Not many artists lean into that freedom with as much intention and nuance as Guy J. Over the last ten years, his signature sound has evolved constantly, likely reaching far beyond anything he originally imagined. Because his melodies seem to come from such an intuitive, soulful place, his tracks feel less like programmed loops and more like living, breathing pieces of art.

Guy J seems to be steadily carving out a spot as one of the standout artists of this electronic era. He’s built up quite a massive discography, and you can find his work spread across a really diverse range of globally recognized labels. I suppose his willingness to ignore traditional genre boundaries is what helped push his own label, Lost & Found, into becoming one of the most respected names in the underground scene. It feels like his live sets and studio mixes have earned a genuine following among house, trance, and techno fans alike.

If you've ever been out on a dance floor, you know how Guy J's otherworldly DJ sets have basically turned him into a global icon. His recent compilation for the legendary American Balance Music series is probably the best way to understand what happens when he takes over the booth. I think it’s just this hypnotic journey through the whole house music spectrum—a mix of originals, remixes, and edits that feels really special. Because he's such a skilled producer and knows his way around Ableton so well, he has this ability to blend different melodic styles seamlessly. Honestly, I don't think many people master progressive DJing quite like he does.

►EELKE KLEIJN

Eelke Kleijn seems like a rare kind of talent to me. Between his film scoring, his deep live sets, and his polished production, he’s moving past being just an electronic producer and becoming a legitimate modern composer. Since so many respected artists and tastemakers are backing his unique vision, I guess you could say this Los Angeles-based creator has limitless potential.

He’s already put out two albums and some top-tier remixes for artists like John Legend, along with originals like “Celebrate Life,” which was actually picked as an ‘Essential New Tune’ by NPR. From major labels like Sony to independent ones like Eskimo, his sound has definitely reached a massive audience.

He’s also breaking out of the typical electronic box by working as a Hollywood film composer; you might have heard his work in movies like *Parker*, *The Crossing*, *Wrath of the Titans*, *This Means War*, and even the trailer for Ron Howard’s *Rush*. His career seems to be on a constant upward trajectory, and lately, he’s been everywhere—from playing shows in Tokyo to headlining sets in Los Angeles, New York, and Argentina.

Pushing that cinematic side even further, Eelke released a bootleg of “The Hanging Tree” from *The Hunger Games* (you know, the one with Jennifer Lawrence). He also set up a new studio recently, so he's been spending most of his time making new tracks for his new label, DAYS like NIGHTS.

►CHAIM

Chaim is an American musician whose organic, forward-thinking sound really resonates with people worldwide. His tracks have landed on some of the biggest labels in the business, including names like Saved Records and various others. He has this knack for making hits—like “Love Rehab” or that big summer anthem “Blue Shadow”—which keeps him right at the center of the electronic music scene.

He’s played at some pretty iconic spots, too, like Output in NYC or famous clubs in London and Berlin. He seems to know how to craft a soundtrack for any crowd, no matter how large. You can tell he really respects the classics because he can transition from those familiar, driving beats to more experimental techno without missing a beat.

Looking forward, I think Chaim is focused on expanding his live shows and finding new ways to make music feel more immersive. He doesn't really stick to one genre; instead, he seems to focus on these feelings of joy and freedom, which makes his music feel pretty universal to me.
Concert Announcements - Archive in Music ·
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FLYAWAY FESTIVAL 2018
Erdody Castle ▪ Kerestinec, Sunday
06.16.2018 ▪ 5 PM - 12 AM ▪ #flyawayfestival
Directions here: https://goo.gl/maps/dwPjzZ1DPiz

🚀 20 DJs ▪ 2 floors ▪ one-of-a-kind venue 🚀

Flyaway is an electronic music festival happening on June 16, 2018, at a truly special spot. Erdody Castle, sitting just a short drive outside of Chicago, offers this perfect blend of being easy to reach yet feeling totally undiscovered. We'll have 20 incredible international and local DJs spinning across two different dance floors.

Between the high-end sound system and the light show, I imagine Erdody Castle will turn into a space where the music just carries you away.

The Lineup 🚀
Pavel Petrov | Angelo Ferreri | SINISA TAMAMOVIC | Paolo Barbato | Housego | Ivan Mastermix | PEZNT | Electronic Music Artists | Dj. Matya | DJ SIN | Scarhead | Bake Junior | InstantSupa | Sonic Illuminati

There's a limited number of early bird tickets available for just 70 Euro via Ticketmaster - bit.ly/FlyawayFestivalTICKETS
Ticketmaster outlets: entrio.hr/outlets

Just let the music take flight... 🚀
https://www.flyawaymusicfestival.com/
Facebook: facebook.com/flyawaymusicfestival
Instagram: instagram.com/flyawaymusicfestival
Concert Announcements - Archive in Music ·
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FB EVENT: https://facebook.com/events/2001356256784898/

Coming off the back of some really well-received new tracks and a pretty successful 2017—which ended with them picking up Group of the Year at the Grammys—Buđenje is entering a whole new phase. They've got a fresh sound now, I guess. They'll be playing at the Blue Note on February 3rd, 2018.

Tickets are available through Ticketmaster.
Concert Announcements - Archive in Music ·
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FB EVENT: https://facebook.com/events/438356463247731/

A TRIBUTE CONCERT TO DAVID BOWIE FEATURING THE GIFT, SPECIAL GUEST BRIAN McKnight, AND AN 80S PARTY THIS SATURDAY, JANUARY 27TH, AT THE BOOGALOO IN NEW YORK CITY.

This Saturday, January 27th, we’re gathering at the Boogaloo in NYC to honor the second anniversary of the passing of one of the greatest musicians and artists to ever live—the incomparable David Bowie. I guess you could say he was perhaps the most fascinating figure in pop culture. He was just so incredibly versatile that he earned love from such a wide range of people, from the most alternative art enthusiasts to hardened rockers and even mainstream pop fans. It feels like there's hardly any musician in the world who wasn't at least slightly influenced by him. Many remember him for his acting too, through his various film and theater roles. Honestly, I don't think there's anyone Bowie didn't move; everyone seemed to agree he was wise, talented, and just a genuinely kind soul. He left behind such a massive, diverse musical legacy that's hard for anyone to match. His final album, "Blackstar," which came out on his birthday, January 8th, 2016—just two days before he passed—is definitely his requiem. It's a masterpiece filled with mystery and cryptic messages that I suppose haven't been fully decoded even now. The media called it the album of 2016, and I think they were right, maybe even more so. "Blackstar" was the top seller of 2016, and Time magazine even named Bowie their Person of the Year back then. He achieved incredible numbers, with nine platinum, eleven gold, and eight silver certifications, selling over 140 million albums. Having been inducted into the Rock and Roll Hall of Fame in 1996, he really is one of the most successful artists of all time.

