SAEED YOUNAN Makes His Debut Appearance at .:therapy
Saturday - August 21, 2010 (Sunday Morning)
SAEED HAS AN EARLY SET!!! FROM 130-430am
Tuesday, August 17, 2010
SAEED YOUNAN @ THERAPY (130-430 SET TIME!)
2:00am - 8:00am // 18+ // No Dresscode
Additional Sets By:
Tuesday, August 3, 2010
Review from the Phoenix
PHOENIX REVIEW OF OCEAN CLUB 8/1/10
I LOVE HOUSE MUSIK BEACH PARTY
DJs DO IT at I LOVE HOUSE MUSIK BEACH PARTY
Yesterday at 10:19am
Never until yesterday's "I LOVE HOUSE MUSIK BEACH PARTY" had I experienced House Music outdoors in Boston. So there we were, all 500 of us --later on, 800 -- at the Ocean Club in Quincy, overlooking the Boston skyine -- and the planes making approach to Logan airport -- with the bay on two sides and stacks of sound speakers in front, like one sees at an arena-rock show. Exdept that the Ocean Club is no arena, simply a concrete dance floor wth a tent in the middle shading a bar (at which I spent more than I should have). Nor was the music in any way rock and roll. Nor the audience, which was filled with top guns of Boston's House Music scene, including Christophe Muller, the owner of Underbar; Tim Poleet from RISE; several important local and Providence DJs; our best event promoters; and A-list New York DJ Rob Mirage.
The floor was in bloom with slim, long haired gals in tight short shorts, tanks, and super high heels, being danced up by bronze-toned guys wearing large sneakers and T-shirts proclaiming, like a sandwich board, this or that brand or frame of mind. It was an overwhelmingly Portuguese or Brazilian crowd, a Providence crowd, a Therapy crowd-- and so was the music.
When I arrived, at 3 PM, NYC's Miss Jennifer's set had already ended (apologies from me on this), but Lisbon's Carlos Manaca (pronounced "manassa") had just begun what became a full two-hour set. Manaca is known to House Nation from his collaboration with Madrid's Chus & Ceballos on their classic "The Strong Rhythm." His own work, however --"I've been doing this for 25 years," he told me -- is important in itself. He plays softish, delicious tribal in the manner established by himself and the other inventors of Lisbon House Music in the 1990s.
At Ocean Club -- so far as I know, his first ever Boston performance -- Manaca began funky. Using a laptop program and four Pioneer CD players, he opened with loud low-register beats at a slow tempo -- very typical of what you'll hear at Therapy. Puckishly it shoved you into the dance and held your attention. Manaca then lightened his sound with jazz-like riffs and whimsy vocals, and then with seductive pressure builds: whence he delved his music deeper and deeper into the airy delirium that is samba, the beat of Rio di Janeiro. Samba is an altogether more prickly drum rhythm, tonally skinny compared to the electrified throb of Lisbon "tribal"; yet at Ocean club, bounced off hundreds of soft bodies, Manaca's programmic samba felt full of flesh. You could almost taste its meat, and the subtlety of Manaca's mixes invited your tongue to do so. Indeed, he made it look easy to satisfy his dancers' appetites -- and mine.
Boston's own DJ Deka followed. As always, he who has rapidly become Boston's most inspired, and accomplished, house music producer, used no laptop program at all, just Pioneer players, and his music sounded as old school as his instruments. Usually, Deka plays what he calls "hard tribal, New York style," but at the Ocean Club, after beginning in that vein, he moved his sound in a direction I've never heard from him: fierce sampled vocals --lots of them, including Lula's classic "The DJ, The Music, and Me"-- miked up front; rhythm riffs with a cutting, almost industrial edge; tribal beats that sounded more African than either New York City or Lisbon ( think 1973's "Soul Makossa"). Then came still more vocal distortions, furiously repeated, almost like 1969 psychedelics in their revereb and feedback -- the rhythm tracks too. The violence of Deka's psychedelia and the hard edge of his sound lost him some of the Ocean Club dancers. Deka noticed, and responded. In the last ten minutes he opened up his sound to a softer reverb and a more seductive rhythm texture, as if to bless his dancers with a sweet calm after shocking them with a stinging storm. (Myself, I liked the stinging storm best, but I understand why Deka shifted ground.)
Chus & Ceballos were to be the headline DJs, but I was unable to stay to see their set. I did, however, catch the DJ team that preceded them, Mind Control, who are Peter Bailey and Richie Santana. Technically and musically they perfomed almost completely the opposite of Deka. They used no Pioneer turntables at all, only two laptops with mixboards attached to each. Playing their two laptop programs, they tweaked directly into the program, fuzzing the rhythm in mesmerizing ways and shifting the tone, position, and angle of the vocals, so that these singers sounded like trapeze performers swooping down into and up out of the music, or like pilots doing barrel rolls at an air show. Bailey and Santana play almost identically, two hands of one mind in total control (to coin a phrase) of the action-- and action it was, all dazzle and delight and all of it presented perfectly in rhythm, a kind of 1997 David Moirales diva-style mix gussied up to trick one's mind's eye even as it seduced one's feet.
posted on facebooks by DeeDee at August 2, 2010 - 10:19am
I LOVE HOUSE MUSIK BEACH PARTY
DJs DO IT at I LOVE HOUSE MUSIK BEACH PARTY
Yesterday at 10:19am
Never until yesterday's "I LOVE HOUSE MUSIK BEACH PARTY" had I experienced House Music outdoors in Boston. So there we were, all 500 of us --later on, 800 -- at the Ocean Club in Quincy, overlooking the Boston skyine -- and the planes making approach to Logan airport -- with the bay on two sides and stacks of sound speakers in front, like one sees at an arena-rock show. Exdept that the Ocean Club is no arena, simply a concrete dance floor wth a tent in the middle shading a bar (at which I spent more than I should have). Nor was the music in any way rock and roll. Nor the audience, which was filled with top guns of Boston's House Music scene, including Christophe Muller, the owner of Underbar; Tim Poleet from RISE; several important local and Providence DJs; our best event promoters; and A-list New York DJ Rob Mirage.
