Events

Tickets: 35 ron ( 21st of January 2008 – 29th of February 2008) on www.bilete.ro
At the entrance the price of the tickets is 50 ron
For VIP tickets please contact: +40 722.399.228.


CHICANE

www.chicanemusic.com

In the past he has been dubbed "the godfather of the Ibiza anthem" but Chicane mastermind Nick Bracegirdle has come a long way since the sun drenched Balearic shores first throbbed to the sound of what is now recognised by many as the archetypal chill out classic 'Offshore'.
'Far From the Maddening Crowds' was the debut album from Chicane when Nick first burst onto the scene back in 1997. Featuring 'Offshore', the album has since become unavailable and is now highly sought after.

Chicane was later cast further into the public consciousness in 1999 with the release of the epic ' Saltwater' which featured Maire Brennan of Clannad. Then in 2000 with the number 1 smash hit 'Don't Give Up' featuring the gravely vocal tones of legendary rocker Bryan Adams, Nick found himself a regular fixture on radio. The release of his second album 'Behind the Sun' followed reaching the Top 10 and becoming a major success across Europe.
The Chicane concept is one of a nomadic band which doesn't conform to the traditional approach of having a single lead singer, working with many different artists and producers. It is a common mistake to think Nick is a DJ - he is actually the writer and producer within the band and the hub of all the live perfomances.

Aside from his own projects, Nick took time out to lend his famed production talents to a string of other artists, including co-writing and producing tracks for Cher's 'Living Proof' album. He performed remixes for the likes of 'Everything but the Girl', 'BT' and also wrote and produced a song for previous collaborator Bryan Adams called 'Eastside Story' which would later appear on Adams' 'Room Service' album.

With the impending release of the third Chicane album in 2003, Nick suffered a major setback when he became a victim of internet bootlegging. "Amongst many others a wretched character in Russia was peddling my wares on his personal website, rendering two years of work completely useless" explains Nick."I was not best pleased".

Chicane returned in 2006 with a new sound. 'Stoned in Love' , the first single to be taken from forthcoming album 'Somersault', is not so much a departure but in many ways an evolution of the classic Chicane sound. Although the dance element is still alive and well, the track displays a new rock/indie edge and signals a change in direction towards more 'song based' tracks incorporationg strong melodies. It also features the unmistakable voice of Tom Jones.
For years Chicane has tended to be pigeon holed as a dance act, however the current live show and new material confirm that Chicane is far more diverse with the band continuing to push the boundaries of electronic music live.
Over the years the Chicane live experience has travelled far and wide, from the relative sanity of London's Islington Academy, to the vastness of Moscow's Red Square. An appearance at the The World Trade Centre in Manila in 2006 was a similarly bizarre experience. "It was a great gig" Nick reminisces. "Thousands of fans watching us become dehydrated and shrivelling into little more than cornflakes on stage in the unbearable heat".
2007 sees the release of Chicane's forthcoming album 'Somersault' and the single 'Come Tomorrow'."


JEFF MILLS

www.axisrecords.com

In the course of the eighties Mills was an influential radio DJ on WJLB under the pseudonym "The Wizard." Mills' sets were a highlight of the nightly show from "The Electrifying Mojo," Charles Johnson. Complimenting Mojo's eclectric playlists, Mills would do advanced DJ Tricks like beat juggling and scratching while mixing obscure Detroit Techno, Miami Bass, Chicago House and classic New Wave tracks both live and using a multi track when pre recorded.
In going on to create his own music Jeff Mills is credited with laying the foundations for the highly influential Detroit Techno collective, Underground Resistance, alongside 'Mad' Mike Banks, a former Parliament bass player. Just like Public Enemy did some years before in hip hop, these men confronted the mainstream music industry with revolutionary rhetoric. Dressed in uniforms with skimasks and black combat suits, they were ‘men on a mission’, aiming at giving techno more content and meaning.
Mills would never leave UR officially, but later on he still went his own way. He moved to New York and after a short stay in Berlin (Tresor) ended up in Chicago. There in 1992, with fellow Detroit native Robert Hood, he set up his most important record label, Axis, aiming for a simpler more minimal sound than most of the techno being produced in those years.[1] Later sub-labels were announced Purposemaker, Tomorrow, and 6277.
His albums and EPs are mostly separate tracks of his compositions, which Mills would mix into the live DJ sets for which he became a legend. Mills has been credited for his exceptional turntable skills. Tracks are almost chopped to bits to showcase the strongest fragments for his relentless sound collages. Three decks, a Roland 909 drum-machine and seventy records in one hour: at breakneck speed Mills manipulates beats and basslines, vinyl and frequencies.
The live DJ-mix album Mix-Up Volume 2 is a highly-regarded example of Mills' 1990s stage show, recorded at the Liquid Room in Tokyo.
"A decade back, while not exactly establishing a precedent, Detroit deejay Jeff Mills unleashed a recording of one of his live deejay sets at the Liquid Room's former Kabukicho residence," assessed Andrez Bergen in 2005, in Japan's Daily Yomiuri newspaper. "Titled Mix-Up Vol. 2, it was a relentless techno masterpiece, warts and all, that combined two diverse channels in the mix: the actual music itself, along with the audience's response." [2]
For a later live show (in 2004) try the Exhibitionist album.
More recently he appears to be taking extended forays into epic techno (such as his re-scoring of Metropolis (which he performed live with the original film) and his 16 September 2004 7 hour set with Laurent Garnier at Fabric. The epic proportions were further extended when his 2006 album Blue Potential was recorded with the Montpellier Philharmonic Orchestra under Alain Altinoglu. There is a DVD of the concert at which the album was recorded, an opportunity to see Mills in action, live on stage.
His "Exhibitionist" DVD, from 2004, features him mixing live on three decks and CD player in a studio, stark and simple. There are several mixes, one of Axis tracks, two of Jeff Mills tracks, and another of various artists. The mixes are shot from several cameras, up close, and his long graceful fingers fly over the gear, furious, his genius and skill on full display. The DVD also includes an interview with him.