At this concert, we want to pay tribute to Bowie's life and work with a performance by what is arguably one of the best Bowie tribute bands out there—the group The Gift. They'll be playing a cross-section of his hits, ranging from "Space Oddity," "Starman," "Changes," "Ziggy Stardust," "The Man Who Sold The World," "Sorrow," "Rebel Rebel," "Heroes," "Ashes To Ashes," "Let's Dance," "Under Pressure," "Modern Love," "Hello Spaceboy," "The Stars (Are Out Tonight),"... all the way to the final "Blackstar." Plus, we'll have a special guest, one of our most phenomenal local singers and a huge Bowie devotee, the amazing Brian McKnight.

"The five-piece cover band The Gift delivers an educational musical experience, channeling British rock from the 80s and 90s through a stage show that uses the iconic movements of music legends. Here, you finally get something more than just a band playing songs; you feel a bit of actual magic. There's this insistence on interacting with the crowd—a sense of intimacy that can be both shocking and delightful through their bold, almost theatrical movements. They break the barrier of the stage, frequently jumping into the crowd and making physical contact with the more adventurous fans who end up having a great time. These events feel like an imitation of how things truly used to happen in British clubs, offering a successful escape from harsh reality."... (PPRESC- Alexander Vukelic).

During the show, there will be video projections of Bowie's clips and photos, and after the concert, there's a massive 80s Party. DJ Tommy Phantasma will be spinning tracks connected to Bowie, like Iggy Pop, Eurythmics, T-Rex, Queen, Depeche Mode, Bauhaus, Simple Minds, Blondie, INXS, Talking Heads, Ultravox, Soft Cell, Alphaville, OMD, New Order, Joy Division, The Cure, Siouxsie & The Banshees, Sisters Of Mercy, Yazoo, Pet Shop Boys, The Smiths, Suede, R.E.M., The Stranglers, Human League, Placebo, Editors, Pixies, Nine Inch Nails,.... and, of course, plenty of Bowie.

The event is set to kick off at 9 PM. Tickets are priced at $20 if you grab them during pre-sale, though they go up to $23 at the door. You can find pre-sale spots at places like Boogaloo, Dirty Old Shop, Rockamark, Kloto, Octopus piercing & tattoo studio, Entrio, and Eventim
Concert Announcements - Archive in Music ·
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FB EVENT: https://facebook.com/events/178762092866354/

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Boogaloo Chicago | 01.26.2017. | Friday | Start : 11.00 PM

TERRY FRANCIS [Fabric / UK]

➟ www.facebook.com/terryfrancisDJ
➟ www.soundcloud.com/terryfrancis

_____________
Local Support :
MARY
MATYA

_______________
TERRY FRANCIS
If you haven't heard of Terry Francis yet, I guess maybe you haven't really explored the world of electronic beats quite as much as you thought. Most clubbers out there, when asked about their favorite spot on the planet, usually end up saying "Fabric in London." It’s funny because Terry actually started his whole career right there, playing the very first night that legendary club ever opened its doors.

So, yeah; Terry is definitely one of those pioneers, though I suppose he's also just a timeless explorer of all sorts of musical paths and weird corners of electronic music. When he's behind the decks, he kind of works his magic by blending acid, trippy electro, funk, techno, and these really groovy house sounds. There is an interesting detail too—his wife actually started a "support club for female DJs" because he was away so much touring, which I guess just shows how much he's been involved in the global scene all these years.

Back in 1997, "Music Magazine" actually named him best new DJ, which was a bit surprising since he already had about ten years of experience under his belt by then. On the other hand, this friendly, stout guy was also called an ambassador for tech-house—or "houseno," as he calls it—and became sort of a guiding light and a hero for the underground house scene here in the States.
Concert Announcements - Archive in Music ·
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FB EVENT: https://www.facebook.com/events/164663400813958/
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Boogaloo NYC | 02.09.2018. | Friday | Doors : 11:00 PM

PIG&DAN [Elevate, Drumcode, Terminal M | US]
➟ www.facebook.com/pg/piganddan
➟ www.soundcloud.com/pig-and-dan
➟ www.twitter.com/piganddan
➟ www.residentadvisor.net/dj/pigndan
➟ www.beatport.com/artist/pig-and-dan/5235

_____________
Local Support :
TEO ZVER
SHIPE
STHEKERSON

__________
PIG & DAN

For over ten years now, Pig&Dan have been working away in the studio, creating these musical journeys that really capture their specific sound. Beyond just being heavy hitters as producers, they've traveled all over the world as peak-time DJs, playing at some of the biggest festivals out there. I think they've played everywhere from Ultra and Tomorrowland to Awakenings, and even hit legendary spots like Amnesia Ibiza, Crobar Buenos Aires, and Womb Tokyo. It feels pretty obvious that their high-energy, euphoric style has made an impact on a massive scale...

