Q'n'A Interview with Scorb by Kalan Bird December 27 2010... Enjoy!!



Please state your full name:

Ady Connor, but I also write under the pseudonym Yod Onsen.

Q: How old are you and how long have you been making music?

A: I am 34 and have been performing music since I was about 11. I started out on drums and percussion playing Jazz, Rock, Metal, Big Band, Orchestral and Chamber music. I've been actively producing and releasing electronic music for a smidge over 10 years.

Q: Where does the name Scorb come from?

A: I get asked this a lot. It just sprang out of nowhere really and ticked all the boxes I wanted from a name. It had to be unique and have no existing associations, I wanted it short and monosyllabic, easy to pronounce and hear with an odd number of letters for symmetry in the logo. Even though it wasn't an existing word I think it somehow conjours up something in the imagination and I still like it.

Q: Who or what influenced and helped shape your music the most?

A: Learning and performing drums and percussion turned me on to music in a huge way when I was younger and there wasn't time for much else. Whilst I loved rock music I was also into 12" dance remixes when I was about 9 or 10. Believe it or not, Disco by the Pet Shop Boys was an early influence that provoked a fascination with synths and electronic sound. I dabbled with Octomed on the Amiga as a teenager and I was already hooked on early stand alone soft synths before it became possible to make electronic music completely in the box.
I think what inspires me most is working on music with other people and checking out their ideas, inspirations and tastes. It really helps drive home the idea that there is always more to learn and always more than one way of doing things.

Q: Whats your favorite Scorb track and why?

A: Sometimes writing a track can be beautifully painless and the track seems to unfold naturally before you. Almost like you are witnessing it's creation rather than acting as the guiding hand. It's these ones that I can still enjoy listening to if I hear them again. A lot of the time though, there are so many tweaks and problem solving sessions during production that it's hard to appreciate what it was you originally liked about a track, at least for a considerable number of months after you complete work on it. During the production process, sounds that need attention are what I train my ears to listen for and I find it very hard if not impossible to come out of this mode when listening to my own music. I try to spend most studio time in getting the musicality and arrangement of a track right. The longer the production takes after this point, the less likely that I will enjoy listening to it again for a long time.
I guess some tracks that I like are because I was happy with the production (The Ploy), other tracks because of the musical ideas in them (Sol Invictus) and others from the reaction they get on the dancefloor (Still Raving). Some I like just the titles (Jack the Kipper, Spilling Mistake) hehe!

Q: What software do you use to produce your music? Do you use hardware at all?

A: I use Ableton Live exclusively for producing and have done since about 2004. I find that it's one of the fastest and most inspirational sequencers to use, particularly for dance music. I rarely use any hardware. I am used to using computers from when I was a full time graphic designer, so getting creative ideas out using just software is something I am very comfortable with. Occasionally I'll use some sounds from the Virus or JP8000 if I'm in someone else's studio, but I've been making music exclusively inside the box since it was barely possible to do so. My studio at home consists of just a pair of monitors, a table to put my laptop on and a lot of acoustic treatment. Oh, and a chair! There's something quite liberating about having your entire studio in a backpack!


Q: What other projects are you currently working on?

A: At the moment we are putting the finishing tweaks to the Prism album "Freedom 35" which should be out in the Spring of 2011 on Trick Music. Prism is myself and Arnaud Levasseur (aka Concept) and we are excited by how the album has shaped up. Arnaud has also been very busy this year, setting up a Minimal House label with Samy Guediche (CPU) called SFX Recordings. In fact, we have put our shades on and started some cruising house tracks, which will be released shortly on SFX and Clubstream. There have been a few Squid Inc gigs recently so we've been getting more Squid Inc material together for a possible album next year. Hmm, what else… Oh yeah we have some filthy UK psy coming out in Late January, Phibian Vs Antispin - Dangerstrips EP. Not for the feint hearted.

Q: How has the psychedelic/techno music industry changed since you first started and where do you see it headed?