The floor was in bloom with slim, long haired gals in tight short shorts, tanks, and super high heels, being danced up by bronze-toned guys wearing large sneakers and T-shirts proclaiming, like a sandwich board, this or that brand or frame of mind. It was an overwhelmingly Portuguese or Brazilian crowd, a Providence crowd, a Therapy crowd-- and so was the music.
When I arrived, at 3 PM, NYC's Miss Jennifer's set had already ended (apologies from me on this), but Lisbon's Carlos Manaca (pronounced "manassa") had just begun what became a full two-hour set. Manaca is known to House Nation from his collaboration with Madrid's Chus & Ceballos on their classic "The Strong Rhythm." His own work, however --"I've been doing this for 25 years," he told me -- is important in itself. He plays softish, delicious tribal in the manner established by himself and the other inventors of Lisbon House Music in the 1990s.
At Ocean Club -- so far as I know, his first ever Boston performance -- Manaca began funky. Using a laptop program and four Pioneer CD players, he opened with loud low-register beats at a slow tempo -- very typical of what you'll hear at Therapy. Puckishly it shoved you into the dance and held your attention. Manaca then lightened his sound with jazz-like riffs and whimsy vocals, and then with seductive pressure builds: whence he delved his music deeper and deeper into the airy delirium that is samba, the beat of Rio di Janeiro. Samba is an altogether more prickly drum rhythm, tonally skinny compared to the electrified throb of Lisbon "tribal"; yet at Ocean club, bounced off hundreds of soft bodies, Manaca's programmic samba felt full of flesh. You could almost taste its meat, and the subtlety of Manaca's mixes invited your tongue to do so. Indeed, he made it look easy to satisfy his dancers' appetites -- and mine.
Boston's own DJ Deka followed. As always, he who has rapidly become Boston's most inspired, and accomplished, house music producer, used no laptop program at all, just Pioneer players, and his music sounded as old school as his instruments. Usually, Deka plays what he calls "hard tribal, New York style," but at the Ocean Club, after beginning in that vein, he moved his sound in a direction I've never heard from him: fierce sampled vocals --lots of them, including Lula's classic "The DJ, The Music, and Me"-- miked up front; rhythm riffs with a cutting, almost industrial edge; tribal beats that sounded more African than either New York City or Lisbon ( think 1973's "Soul Makossa"). Then came still more vocal distortions, furiously repeated, almost like 1969 psychedelics in their revereb and feedback -- the rhythm tracks too. The violence of Deka's psychedelia and the hard edge of his sound lost him some of the Ocean Club dancers. Deka noticed, and responded. In the last ten minutes he opened up his sound to a softer reverb and a more seductive rhythm texture, as if to bless his dancers with a sweet calm after shocking them with a stinging storm. (Myself, I liked the stinging storm best, but I understand why Deka shifted ground.)
Chus & Ceballos were to be the headline DJs, but I was unable to stay to see their set. I did, however, catch the DJ team that preceded them, Mind Control, who are Peter Bailey and Richie Santana. Technically and musically they perfomed almost completely the opposite of Deka. They used no Pioneer turntables at all, only two laptops with mixboards attached to each. Playing their two laptop programs, they tweaked directly into the program, fuzzing the rhythm in mesmerizing ways and shifting the tone, position, and angle of the vocals, so that these singers sounded like trapeze performers swooping down into and up out of the music, or like pilots doing barrel rolls at an air show. Bailey and Santana play almost identically, two hands of one mind in total control (to coin a phrase) of the action-- and action it was, all dazzle and delight and all of it presented perfectly in rhythm, a kind of 1997 David Moirales diva-style mix gussied up to trick one's mind's eye even as it seduced one's feet.
posted on facebooks by DeeDee at August 2, 2010 - 10:19am
Wednesday, July 28, 2010
I LOVE HOUSE MUSIK BEACH PARTY, Quincy, Us - The DJ List | TDJL
I LOVE HOUSE MUSIK BEACH PARTY, Quincy, Us - The DJ List | TDJL
LAST MINUTE TICKETS STILL AVAILABLE IF YOU HURRY IT UP ;) ONLY $25 RIGHT NOW AT http://sundaysoceanclub-Ma 12 Noon - 1am BIGGEST PARTY OF THE SUMMER ..as it was last year ;) ** CHUS+CEBALLOS MIND CONTROL DEKA CARLOS MANACA MISS JENNIFER ** IF YOU NEED HARD TICKETS THERE ARE A VERY FEW LEFT. CONTACT ME ASAP & LET ME KNOW!! DON'T WAIT TO BUY ONE AT THE DOOR, THEY'LL BE EXPENSIVE. MANDY 508-942-3685 KrocodileTearz@gmail.com |
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