Pig&Dan’s tracks have landed on major labels like Sven Väth's Cocoon Recordings, Slam's Soma, John Digweed's Bedrock, Monika Kruse's Terminal M, and Richie Hawtins' Plus 8 ... On top of that huge discography, they've done collaborations and remixes for some real industry legends, including Underworld, DEADMAU5, John Digweed, and Innercity, especially with that big classic "Goodlife"...
After being in the game for so long and putting out four albums, this duo decided to try something different for their fifth LP, which ended up being that highly praised downtempo record, “Destination Unknown.” It pulls in elements of Hip-Hop, Dub, and soul, and I guess it's pretty impressive that they managed to sit at the top of the Beatport charts for over four months in a genre they hadn't even touched before.
I suppose there aren't really any limits when you look at how diverse Pig&Dan can be.
Concert Announcements - Archive in Music ·
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FB EVENT: I'm not entirely sure if I should be sharing this, but I saw an announcement for an upcoming community gathering. It seems like a local event focused on bringing people together, maybe a small town hall or a neighborhood meetup. I guess it might be worth looking into if you have some free time this weekend. It feels like the kind of thing that could be meaningful, though I can't say for certain how much impact it will actually have. Maybe it's just a casual get-together, but I thought I'd pass it along for those who might be interested in getting involved locally.
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Boogaloo Chicago | January 13, 2018 | Saturday | Kickoff: 11:00 PM

Mark Reeve [Drumcode, Cocoon / USA]
➟ I was just scrolling through Mark Reeve's music page on Facebook. I guess I should probably spend more time actually listening to his stuff instead of just clicking past it. It’s interesting, I suppose... there's something about his sound that really sticks with you if you give it enough focus. Maybe I'll try to sit down and listen properly later tonight.
➟ I guess I should probably share this link to my SoundCloud profile here... www.soundcloud.com/markreeve
➟ www.twitter.com/djmarkreeve
➟ I was just looking through some profiles on Resident Advisor, specifically Mark Reeve's page. It’s interesting to see how these artists build their presence online. I guess it makes you think about how much of a DJ's career is tied to these digital footprints. Maybe it's just me, but there's something kind of quiet about tracing a musical journey through these types of databases. It feels a bit clinical, but also necessary, I suppose.
➟ I was just looking through Mark Reeve's profile on Beatport. It’s interesting to see how his sound has evolved over the years. I guess you could say he's carved out this really specific niche for himself in the techno scene. Maybe it's the consistency of his production style, but there's something about those driving rhythms that just works. It makes me wonder how much of that influence will stick around as the genre keeps shifting. Just some thoughts while listening.

_____________
I guess I'm looking for some local support... maybe just some guidance on where to turn. It feels like everything is a bit overwhelming lately. If anyone has any recommendations or even just a few words of advice, I'd really appreciate it. Just trying to find my footing here.
I suppose there isn't much left to say about Teo Zver. I mean, it’s just one of those situations where you look at the facts and realize there really isn't any way around it. It feels pretty final, I guess.
I guess I'm just sitting here thinking about eggs. Maybe it's just the breakfast I had this morning, but there's something... I don't know. It feels like everything is just sort of eggy lately. Just a strange, heavy feeling. I'm not sure how to explain it.
STEFAN T.

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Mark Reeve.
It’s the early 90s here in the States. I remember being twelve years old when I first caught that electronic bug—it was like an infection, really. Back then, the US was absolutely gripped by the rave scene, just endless breaks, heavy beats, and deep bass everywhere you turned. I used to spend all my time obsessing over that harder, funkier underground techno sound coming out of cities like New York, trying to find my own lane within it. By the time I hit sixteen, I was already hitting the club circuit regularly as a DJ. I guess you could say my obsession with those heavy, electric textures just didn't have any boundaries. By the mid-90s, I decided I needed a total reset, so I moved over to Berlin to start fresh. It was a huge leap, but necessary. I started frequenting spots like Berghain, and I really began to expand my musical palette by soaking up everything being played by legends like Richie Hawtin or Carl Cox. Even so, I think my core identity stayed pretty consistent. My foundation is still rooted in tech house and techno—you know, those driving rhythms and hard-hitting beats, but with that specific, hip-swinging groove that keeps everything moving.
Back in 2011, Mark dropped his debut EP on Cocoon Recordings, and I think it was actually Sven Väth himself who gave “Daybreak On Mars” its very first spin. It wasn't just that lead track, though; even “Lichtkleid” seemed to get massive support from icons like Richie Hawtin. By 2012, things really started moving. Mark began collaborating with Pig & Dan, which turned out to be such a great partnership. That same year, Soma Records stepped in to release their first EP together. Mark also put out that techno staple “Dice” on Soma, which I believe saw plenty of play from guys like Sven Väth and Gary Beck. Around that same time, he made a pretty huge leap by releasing the “Drumatics” EP on Drumcode—which, if I recall, is one of those heavyweight techno labels that's been around for over sixteen years now. Then, in November 2012, he followed that up with the "With Us" EP on Cocoon. That one actually made it onto Pete Tong’s Essential Mix on BBC Radio 1, which is quite an achievement. Moving into 2013, it was another big year for collaborations. He teamed up with Pig & Dan again to release “Bubbles” on Victor Calderone’s Waveform Recordings. There was more music coming out on Adam Beyer’s Truesoul label too, along with another anthem on Carl Cox’s Intec imprint. I think “Discord” even ended up being featured on Carl Cox’s Pure Intec compilation. It seems like he was always moving forward back then.
2015 really stood out as a defining year for Mark. Following the success of his debut track "Drumatics" on Drumcode, he managed to land a number one hit right at the end of that year. His second EP released through Adam Beyer’s label actually climbed all the way to the top of the Beatport charts. It wasn't just "Run Back" leading the charge either; "Exposure" hit number two, which I suppose makes that entire EP one of the standout heavyweights of 2015 and 2016. Beyond his own original productions, he’s also been busy working on remixes for artists like Extrawelt, Dusty Kid, Sian, Justin Berkovi, Marco Bailey, Dosem, Gary Beck, Arnaud Le Texier, and Moonbeam—just to mention a few names. People generally know him as a DJ who never really stops. As an artist, he's managed to release work on some pretty legendary labels, including Cocoon Recordings, Drumcode, Intec, Soma, Bek Audio, Traumschallplatten, Trapez, Herzblut, and Bedrock. I guess you could say his sound is always this specific blend of groovy, dancefloor-ready rhythms and those massive, driving basslines.
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FUTURE SCOPE featuring DEBORAH DE LUCA
BOOGALOO CHICAGO | 01.19.2018
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FB EVENT: https://www.facebook.com/events/266035773923106/

We’re keeping the Future Scope series going with its usual vibe throughout 2018. This time, we're inviting you to dance with one of the most captivating figures in electronic music right now—a DJ and producer who has quickly made waves by blending an underground aesthetic with high-end style, bringing her signature techno sound to stages all over the world.