A: So much has changed. We are all playing on a much more level playing field, but one which is vaster than ever before. The technology and tools are available to anyone now to make music and release and promote it to a wide audience. The one thing that I've noticed more than anything is that the concept of music "ownership" has changed radically. Physical CD sales have dropped massively in the last 10 years and I think that new digital formats are a blessing as well as a curse. Why? Well, in the past a CD or vinyl was something to be treasured, released in limited edition, collectable. The music and presentation was tied up in a package that had inherent value. You could sell it to someone if and when you decided you no longer wanted it. Sometimes, if it was a limited edition, you could sell it at a vast profit even! With digital formats their are clear advantages to a physical CD (no manufacturing costs, running out of stock etc) but also you are asking people to buy something which has no inherent value. It can't be held in the hand and is worth nothing on the second hand / collectable market. Herein lies the problem. Much of the time digital stores are asking for as much (or more) money for a digital release compared to the equivalent release on CD. This smells like a rip off and I think it's putting a lot of traditional music consumers from buying into digital formats. I think that in the future we will see more artists selling tracks and exclusives through their own channels and hopefully at a more realistic price point. The digital stores are charging too much and previewing tracks in very poor quality. I'd like to see digital music prices cut by around 50% . If labels could do this it would go a long way to persuade the music stores to follow.

Q: What’s the craziest thing that’s happened to you on the road?

A: There have been a few stories, perhaps most notable was when I burst out of an Onsen (Japanese bath house) and fell off the mountain naked in Hokkaido, Japan in 2003. I would really rather not go into the details of that right now, but it's where I got my Yod Onsen alias ;)

Q: What do you see in the future for Scorb and Trick Music?

A: At the moment I am remixing some of the earlier Scorb tracks. I've started with Mutoid and 13.5 hours and am contemplating which one to go back to next. Get in touch if you have any good suggestions! I will also start work on a new Scorb album in 2011.
As for Trick Music, we have a lot of plans for the next year. We'll be working with some other great artists and focusing on developing our slower output. We're talking 134 bpm phat psychedelic goodness that will really resonate. Some of the new Orzels Machine material is doing very nicely and we may contemplate starting on an album soon. Mike Rucinski (the other half of Orzels Machine and Trick Music) is also getting ready some of his Reef Unit material for release. I'm really digging this, it's an extremely musical warm dubby vibe and I'm sure people are going to get into it.
We're a little different from many psychedelic labels in that we aren't just pushing trance. I think all musical genres benefit from a bit of cross pollination and we aim to provide cutting edge psychedelic music that takes in dub, breaks, techno and other forms as well. Anyone who has tuned into one of our podcasts will understand we are pretty eclectic in what we listen to outside of the studio. I think that if Psytrance is going to move on from the slightly overtrodden territory of the last few years then it really needs to start taking influences from outside it's own comfort zone. After being on the scene for a while it's very easy to get tired of hearing the same gated synth effect repeated ad nauseam broken up with predictably unnecessary kick fills. There's a lot of this stuff out there and it's clearly only taking it's influences from other psytrance. This is actually very limiting for the style as people feel less able to move away from the "accepted" template. When this music first appeared there were no established rules and it sprouted and evolved like crazy with fresh sounds every weekend. Now it seems it's more like the template has evolved and people stick to it pretty rigidly because it's tried and tested. This isn't necessarily an all bad thing but it is a rather paradoxical situation given that the theme of much of this music is about being futuristic and embracing individual creativity. I like stuff that stands out from the crowd, something with it's own voice and individuality that makes you want to delve deeper. It's with this in mind that we continue to develop Trick Music.

Q: What can we expect from your upcoming performance at Soma 2011 this New Years Eve?

A: Well, now's a great time for the live set. I have plenty of unreleased goodness in store including some sneaky peaks of the new Prism album, some new Phibian material plus a stack of Scorb obviously. I've had a few requests in the last year for old school Scorb sets which led me to remix Mutoid and 13.5 Hours. I may play one or both of those, let's see.
It's been five years since I was last here so it's great to be given an opportunity to let you hear what I've been up to. I look forward to seeing you on the dance floor in 2011 :)

Scorb

(English message to follow)

Salut tout le monde!

J'espere que vous avez passe un tres beau Noel! C'est maintenant le temps de penser au Jour de L'An qui arrive dans moin de 6 jours.