M.A.N.D.Y.

www.physical-music.com
www.myspace.com/getmandy

The Get Physical story begins on a tennis court in Saarbrücken, near the German-French border. That’s where Patrick Bodmer met Philipp Jung on a summer’s day twenty years ago. Their lifelong friendship and musical partnership was sealed on their next meeting, at the high board of the local swimming baths. After many hours of discussion they were jumping, and were virtually brothers from then on. Together they ran wild and wished for a life that could only be about their great loves - collecting records, throwing parties and meeting girls. They dreamt of a way to live as a child, running happy and free. When youthful desire had to make way for sensible adult concerns they parted ways.

At 25 Patrick and Philipp were reunited in Frankfurt, then the hub of Germany’s flourishing house and techno scene. Philipp worked for Snap’s record company; Patrick studied and lived as an artist. They began their first musical activities with releases on local independent imprints and devised their unofficial Lust (eng: joy, zest, delight) parties as an excuse to play records. Later Patrick acquired an old brewery as an atelier that served as their cauldron for ideas, art and wanton personal experimentation. They stopped in 1997 and the final twang of traditional career values saw Philipp move firstly to Cologne as A&R of Jive, and later to Berlin to do the same job for V2. Patrick finished studying before taking a sensible day job he quickly detested.

Over the next years they consumed music, raved and span records at every opportunity. DJ T and Patrik (The Sunsetpeople), from Frankfurt’s Monza club, heard them play at a party and noticed them on the dancefloor, stamping their feet and ripping their clothes. They became close friends, and M.A.N.D.Y. have held a Monza residency since 2001. The same year their old pals Arno and Walter (Booka Shade) moved from Saarbrücken to Frankfurt. The four intensified their work together and again talked of starting a label. The first official M.A.N.D.Y. release, a remix of French electronic band Galleon, was chosen as the official German single and went stratospheric sales charts. DJ work poured in but they couldn’t reconcile with the commercial scene and abandoned it after a few short months.

M.A.N.D.Y. liken their next moves to a last exit, a final chance to do something special before time ran away from them. They decided to create a label with their friends Booka Shade and DJ T, utilising the talent of the close friends in their circle. They called it Get Physical: in tribute to the dancefloor; in memory of their meeting; for their love of disco, acknowledging the obsession with Olivia Newton-John. It was born from pure desire, the need to create something tangible from their lifelong passion. In 2002, M.A.N.D.Y. and Booka Shade moved to Berlin seeking a new creative kick. What they found was a confluence of artists and ideas, and a constant shower of music that washed over and immersed them. It was productive, intense and satisfying. Living and working together their strong relationships provided the perfect foundation for future growth.

Since the creation of the label, M.A.N.D.Y. have come into their own as artists and DJs. Their natural easy friendship allowed their skills to gradually flourish and their heartfelt excitement for what they do ignites every floor. Mixing the first Get Physical label compilation in 2004 sent their sound beyond Europe and they’re sought after remixers working with artists as diverse as The Knife, Seelenluft, the Sugababes, Hans Peter Lindstrom and Fisherspooner. And though they travel the world they treasure the family vibe that supports them in Berlin. For M.A.N.D.Y. this isn’t a job and isn’t about success. It’s about partnership and friendship and a realisation that dreams can come true.


MONOCHROME

www.fwdagency.ro
www.myspace.com/monochrome4u

It’s no secret for anyone that ever since 2005, Heineken, with their program called Heineken Music Thirst, tried to discover new talents, DJs and producers, in Romania, and to support them by all means. It’s no secret that in 2006 Livio & Roby feat. George G aka Monochrome, Romania’s representatives in the Heinken Music Thirst Studio final in Las Vegas, confirmed with their succes that Heineken reached its objectives.
After winning both prizes, “The jury’s prize” and the “people’s choice award”, Monochrome is in a continuous rise.
“We’d like to be known world wide, to get into a booking agency and to release tracks. Heineken helped us enlarge our contact list, and the best example is the fact that “Pearl” was signed by Organized Nature, Gabriel and Dresden’s label, whom I met at Heineken Music Thirst Studio final in Las Vegas” says George G.
“«Pearl» is a fabulous track and we’re looking forward to remix it and to release it” said Gabriel & Dresden.
They played on the Heineken Music Thirst stage in the first day of B’ESTIVAL, at Dance Valley, in Amsterdam and O’asian in Seattle. Then followed New York and London.
Each Monochrome set requires long hours of hard working on the mixer and sampler, explains Roby: “we play live, exclusively our tracks, it’s a lot of work producing every track, and the rehearsals fill up all our time. We cannot afford any mistake, every sample has it’s point. We do all kind of improvising so that we’re never the same, that’s why we spend so much time working.