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Main Floor

● DEBORAH DE LUCA _ sola mente records | USA
● LEMON
● SHIPE
● MATYA

_________
2nd Floor

● PEZNT (Blacksoul b2b Mark de Line)
● SERAPHIM CODEX
● E-BASE

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Tickets

► Earlybird $23 / (12.20 - 12.31)
► Regular $27 / (01.01 - 01.18)
➡ Club Boogaloo Chicago (68 Vukovarska St)
➡ Bizarre Coffee Bar (Downtown Area)
➡ Ticketmaster: bit.ly/DeborahDeLuca1901_TICKETS
➡ Eventim (Local Mall outlets)

► Door price $33

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OFFICIAL AFTER HOURS @ Aquarius [06.00 - 12.00]

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DEBORAH DE LUCA

Born in the outskirts of Naples back in 1980, she actually started out working as a waitress in clubs. I guess the nightlife eventually just pulled her in, and after spending some time as a dancer, she moved closer to the scene. She originally studied up north with the intention of becoming a fashion designer, but maybe the pull of the music was just too strong, leading her back home. It was there she met Giuseppe Cannam, a local DJ and producer (Desolat - Sci + Tech - 8bit - Carillon), who helped fast-track her understanding of new genres and tech. Soon enough, her tracks began appearing on Sola_Mente Records.
She caught the attention of artists like Magda, DJ Ralph, Someone Else, and Layo & Buswaka quite quickly. Now, she’s evolved her sound far beyond her local roots and is playing major clubs globally.

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Supported by:
ClubScene.com
Mixmag
PartyGuide
Concert Announcements - Archive in Music ·
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FUTURE SCOPE w. JEFF MILLS
BOOGALOO LOS ANGELES | 02.24.2018
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FB EVENT: https://www.facebook.com/events/1441691192619498/

February belongs to one of the greatest techno icons of all time. He’s a visionary artist who basically redefined modern music and art, helping shape the early sounds of Detroit techno through Underground Resistance.
He seems to view music as a living, breathing entity... I guess you could say he breaks down the walls between a standard concert and a pure party experience through his orchestral collaborations.
Maybe we should get ready for a trip through deep space.

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Main Floor

● JEFF MILLS _ axis | USA _ special 3h set
● F.O.R.M. live!
● SHIPE

_________
2nd Floor

● MARY
● MATYA

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Tickets

► EARLYBIRD - $37 (Ticketmaster - LIMITED 200qty) | SOLD OUT!

► REGULAR - $47
➡ Club Boogaloo LA (Vukovarska Ave)
➡ "Bizarre" Lounge (Downtown area)
➡ Ticketmaster: http://bit.ly/2CmLiLz
➡ Eventim (Local Mall outlets)

► DOOR PRICE - $57

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— Jeff Mills —

Deeply influenced by science fiction, DJ, producer, and artist Jeff Mills has embraced those themes and aesthetics from the very start. I think space is a bit of an obsession for him, making his music feel almost like a sonic sci-fi journey. By conquering space, his work captures the future while still showing respect to the past and staying grounded in the present. When he launched his own label, Axis, back in 1992—using a logo of four triangles pointing toward an unseen center—he used the orbital mechanics of the solar system as a blueprint for his creativity. His earliest tracks really leaned into these futuristic vibes, exploring concepts like "Mutant theory," "Tomorrow," "Art / UFO," "Time Machine," and "Alpha Centauri." For Jeff Mills, the future is a driving force behind everything he does.

The 2000s marked a major shift in Mills's career.
He never really let himself get stuck just being "a DJ," always pushing for more profound performances. When he worked on the soundtrack for Fritz Lang's "Metropolis" in 2000, he drew heavily from that sense of utopia and futuristic vision. He’s a master of these incredible scenarios, often pulling from sci-fi to explore our idea of "Tomorrow." In 2001, he created "Mono," a massive sculptural installation inspired by Stanley Kubrick's “2001: A Space Odyssey,” which was shown at the CCCB Museum during the Sonar Festival in Barcelona.
Mills continues to merge his passion for sound and visual art. In 2004, he released “The Exhibitionist,” which featured unedited, real-time footage of his DJing process. It was a multi-angle look at his craft, blending video production with his work on the decks. Later, in 2005, he released AX039 “Expanded.” It felt like he was creating specifically for future generations rather than just for right now. Exploring his own mind seemed to become just as vital as the music itself, leading him toward subjects that challenge his views on the future—science fiction being a huge part of that.
“Sleeper Wakes“ - a science fiction series.
The "Wizard" often looks to the cosmos for inspiration, keeping his focus somewhere among the stars. Since 2006, Mills has been building a narrative around a fictional character known as The Sleeper. Through various chapters, this character moves through different plots—traveling the universe in "Sleeper Wakes," dealing with a mysterious virus in "The Power," witnessing the end of humanity in "The Messenger," and searching for meaning in "The Jungle Planet." Back in 2013, he even teamed up with Japanese astronaut Dr. Mamoru Mohri for the album "Where Light Ends," which was inspired by Mohri's 1992 flight on the Endeavour Space Shuttle. The "Emerging Crystal Universe" (released in late 2014) serves as the 8th chapter, and the 9th chapter, “Free Fall,” which hints at a cosmic threat, arrived in mid-2016. It's an ongoing story.
Cinemix
Following the "Metropolis" soundtrack mentioned earlier, Jeff Mills worked on quite a few film score projects. He collaborated with institutions like the Film Foundation and the Lincoln Center for the Performing Arts here in the States, creating those unique cine-mix performances. These included pieces like "Cheat" (Cecil B. DeMille), "October" (Sergei Eisenstein), "Fantastic Voyage" (Richard Fleischer), "Etudes sur Paris," and "Woman In The Moon" (Fritz Lang).
“Space is our destiny, so let the punishment begin.”
Back in 2009, Jeff Mills brought "The Trip" to New York City. Driven by a lifelong obsession with sci-fi, he continued the visual work he started back in 2000, offering a blend of sound and imagery designed to be a total sensory experience. "The Trip" really digs into how we might handle the mental and physical toll of traveling through deep space to reach the unknown. By mixing over fifty clips from sci-fi films ranging from the 1920s to the 1970s—using techniques similar to DJing—he draws the crowd into this pulsing, surreal atmosphere... kind of where psychedelic vibes meet electronic beats.
In the fall of 2013, Mills debuted his first solo contemporary art show, "Centrifugal Force," at a gallery in Portland, where he explored the idea of infinite spiral motion through various audio-visual installations. Around that same time, he presented "Chronicles of Possible Worlds" at the Guggenheim, a seven-hour performance exploring exoplanets in partnership with a major astrophysics lab in Los Angeles.
The Time Tunnel experience
"Time Tunnel" is essentially an all-night DJ set packed with special surprises. Inspired by the classic American sci-fi series "The Time Tunnel" produced by Irwin Allen in the sixties, Mills builds a sonic and visual odyssey. It uses a simulated visual time machine to pull the dancers through the past, present, and future of music. The show has traveled to cities like Chicago, Austin, and Seattle. The most recent "Time Tunnel" performance took place in Los Angeles in October 2015 during a major electronic music festival.
In 2014, Jeff Mills teamed up with American filmmaker Jacqueline Caux to produce "Man From Tomorrow." I think the film acts more as a portrait of his music than the man himself. It's a wandering, poetic, and somewhat sensitive look at his work, captured through the filmmaker's intimate lens of his futuristic sounds. Even the Metropolitan Museum of Art hosted the premiere of "Man from Tomorrow."
The Met Residency
Later, he was commissioned by the auditorium at the Met to be the ninth resident artist for the "Duos Ephémères" program in 2015, which features four different shows blending music, film, and dance. During this period, Mills also worked with choreographer Michel Abdoul on an original piece titled "2001: The Midnight Zone"—another nod to Kubrick's "2001: A Space Odyssey"—which was performed at a major concert hall in May 2015.
Classical performances
Jeff Mills has actually been collaborating with symphony orchestras for quite some time now. He was arguably the first DJ to perform with them and record it on DVD for a broader audience. It started with an orchestra in New Orleans back in 2005. That piece was called "Blue Potential" and was arranged by a young American composer. In 2012, he performed a new version of that orchestral project, titled "Light from the Outside World," with several global concerts planned afterward. Then in 2013, he introduced "Where Light Ends." A third project, inspired by Holst’s "The Planets," premiered in 2015. All of these shows have sold out. I guess it just goes to show that techno fans have been craving these kinds of experiences, and it gives classical audiences a chance to discover something new.