Au menu pour SOMA 2011: une nouvelle deco completement malade, de l'excellente musique et un decompte a minuit!

Voici le line-up:

10-12 Dj Zentrix
12-1:30 Dj Hexa-5
1:30-3 Dj Psydraulix
3-4 Kode Six (Live)
4-6 Scorb (Live)
6-7:30 Dj Br34th3
7:30-9:30 Virtual Light (Live)
9:30-12 Dj Symbolium


On a tres hate de vous voir et feter l'arrivee de 2011 ensemble!

Il reste encore des billets au coût de 30 $ au Psychonaut et sur [ www.wantickets.com. ] De plus, des billets seront disponible a la porte au cout de 40$.

L'équipe de Phonolite et Psychonaut vous souhaite de joyeuses fêtes!

------------

Greetings one and all!

We hope you had a very pleasant holiday season thus far! In less than 6 days we will be ushering in the new year at
Soma 2011 with brand new deco, excellent music and a countdown at midnight!

Lineup:

10-12 Dj Zentrix
12-1:30 Dj Hexa-5
1:30-3 Dj Psydraulix
3-4 Kode Six (Live)
4-6 Scorb (Live)
6-7:30 Dj Br34th3
7:30-9:30 Virtual Light (Live)
9:30-12 Dj Symbolium

We are looking forward to seeing you and celebrating the coming of 2011 together!

Tickets are still available at Psychonaut and on [ www.wantickets.com ] for $30 and there will tickets available at the door for $40.

Happy Holidays from Phonolite and Psychonaut!

Q'n'A Interview with Scorb by Kalan Bird December 27 2010... Enjoy!!



Please state your full name:

Ady Connor, but I also write under the pseudonym Yod Onsen.


Q: How old are you and how long have you been making music?

A: I am 34 and have been performing music since I was about 11. I started out on drums and percussion playing Jazz, Rock, Metal, Big Band, Orchestral and Chamber music. I've been actively producing and releasing electronic music for a smidge over 10 years.


Q: Where does the name Scorb come from?

A: I get asked this a lot. It just sprang out of nowhere really and ticked all the boxes I wanted from a name. It had to be unique and have no existing associations, I wanted it short and monosyllabic, easy to pronounce and hear with an odd number of letters for symmetry in the logo. Even though it wasn't an existing word I think it somehow conjours up something in the imagination and I still like it.


Q: Who or what influenced and helped shape your music the most?

A: Learning and performing drums and percussion turned me on to music in a huge way when I was younger and there wasn't time for much else. Whilst I loved rock music I was also into 12" dance remixes when I was about 9 or 10. Believe it or not, Disco by the Pet Shop Boys was an early influence that provoked a fascination with synths and electronic sound. I dabbled with Octomed on the Amiga as a teenager and I was already hooked on early stand alone soft synths before it became possible to make electronic music completely in the box.
I think what inspires me most is working on music with other people and checking out their ideas, inspirations and tastes. It really helps drive home the idea that there is always more to learn and always more than one way of doing things.


Q: Whats your favorite Scorb track and why?

A: Sometimes writing a track can be beautifully painless and the track seems to unfold naturally before you. Almost like you are witnessing it's creation rather than acting as the guiding hand. It's these ones that I can still enjoy listening to if I hear them again. A lot of the time though, there are so many tweaks and problem solving sessions during production that it's hard to appreciate what it was you originally liked about a track, at least for a considerable number of months after you complete work on it. During the production process, sounds that need attention are what I train my ears to listen for and I find it very hard if not impossible to come out of this mode when listening to my own music. I try to spend most studio time in getting the musicality and arrangement of a track right. The longer the production takes after this point, the less likely that I will enjoy listening to it again for a long time.
I guess some tracks that I like are because I was happy with the production (The Ploy), other tracks because of the musical ideas in them (Sol Invictus) and others from the reaction they get on the dancefloor (Still Raving). Some I like just the titles (Jack the Kipper, Spilling Mistake) hehe!


Q: What software do you use to produce your music? Do you use hardware at all?