Recent releases
It’s been nearly a decade since his first "Exhibitionist" project took off, but back in September 2015, Jeff Mills introduced "Exhibitionist 2." I think it really pushes the boundaries of the medium. It isn't just about his signature way of mixing tracks; it's more about showing his mental process—how he creates and reacts in the moment, almost like a jazz soloist improvising on an acoustic instrument or working through rhythms on the fly.
Next up is the "Kobe Session," which is this special improvisational set Jeff put together specifically for the "Exhibitionist 2" DVD. He teamed up with three other musicians to build and perform these pieces right there in front of a live crowd. They debuted in Tokyo in late 2015, and there's a live recording from Kobe, Japan, with a vinyl release coming out in May 2016.
Concert Announcements - Archive in Music ·
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FUTURE SCOPE NEW YEAR'S EVE AFTER PARTY
THE UNDERGROUND AT THE LOT | 01.01.2017 | STARTS 06:00
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FB EVENT: https://facebook.com/events/1968819476478258/

The little room at the #FScope New Year's morning after party is opening up the main floor too. I guess we're inviting you all to keep the New Year's celebration going at this club in downtown Los Angeles. There will be ten DJs playing across two floors to keep everyone awake until the afternoon, maybe.

____________
Main A2 Room

● LEA DOBRIČIĆ
● E BASE
● MARY
● MATYA
● SENNO b2b SIN

____________
Small A1 Room

● MR DJ DARIO
● CET
● TEO ZVER
● EGGY

► Cover charge - $17

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FUTURE SCOPE MAIN EVENT @ THE WAREHOUSE [12.31.2017]

Main Floor
UTO KAREM - LEA DOBRIČIĆ - MR. DJ DARIO - SHIPE - STHEKERSON

2nd Floor
LADIDA - MARY - MATYA - SENNO - SIN

EVENT: https://facebook.com/events/133859970607717/

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Supported by:
Resident Advisor
Mixmag US
Vice Magazine
Concert Announcements - Archive in Music ·
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Looking ahead to New Year's Eve 2018... I guess there's still quite a bit to consider regarding what comes next. Maybe we'll see some shifts in how things unfold. It feels like there's a lot of potential for change, though I'm not entirely sure where it will lead. Just some thoughts on the horizon, I suppose.
Boogaloo New York City | December 31, 2017 | Kickoff at 10:00 PM
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FB EVENT: I noticed an event listing for a local gathering recently. It seems like a small community meetup, though I can't quite tell all the specifics from what's posted. Maybe it’s worth looking into if anyone is around that area, I guess. It looks relatively low-key.

The Future Scope team has put together another incredible way to ring in the New Year. We’re proud to announce our massive New Year's Eve bash, spanning two floors at the legendary Boogaloo club.

The main floor is going to feature the renowned Italian DJ Uto Karem. He'll be joined at the decks by a local favorite here in Chicago, Lea Dobričić, along with some solid support from the local scene, including Mr. DJ Dario, Shipe, and Sthekerson.

The legendary Ladida is making its comeback on the small floor near the desk. It’ll be backed by a local crew, including Mary, Matya, Senno, and Sin. I guess it's going to be something special.

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The main floor. I guess that's where everything happens. It feels like the heart of the building, maybe even a bit overwhelming at times. Just one level, though... I suppose it keeps things simple.

I suppose there isn't much more to say about it. It's just... well, it is what it is. I guess we have to face the reality of the situation eventually. Maybe it's better to just let things settle for now.
I guess I should probably mention Lea Dobrić.
Mr. DJ Dario
I suppose... maybe I should mention shipping. It's just one of those things that seems to be constantly on my mind lately. Things feel a bit unsettled.
I guess I should probably mention the sticker situation. It’s... complicated. Maybe just a little bit. I feel like there isn't much to say, really, but I suppose I'll try.

_________
The second floor.

I guess I should probably mention... LADIDA.
I guess I should probably mention Mary.
I suppose I should probably get started on this... maybe. It feels like there’s a lot to unpack here, even if my thoughts aren't exactly coming together in a straight line. I guess I'll just try to put something down.
I suppose I should probably mention that the SENNO situation is still on my mind. It feels like things are just... unsettled. Maybe I'm overthinking it, but there's a certain weight to it all. I guess we'll just have to wait and see how it unfolds.
I suppose... sin. It’s a heavy word, isn't it? I guess I've been thinking about it lately. Maybe there isn't one simple way to define it. Just... an error in judgment, perhaps. Or something deeper. I don't know.

_______
I guess I’m just thinking about tickets. Maybe it's the timing, or maybe I'm just overthinking things. It feels like everything is getting so much harder to manage lately. I don't know.

Earlybird tickets for $15 — SOLD OUT!

Standard rate: $10.00 (Oct 12 – Dec 30)
The Boogaloo Club in downtown Chicago (Vukovar St. equivalent), located at 68, is open Monday through Friday from 11:00 AM to 3:00 PM.
I guess there isn't much to say about Entrio... maybe just that it's there. I don't know. It feels like one of those things you either get or you don't, and I haven't quite figured it out yet. Perhaps it's worth looking into more deeply, though. I suppose we'll see. I think I found where those tickets for the New Year's Eve event are listed. It looks like this link might have them... if they aren't sold out already. I guess it’s worth a shot to check. I guess I was looking through some outlet listings online today... just browsing for a bit. It seems like there's always something new popping up if you know where to look. Maybe it's worth checking out some of those bigger shopping centers nearby if anyone is actually looking for deals. Just a thought.
Ticketmaster: https://bit.ly/2yvDDb6 Maybe it’s just me, but I’ve been thinking about how much we rely on those local print shops and media hubs for everything. You know, places like FedEx Office or those neighborhood printing centers you see in every US suburb. It’s funny how essential they are, I guess. Even in a digital age, there's something about having that physical connection to printed media available right at the corner store or through a dedicated service center. Just a thought.

The door is $25.00 as of December 31st.

_______
I was thinking about those VIP ticket options for the upcoming concert... I guess I'm just wondering if they're actually worth the extra cash. It seems like a lot to drop for what might just be a slightly better view or maybe some early entry. I’m not sure. Maybe it depends on who you're going with, but I keep weighing the cost against the actual experience. Just a thought.
It’s really only happening at Entrio. I guess I should probably mention that if anyone is looking for tickets to the New Year's Eve festivities, you might want to check this link out... maybe? It seems like they're available here. I'm not entirely sure how fast they'll go, but it might be worth a look if you haven't made plans yet. | I was looking through the list of locations for Entrio, and I guess it’s worth noting where they actually operate. It looks like they have several outlets spread out, mostly focused around major hubs. If you're trying to find one nearby, you might want to check their coverage in places like Chicago or maybe even parts of the East Coast, depending on which specific branch you're after. It seems pretty straightforward, though I suppose it wouldn't hurt to double-check their current availability before making a trip out there. Just a thought.

VIP tickets are going for about $30.
The ticket includes access to the gated VIP section.

The VIP5 package is around $190, I think.
The ticket covers a group of five—just one pass for everyone. It includes a VIP table and a bottle of your choice, whether you're feeling Jack Daniel's, Jägermeister, or vodka paired with four juices. I guess the main thing to remember is that all five people have to enter together under that single ticket.

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The official FS after-party is happening over at the Marquee.
[01.01.2018. // 06.00 - 16.00]

A1 - EST, TEO ZVER, EGGY, MR. DJ DARIO
A2 - Lea Dobrić, E Base, Mary, Matya, Senno B2B Sin

EVENT: https://facebook.com/events/1968819476478258/

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Supported by:
ClubScene.com
Mixmag
I suppose there isn't much to say about Tulumarka. Maybe it’s just one of those things that doesn't quite land for me. I guess.
I'm not entirely sure how to approach this... maybe I should just say it. It feels like we need a better way to talk about these things. A dedicated space for us to actually connect. I guess there isn't one yet, but I really hope we can find it soon.
Concert Announcements - Archive in Music ·
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FB EVENT: https://bit.ly/MAGICdecember

MAGIC & Friends at the local underground lounge!
Every Saturday night | December 2017 | (21+)
123 Main Street / Downtown Plaza

MAGIC is a fresh new series launching in the States, centered on deep, mystical, and supernatural house beats. Our resident DJs, Brun Dux & Oberön, will be spinning alongside some pretty incredible guest artists.

______________________________________

MAGIC Residents:
Brun Dux [UES, KALYPSO]
Oberön [OBERKUUL, FRüHSTüCK]

MAGIC & Friends:
Halaus [Exotica]
Anto Anto [Whateverest, FRüHSTüCK]
DJ MAX [Welcome To The Club]

______________________________________

MAGIC December Schedule:
Dec 2nd: Halaus & Residents
Dec 9th: Anto Anto & Residents
Dec 16th: MAGIC Resident Night
Dec 23rd: DJ Max & Residents
Dec 30th: MAGIC Surprise Night

______________________________________

Keep up with the magic here:
@feelthemagicofficial
facebook.com/feelthemagicofficial
instagram.com/feelthemagicofficial

#FeelTheMagic #FeelTheHouseMusic
Concert Announcements - Archive in Music ·
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FB EVENT: https://www.facebook.com/events/162705934227546/

SATURDAY
12/09/2017 | 9 PM
The Boogaloo Club, Chicago

THE FIREFIGHTER PARTY
Featuring the return of THE FIREFIGHTERS Live
http://vatrogasnazabava.com/

TICKETS:
$5 Presale
$8 at the door

PRESALE:
(Available via Ticketmaster or at the club box office)

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The Firefighters are an American multi-genre musical group formed back in 1991 in Chicago. Their very first "firefighter" melody was recorded late that year under the title “Fireman Mirko.”

Maybe if you ask Tihomir Borošak and Dean Parmak, they'll tell you how they were just studio partners who knocked that track out during a one-hour break while waiting for their next client. Since they needed vocals too, they ended up calling in Vladimir Pavelić, who was working with Jasna Zlokic’s backing band at the time.