A: I use Ableton Live exclusively for producing and have done since about 2004. I find that it's one of the fastest and most inspirational sequencers to use, particularly for dance music. I rarely use any hardware. I am used to using computers from when I was a full time graphic designer, so getting creative ideas out using just software is something I am very comfortable with. Occasionally I'll use some sounds from the Virus or JP8000 if I'm in someone else's studio, but I've been making music exclusively inside the box since it was barely possible to do so. My studio at home consists of just a pair of monitors, a table to put my laptop on and a lot of acoustic treatment. Oh, and a chair! There's something quite liberating about having your entire studio in a backpack!


Q: What other projects are you currently working on?

A: At the moment we are putting the finishing tweaks to the Prism album "Freedom 35" which should be out in the Spring of 2011 on Trick Music. Prism is myself and Arnaud Levasseur (aka Concept) and we are excited by how the album has shaped up. Arnaud has also been very busy this year, setting up a Minimal House label with Samy Guediche (CPU) called SFX Recordings. In fact, we have put our shades on and started some cruising house tracks, which will be released shortly on SFX and Clubstream. There have been a few Squid Inc gigs recently so we've been getting more Squid Inc material together for a possible album next year. Hmm, what else… Oh yeah we have some filthy UK psy coming out in Late January, Phibian Vs Antispin - Dangerstrips EP. Not for the feint hearted.


Q: How has the psychedelic/techno music industry changed since you first started and where do you see it headed?

A: So much has changed. We are all playing on a much more level playing field, but one which is vaster than ever before. The technology and tools are available to anyone now to make music and release and promote it to a wide audience. The one thing that I've noticed more than anything is that the concept of music "ownership" has changed radically. Physical CD sales have dropped massively in the last 10 years and I think that new digital formats are a blessing as well as a curse. Why? Well, in the past a CD or vinyl was something to be treasured, released in limited edition, collectable. The music and presentation was tied up in a package that had inherent value. You could sell it to someone if and when you decided you no longer wanted it. Sometimes, if it was a limited edition, you could sell it at a vast profit even! With digital formats their are clear advantages to a physical CD (no manufacturing costs, running out of stock etc) but also you are asking people to buy something which has no inherent value. It can't be held in the hand and is worth nothing on the second hand / collectable market. Herein lies the problem. Much of the time digital stores are asking for as much (or more) money for a digital release compared to the equivalent release on CD. This smells like a rip off and I think it's putting a lot of traditional music consumers from buying into digital formats. I think that in the future we will see more artists selling tracks and exclusives through their own channels and hopefully at a more realistic price point. The digital stores are charging too much and previewing tracks in very poor quality. I'd like to see digital music prices cut by around 50% . If labels could do this it would go a long way to persuade the music stores to follow.


Q: What’s the craziest thing that’s happened to you on the road?

A: There have been a few stories, perhaps most notable was when I burst out of an Onsen (Japanese bath house) and fell off the mountain naked in Hokkaido, Japan in 2003. I would really rather not go into the details of that right now, but it's where I got my Yod Onsen alias ;)


Q: What do you see in the future for Scorb and Trick Music?

A: At the moment I am remixing some of the earlier Scorb tracks. I've started with Mutoid and 13.5 hours and am contemplating which one to go back to next. Get in touch if you have any good suggestions! I will also start work on a new Scorb album in 2011.
As for Trick Music, we have a lot of plans for the next year. We'll be working with some other great artists and focusing on developing our slower output. We're talking 134 bpm phat psychedelic goodness that will really resonate. Some of the new Orzels Machine material is doing very nicely and we may contemplate starting on an album soon. Mike Rucinski (the other half of Orzels Machine and Trick Music) is also getting ready some of his Reef Unit material for release. I'm really digging this, it's an extremely musical warm dubby vibe and I'm sure people are going to get into it.
We're a little different from many psychedelic labels in that we aren't just pushing trance. I think all musical genres benefit from a bit of cross pollination and we aim to provide cutting edge psychedelic music that takes in dub, breaks, techno and other forms as well. Anyone who has tuned into one of our podcasts will understand we are pretty eclectic in what we listen to outside of the studio. I think that if Psytrance is going to move on from the slightly overtrodden territory of the last few years then it really needs to start taking influences from outside it's own comfort zone. After being on the scene for a while it's very easy to get tired of hearing the same gated synth effect repeated ad nauseam broken up with predictably unnecessary kick fills. There's a lot of this stuff out there and it's clearly only taking it's influences from other psytrance. This is actually very limiting for the style as people feel less able to move away from the "accepted" template. When this music first appeared there were no established rules and it sprouted and evolved like crazy with fresh sounds every weekend. Now it seems it's more like the template has evolved and people stick to it pretty rigidly because it's tried and tested. This isn't necessarily an all bad thing but it is a rather paradoxical situation given that the theme of much of this music is about being futuristic and embracing individual creativity. I like stuff that stands out from the crowd, something with it's own voice and individuality that makes you want to delve deeper. It's with this in mind that we continue to develop Trick Music.