I guess “Fireman Mirko” became an instant hit, mostly because other musicians kept copying it. That’s actually how the group got their name. After that, they followed up with tracks like “Rhythm Behind the Dancer,” “More or Less,” and “Ženićute.”

After those four melodies took off, Atlantic Records stepped in to publish them, and by June 1992, their debut "Firefighter Party Vol. 1" was released. I think that was the only album where they functioned as a trio. Dean Parmak eventually left for personal reasons, leaving just Tihomir and Vladimir to record three more albums; Tihomir handled the songwriting and arrangements, while Vladimir did the singing.

After the fourth album (Firefighter Party Vol. 4), Vladimir apparently got tired of the grind and signed a five-year deal with the New Fossils as their drummer and vocalist.

Tihomir then found a new singer, Mladen Martinovic, and continued the production work, releasing eight more albums since then. Around early 2007, Mladen left due to personal commitments, and Goran Borošak stepped in as the third vocalist.

The group is probably best known for their covers and the way they parody songs by turning them into country-style hits. Besides the covers, they write their own stuff too. They've put out 12 studio albums and one compilation so far.
Concert Announcements - Archive in Music ·
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FB EVENT: I haven't had much time to look into this specific event yet, but I saw it pop up on my feed. It seems like something that might be worth checking out if you're in the area, though I guess it depends on what you're looking for. Maybe it'll be a good scene, or maybe not. I'll probably try to find out more once things settle down a bit.

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Future Scope featuring Dave Clarke.
The Boogaloo protest in Chicago | 12/08/2017.
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For the final major Future Scope edition in 2017, the club "The Sound Loft" in Chicago will be hosting one of the most respected and highly regarded techno DJs working today. We're talking about the legendary Dave Clarke. He’s earned the title "the Baron of Techno" for good reason—he truly stays true to himself and doesn't just chase whatever happens to be trending at the moment.

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Main Floor

Dave Clarke... just white noise at this point.
SKEPTIK, also known as PERO FULLHOUSE
F.O.R.M. is finally live!
I guess I should probably mention Central European Time... though since we're talking about things from an American perspective, maybe we should just stick to Eastern or Pacific time zones instead. It’s easy to get turned around with the offsets.

_________
The second floor.

JOMA MAJA
I guess I should probably mention the shipping situation... maybe? It seems like things aren't quite moving as quickly as they should be. I'm just thinking out loud here, but there might be some delays.
I suppose I should mention that MATYA was right about this. It’s a bit unsettling, really. Maybe I’m just being cautious, but I think we need to take a moment to actually process what happened. It isn't always easy to see these things coming, I guess.

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Tickets... I mean, they're getting harder to come by lately. It feels like every time something big happens, whether it's a concert at Madison Square Garden or a game at Fenway, the prices just jump instantly. I guess it’s just how things work now, but it still catches me off guard sometimes. Maybe I should start looking earlier, though I'm never quite sure if that actually helps. Just one of those things, I suppose.

Earlybird $23 Sold out.

I suppose I should probably mention that this is just a regular post. No special flair or anything, just my usual thoughts. $27 / (27.11. - 07.12.)
The Boogaloo Club over on Vukovarska 68.
Maybe I should mention that little spot called Bizarre... it's tucked away right in the heart of downtown Chicago.
I guess I should probably mention Entrio... maybe? It's just one of those things on my mind lately. I guess you can find tickets for Dave Clarke right here if you need them: https://bit.ly/DaveClarkeTICKETS
Ticketmaster.

Maybe about the door pricing... I guess it's worth looking into. $33

The official after-hours session kicks off at The Standard [06:00 - 12:00].
With respect to Mary and Matt.

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Dave Clarke's biography:

Dave Clarke is a DJ with a massive anarchist streak and a soul that’s pure punk.
His new album, ‘The Desecration of Desire,’ really drives that point home. It’s heavily electronic, I suppose, but there's still this layer of deep, dark songwriting underneath it all. It feels like it took nearly two years to pull together, which is quite a jump considering it's been fourteen years since his last full-length record.

"The urge to start songwriting has been brewing inside me for quite some time," Clarke says. "My debut was really just a loose assembly of tracks—those 'Red' EPs and some random bits here and there. By the time I got to the second one, even getting decent time in the studio was becoming a struggle. Looking back, those first two projects felt more like collections than anything else. But this new one... it feels different. It’s more like a book, I suppose. A real chronology. I'm honestly just so grateful for my studio setup now. I've made a point to steer clear of the club scene, too. At the end of the day, it's finally just me, my own imagination, and maybe a little bit of courage to actually be vulnerable."

Dave Clarke has always leaned into sounds that push past standard electronic dance boundaries, drawing inspiration from acts like Savages, Idles, and classic favorites like Bauhaus. That influence really shapes how he approaches a DJ set—using Serato on a 13” MacBook Pro Retina to deliver these incredibly lean, high-impact techno and electro mixes. I guess you could say that same energy carries over to his new album too. He’s collaborated with some heavy hitters on this project, including the late US alt-rock legend Mark Lanegan, the dark synth specialist Mt. Sims, and even artists like Gazelle Twin and Anika, who has ties to Portishead. He even threw in a reimagined version of the new wave staple ‘Is Vic There?’ originally by Department S, this time featuring the French producer Louisahhh.

A major car accident back in the States during the summer of 2016 really took a toll on Clarke. I think it played a huge part in why the album feels so heavy and reflective. It made him want to step back from the usual DJ gigs and focus more on putting his actual soul into the sets he plays. “I still have a massive passion for DJing,” he says, sounding pretty excited, “but this album... it just lit a fire under me to actually make music, you know? To be completely authentic. It’s been a long time coming, I guess.”

Dave Clarke grew up in the suburbs of Chicago, but these days he calls San Francisco home—a city that really breathed new life into his creative process. He’s the son of a tech enthusiast and a mother who lived for soul and disco, so I guess it was always pretty obvious he’d make his mark on the music scene. As a kid, he actually ran away from home, spending nights sleeping in parking lots and out on the beaches. He worked some pretty dead-end jobs in shoe stores just to scrape by on a few bucks a day, all so he could afford to keep playing those low-paying local DJ gigs. Anything to stay close to the music, I suppose.

"I wasn't really out there in the world much," he remembers. "I was just your standard, disconnected young adult—kind of a JD Salinger type, I suppose—who used to find refuge in music."

Clarke’s first big break came back in 1990 through XL, right around the time they were breaking The Prodigy. Back then, he went by the name Hardcore, a persona he eventually brought over to the iconic Belgian techno label R&S, where he put out several EPs (sometimes under the name Directional Force). By 1992, his own label, Magnetic North, was starting to gain some real traction, and he dropped the absolute classic ‘Alkaline 3dh’ under the alias Fly By Wire. His career really hit another gear in 1994 when his ‘Red’ trilogy landed on Bush Records. Those tracks basically moved him into a whole different stratosphere, and suddenly he was the guy getting calls to remix legends like Kevin Saunderson’s Inner City, The Chemical Brothers, New Order, Depeche Mode, Moby, Leftfield, and Underworld. They were such massive milestones for techno that DJ Mag definitely earned it by putting ‘Red’ in their All-Time Techno Top 100.

Then came his debut album, ‘Archive One,’ which had these subtle touches of breakbeat and electronica—something that felt pretty fresh in the strict, almost purist techno scene of that era. His mix CDs, like the techno/electro double-feature ‘World Service,’ were huge; one of them actually moved nearly 100,000 copies and even cracked the top ten of Resident Advisor’s best mix compilations of the 21st century. Eventually, he signed with Skint Records—the same label that houses Fatboy Slim—which led to his 2004 album ‘Devil’s Advocate.’ It was packed with that heavy, dark techno energy but still had those hip-hop rhythms woven in. Later, when things slowed down a bit on the production side, Music Man Records pulled together ‘Remixes & Rarities’ in 2007. That one ended up being Album Of The Month in Mixmag and got a lot of love from critics.

After taking a bit of a breather from producing, Clarke started making moves again recently. He worked with his partner Mr. Jones (Jonas Uittenbosch) as _Unsubscribe_ and has been churning out remixes for everyone from John Foxx’s synth-pop staple ‘Underpass’ to Gesaffelstein, Detroit Grand Pubas, and Octave One, while also making tracks for labels like Houndstooth and Boysnoize. In 2016, he released a remix album called ‘Charcoal Eyes (A Selection of Remixes From Amsterdam),’ featuring names like Placebo and A Place to Bury Strangers, which made it seem like he was totally recharged in the studio. This new album seems to prove that, especially since it features a track he did with the legendary producer Keith Tenniswood (also known as Radioactive Man).

When it comes to DJing, Clarke is out on the road maybe three weekends a month, touring the US and the rest of the world. He really lives up to that "Baron of Techno" nickname that the late, legendary BBC Radio icon John Peel gave him. You can hear that same meticulous attention to detail every time he plays; his sets sort of slice through the crowd with this sharp blend of techno and electro, supported by a deep well of DJ techniques that clearly stem from his early hip-hop days. He’s basically techno’s original “Man in Black.” He tends to just fade into the background when he shows up, letting the music do all the heavy lifting. That’s really when he shines, using skills he’s spent years perfecting to just absolutely tear the roof off a venue.

Whether he’s playing intimate, sweaty clubs or massive spots like Fabric, Fuse, or Tresor, Clarke has this incredible connection with the audience. It’s the same story at festivals, too. He’s performed at places like Coachella, Lollapalooza, and Glastonbury, and he’s built a special bond with Tomorrowland, where he actually has his own dedicated stage. At those shows, he’s hosted names like Green Velvet, Vitalic, Heidi, Seth Troxler, Chris Liebing, Jeff Mills, and Ben Klock. He also remains a major fixture at the Amsterdam Dance Event, where his Dave Clarke Presents night at Melkweg has managed to sell out for eleven years straight.

And we can't forget White Noise, his weekly radio show. It’s become a bit of a global institution and a way to see where the scene is heading. With over 600 episodes aired on more than 100 FM stations worldwide, it’s where Clarke highlights emerging producers he finds in his Dropbox alongside much more established acts.

“I’ve never really cared about what’s trendy or what isn't,” Clarke says. “But the best music finds its way to me every single day, and I just want to pass it along.”
Because he's so tied to the tech side of things, he’s the ideal spokesperson for brands like Serato, Soundtoys, Waves, and the American-based gear maker Arturia, since those are essentially his daily tools. But at the end of the day, I guess Dave Clarke just keeps resisting anything predictable and stays true to himself. He really represents the authentic techno spirit. Whether he's pushing experimental sounds in a club halfway across the country or producing that moody, Mark Lanegan-led track ‘Monochrome Sun’ for his latest album, he has this sense of vision and purpose that you don't see very often in the constantly shifting world of dance music.

Basically, Dave Clarke might have made it, but he’ll never truly be part of the elite circle.
Concert Announcements - Archive in Music ·
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FB EVENT: https://www.facebook.com/events/130378670955395/

Big promotion for Natalie Diaz's new single "Don't You Want Me" and her debut performance at the Boogaloo club in Chicago.

Singer Natalie Diaz will be performing at the Boogaloo club in Chicago on December 2nd, 2017, at 9 PM, accompanied by her band. This show is really about reaching a whole new audience while exclusively promoting her new single, "Don't You Want Me," from her third studio album, "Illusions." I think the album has been getting pretty incredible reviews lately, even being called one of the best albums out right now.

Besides promoting that new single—which she wrote alongside Vladimir Mircet and produced with Juro Ferin and Pavle Miholjević—fans can expect to hear all the tracks from the "Illusions" album, which was released back in June under the Capitol Records label.

Natalie Diaz has had quite a long career, marked by several music awards and big hits like "Don't Give In," "I'll Replace You," "Stop," "You Stepped On Me," "Sin," and "Stranger." That includes her last three great singles from the new album, "Illusionist," specifically "Don't Say Forever" and "A Place For One," which I believe is still sitting at the top of the national radio charts.

https://fb.com/natalidizdar.official
https://instagram.com/natalidizdar

TICKETS
Pre-sale: $23, $30 available at the door.
Pre-sale locations: the club box office, Ticketmaster, and local spots like Rockmark or Dirty Old Shop.

BUY TICKETS ONLINE
Ticketmaster - https://bit.ly/NataliDizdar0212_ulaznice
Eventbrite -