Q: What can we expect from your upcoming performance at Soma 2011 this New Years Eve?

A: Well, now's a great time for the live set. I have plenty of unreleased goodness in store including some sneaky peaks of the new Prism album, some new Phibian material plus a stack of Scorb obviously. I've had a few requests in the last year for old school Scorb sets which led me to remix Mutoid and 13.5 Hours. I may play one or both of those, let's see.
It's been five years since I was last here so it's great to be given an opportunity to let you hear what I've been up to. I look forward to seeing you on the dance floor in 2011 :)

Scorb

nice.. a real article! .. muy fantastico!!

Well we've just been given access to a second room and setup. No dj's are confirmed yet but I would be curious to put it to a public vote to see what you guys would like to see/hear. Alot of djs are already booked in other events but I'm sure there's still a bunch of AMAZING ACTS that would love to come rock out with us on New Years. Now's your chance! Lets hear whats on your mind! -K

This was a great party, I wish I could have stayed longer and heard a few more sets! A really big props to everyone coming out and supporting local talent and even bigger PROPS to the promoters for going balls to the wall with the live concept! See you all at SOMA 2011 !!! -K

On a side note.. after reading all the comments and facts posted about the 3810 St Patrick room over the past few months I will be avoiding it like the plague. Ive always felt sick after being there and now its clear that that room is not only EXCESSIVELY NOXIOUS for our health but renting it and paying to party there encourages some of the worst scum on the earth. RIP 3810 St Patrick.

I had alot of fun working the door.. kudos to everyone for all the hard work and I'll see you all soon at SOMA 2011!!!

Some of Starfields crazy deco!! I hear she has a bunch of brand new pieces ready for Soma.. Combined with what Digital Garden has up their sleeve I think this ones going to be off the charts!

Seb

no.

don't you work at steves?

Word

Mbox is a fairly ordinary soundcard (absolute crap considering the price) and the only valid reason for buying one is if you absolutely must run protools. Not to mention half the price you pay for an mbox is for the bundled protools software.

On a side note the forthcoming avid mbox cards are a bit better and the new protools 9 will work with any sound card...only took em 9 versions to figure out they were losing ground because of their proprietary policies. go avid!.. wan wan wan wan.

bacon is the new mustache

fireface 400: $1329
fireface uc: $1329
fireface 800: $1679

the babyface is coming soon for $739 .. hopefully before the holidays.

Just a friendly reminder thats there 2 days left for 20$ tickets!!!
They shall be 30$ for the month of December.

The tickets are available online @ [ wantickets.com ]
[ www.wantickets.com ]
You may call the store Psychonaut @ 514-844-8998 if you want to save the service charge. You can pay with any major credit card. We are open from 12:00 am too 19:00 everyday.
Thank you and Happy new year :)


Un petit mot pour vous dire quil reste 2 jour pour des billet a 20$.
Il seront 30$ pour le mois de Decembre.

Les billets de Soma sont disponible online @ [ wantickets.com ]
[ www.wantickets.com ]
Vous pouver appeler la boutique Psychonaut aux 514-844-8998 pour sauver les frais de wantickets. Vous pouver payer par carte de credit.
Nous some ouvert toute les jours de 12:00 a 19:00
Merci et bonne année:)

-Team Soma

The firebox has been discontinued for a little over a year now, replaced by the firestudio mobile that is more expensive and should run you around $359 give or take. For $200 you can go for m-audio fast track pro that has more options or the presonus audiobox usb that has less options but better hardware. There is the new motu microbook for about $249 thats pretty sweet aswell, not as high quality as the rest of their line but still a fantastic card for the price. Maybe try buying something used, kijiji/cragslist, you'll get more bang for your buck.

Albert Lamorisse's "The Red Balloon"
There was a book illustrated with scenes from the movie.

argh. too late.

a pregnotaur?
[ www.urbandictionary.com ]

BADASS!!

It's great promo in a tightly knit community and its always a bonus having an established crew vouch for your talent. Way to go guys!

=)

We're definitely on the same page.

I see a lot of "live" acts do both. (space bar and or add elements into their tracks) To me it doesn't take away from the experience, I get to see the artist, possibly meet the artist, hear fresh material no dj on earth has and like you said.. often times in better quality or different states of production than if djs had it. Perhaps even on a broader scale collectivly influence the direction the music takes before its selected by a record label and released to the djs and masses.

The Live environment is what the future of our music is based on.

Enjoying yourself while you perform is important however subjective, some people enjoy a beer while watching the pretty ladies dance, some perfer to interact with the crowd, others like their heads buried in the more technical elements. To some its simply a testing ground used to perfect the music before its released. It's all very personal, open to interpretation and guess what? Your invited along for the ride.

A lot of what we're discussing depends on what angle your being judged from aswell.. are we there to please the hardcore tribal dancers, the elitist tech snobs, the hipster socialites, the jaded, the rich, the poor, the fans who love our shit, the promoter who booked us or maybe even just a healthy mix of all these elements. All these elements affect the potential and eventual outcome of our chosen paths.

I see a lot of artists doing their best and taking a lot of flak from people who more often than not don't have a full or clear perspective on the finer elements. Lets communicate.. talk to your local live act provider, ask some questions and maybe we can work this one out together.

While we're on the subject, one other thing that comes to mind is the integrity of the promoters who book us. Not once in over 6 of performing "live" has a promoter inquired about my approach beforehand. I've herd all sorts of gonzo shit after the fact, but not once has anyone asked me to integrate anything specific into my performance.

Interesting conversation here, many interesting points. I think it really comes down to whats important to the artist.

From my perspective at this stage, having quality releasable material is paramount. I spend hundreds of hours working on and tweaking tracks so that they may be released. Some could argue that we release tracks as promotional material for the "live" performance but at the frequency and conditions most of us perform our music is it really worth throwing down even more time to make our sets more "live" than they are already?

In the live environment, I add pads, samples, cuts, loads of effects and more often than not I feel that it takes away somewhat from the original intention of the track, because if I wanted it to sound like that.. I would have produced it that way in the first place. I could spend more time making the tracks more "Live" but then again in the long run is it worth it? Lets be real, Would I play out more? probably not. Would I get paid more for my time? Probably not. Would the promoter rent me the gear I would require without literally choking, telling me to fuck off and booking someone wayy cheaper? probably not. Would the promoter pay me more if I brought and used my own gear? probably not. Would the promoter replace my damaged gear if anything happened to it at the party? probably not. Would you the consumer pay more to see me play? probably not ..And the list goes on and on...

So where is the advantage? Feed my own ego running around shooting down my peers telling everyone how much better I am cuz my sets really LIVE and how every other acts are FAKE by my pseudo elitist standards? If you must rely on this comment to get bookings.. you probably should try making better music. (You know who you are) At the end of the day good music is good music and I think that's what people want to hear regardless of how its performed.

If I'm wrong I whole heartedly invite any promoter to contact me about performing a 100% true live, I double dare you to pay me what its worth for me to do it. -K


p.s. Mike I'll trade you my Remote Zero mk1 and $50

SCORB - Trick Music UK

Considered to be one of the most consistent and original artists on the psychedelic trance scene, Scorb aka Yod Onsen has been releasing music for over eight years. The eponymous debut album released on Ambivalent records in 2003 gained him international attention and a slew of releases on international labels have affirmed his position as a leading producer on the scene. Tight arrangements, infectious hooks and a phat low end typify the Scorb sound and the 2007 album "Ipso Fvcto" released on Trick music received rave reviews the world over.

In addition to Scorb, Yod has a number of side projects; The bone crunching psy-tech of RAM with Lek Black (NRS), The dark progressive leanings of Squid Inc. with Deviant Species' Santos De Castro, pHibian; Yod's new hard techpsy project, Orzels Machine, a technobreakz outfit with Mike Rucinski and Prism with Arnaud Levasseur aka Concept! Things are looking tasty for 2009 with the releases of TRKCD002 "ABRA MACABRE", Orzels Machine and Squid Inc EPs and the Prism Album "Freedom 35"!

As if that weren't enough, Yod is also a graphic designer, performing art and design duties for a number of labels, Including Ambivalent, LPS (Last Possible Solution) and Trick. to the left is a selection of CD covers designed by Yod.

Myspace: [ www.myspace.com ]

Phonolite and Psychonaut Present:

SOMA 2011

New Years Celebration !!, Célébration du Jour de L’an !!

31st Dec 2010

Montreal, Canada

LIVE ACTS:
SCORB (Live) - Trick Music, UK
KODE SIX (Live) - Phonolite, Vision.co.uk, Biomechanix
VIRTUAL LIGHT (Live) - Prism Code, [ [ Geomagnetic.tv ] ]

DJ’S:
Br34th3 - Phonolite, Nexus-Media.co.za
Hexa5 - Prism Code, Timecode.co.za
Psydraulix - Creature Prod, Prism Code
Symbolium - Beyond Logic, Vibromassacre
Zentrix [Digital Garden]

Vj’s :
Mikiram
Khalil

DECO:
Starfield (Organix - Vancouver)
Venus of Digital Garden
Phonolite and Friends



BILLETS/TICKETS :
Nov: $20
Dec: $30
Door/Porte: $40

DISPONIBE AU/AVAILABLE @ :

Online:
[ [ [ www.wantickets.com ] ] ]

Montreal:
Psychonaut
154 Prince Arthur E
tel: 514-844-8998

Laurentians:
Chanvre Du Nord
38 De Martigny E.
St Jerome Qc.
tel: 450-565-5305


LOCATION/LIEU:
Theatre Sans Fil
411, avenue Letourneux, Montreal

corner Notre Dame, 2 streets east of Pie IX
coin Notre Dame a 2 coins de rue a l'est de PieIX

INFOLINE:
514-573-6089

[ rave.ca ] Calendar link: [ www.rave.ca ]

Add yourselves on Facebook!
[ www.facebook.com ]

wally is less than 3? ..wtf

My most sincere condolences to you and your family.

Sidechained crashride:

check the link I sent you... 1:48 - 2:00
and again from 2:19 - 2:30

apply sparingly, it loses its effect if over-used.

OVERALLS!!!!!!

sidechained crashride.

maybe some more playful elements...


awesome tune.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!+1

all hail the return of Niji :P

Lucious Jackson
"Deep Shag"

I feel small when i am next to you
I feel big when i forget you
Why do you make me feel so small?

I'm draggin in your deep shag
What I become,What i become
I'm in your deep shag
Stuck in rags
What I become,what I become

Believe me I am teething when my eyes are full of feeling
I forget my personality
My hellraising days
They seem so sweet
And I'm always telling you
Lies to hide the truth inside
The poems I become
The minute I succumb to your embrace


.../LOLWUT?

After scouring around on the web for a bit.. this is the only info I could find..
I'm sure I've still go the flyer somewhere in a box but can't be bothered to dig for it...

Frankie Knuckles DJs at the Cream '97 party Sunday, Aug. 31 with DJ David Morales and many other locals. Also Daft Punk, Dubmatique, Bran Van 3000. At Stade du Maurier, Jarry Park. $30 at the door. Info: 723-CREW.

There were 3 rooms at this one.. two indoor (bands/techno-house) and a "chillout" in the outdoor tennis stadium..

Yes .. it was awesome.

...read more what? /..you copy pasted the whole text..
anyways.. R.I.P

awesome!!.. thanks :)