technoboard.at Kalender

Kalendereintrag

Clubfusion/W (öffentliches Ereignis)

ibi	Datum des Ereignisses: 6. 8. 2004 endet 31-December 05 (Wiederkehrendes Ereignis)
*Clubfusion*
LineUP	Velasquez Mike Lorenz Sonic Klaus Phan.Thomas u.v.m
Specials/Infos	- 22 Uhr - www.clubfusion.at
Entry	€ 10.-
Styles	House
Location	Babenberger Passage Burgring Ecke Babenbergerstrasse 1010 Wien
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges
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Tribute Club/W (öffentliches Ereignis)

CiELO	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*Tribute Club*
LineUP	The African Beat LIVE (Achtköpfige Conga-Combo, Karwan Haus / Caritas) Nebula (Terraformer Inc) Tristan (Terraformer Inc) pro-Former (Terraformer Inc) Nick_knat-derTon (ComBass) CiELO (ComBass) c_h_e (Visuals, Percussion/ ComBass)
Specials/Infos
Entry	€ 3,-
Styles	Breaks, Drum&Bass
Location	Cabaret Renz Zirkusgasse 50 1020 Wien
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges	TRIBUTE CLUB @ CABARET RENZ Kapitel 1- JETZT ERST RECHT..ens Renz jetzt offiziell geöffnet… „Was sind meine Wurzeln, wo komme ich her?“ – Die Zeit, sich ab und zu mit diesen essentiellen Fragen auseinanderzusetzen, fehlt oft in unserer heutigen „Hi-Speed-Gesellschaft“. Auch in der heutigen Partykultur ist eine gewisse Oberflächlichkeit eingezogen -- was „betäubt“, wird akzeptiert – die Individualität wird vernachlässigt und bleibt auf der Strecke… Der „Tribute Club“ besinnt sich auf die Wurzeln einer allgemein gültigen musikalischen und körperlichen Ausdrucksform: Breakbeats und Tanz. Die Anerkennung einer kollektiven Rhythmik und die daraus entstehende Interaktion zwischen DJ und Crowd werden zelebriert und somit wieder das Wesentliche betont.
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Boogie Pimps@Moulin Rouge/W (öffentliches Ereignis)

mdex	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*Boogie Pimps @ Moulin Rouge*
LineUP	Boogie Pimps (D) DJ Mosaken (A) Decks Cracks (A)
Specials/Infos
Entry	€ 10,-
Styles
Location	Moulin Rouge Walfischgasse 11 1010 Wien
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges	Am 20. Mai ist es nun endlich soweit die Boogie Pimps machen einen kurzen Stopp in Wien beim Mash Club bevor es für sie 3 Monate lang nach Ibiza in ihren Resident Club Es Paradis geht!! Sie werden exklusiv beim Mash Club ihr neues House Set präsentieren welches unter anderem ihren neuen Remix für Milk & Sugar "What is Love" beinhalten wird. Natürlich darf auch ihre Top Ten Hit Single aus dem Jahr 2003 "Somebody to Love" nicht fehlen!!
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Singles&Swingers/W (öffentliches Ereignis)

Techno Base	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*Singles & Swingers*
LineUP	Don Pedro Patrick Pulsinger Umberto Gollini Aid Abu Taleb
Specials/Infos	- Start: 22:00 - 22:00 - 23:00 She 6,- Euro, He 9,- Euro - Hourly randomdating onstage: your chance to score! - unbeatable tombola drawing by Mr. Herb "the host" - Realtime porn karaoke at the Raunchy Redlight Lounge: Pure embarrassement guaranteed! - Free aphrodisiac welcome drink! - Free shuttle service from ickemicke k/haus to fledermaus almost all-night-long!
Entry	€ 10,-
Styles	Electronic
Location	Fledermaus Spiegelgasse 2 1010 Wien
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges	LESSON 2: lost in love with somebody you dont know yet Wie gehabt erhalten alle Besucher Nummernbons für die stündliche Randomdating® Show: Regelmässige Auslosungen ermöglichen ungezwungenes Kennenlernen im Rampenlicht - your very personal 15" minutes of fame - ganz zu Schweigen von den unglaublichen Gewinnen und der delikaten musikalischen Besetzung. 100% emotainment & cheap thrills. Dress smart and show your assets!
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Andrew Weatherall/W (öffentliches Ereignis)

Chriskeepsdiggin...	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*Andrew Weatherall (Two Lone Swordsmen)*
LineUP	Andrew Weatherall (Two Lone Swordsmen/Sabre Sonic/Sabres of Paradise/Warp Rec./Fabric London UK) Tibcurl (Icke Micke) Baumann (Icke Micke)
Specials/Infos
Entry	k.A
Styles
Location	Künstlerhaus - Passage Karlsplatz 5 1010 Wien
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges	Kleines Interview mit ANDREW WEATHERALL (WINDSOR, 1963) “There was some music played when I was young, by my parents in my formative years. It was quite… looking back on it, it was quite inspirational, like the first time I ever heard Barry White. That was probably when I was about ten or eleven years old. My parents had this album called ‘Stone Gon’’ which is still one of my favourites. But in general, it was a little bit middle of the road. They had classic early seventies tastes, Neil Diamond, that sort of thing, which never really got me. I think most of my musical discoveries I made entirely myself. The biggest inspiration on me was probably when I was ten or eleven, I saw a trailer on TV for ‘That’ll Be the Day’, the David Essex film about rock ‘n’ roll and working on a fairground. It was the first time I realised there was this mystical world. It wasn’t just about the music, it was the clothes as well. I think that’s the moment I felt a tingle. The first two records I ever bought were T-Rex and Wizzard. And then when punk rock came along, that really scared them, you know, I wasn’t allowed to have punk records in the house, wasn’t allowed to have ‘Never Mind the Bollocks’. That was smuggled in, I hid it under my bed! So you know, the parents were lovely people but they weren’t…there was no real…I don’t know where my musical…where it came from, I mean apart from just saying when you’re eleven or twelve years old, it’s very formative in all areas of your life and when you see shots of Teddy Boys and rock ‘n’ roll artists at that age, it turns your world upside down. Then the other thing was the David Bowie album ‘Pin Ups’. It had a brilliant picture of him on the back, in a blue suit with an eye patch and, you know, when you’re living in the suburbs… It wasn’t a horrible childhood but it was a little bit boring. And you see stuff like that and it makes you realise there’s a whole other life, it opens up worlds, not just musically, but facts and literature and everything… Teddy Boys, David Bowie, glam rock… I found it all off my own back. I didn’t have a mentor, or anyone that I looked up to or whose musical tastes I admired. I’m always looking and the search is sometimes more interesting than the actual finding of people’s music, or making the discovery.” YOU WEREN’T GETTING INTO CURRENT THINGS, BY GOING TO SEE A GIG OR HEARING A BAND ON THE RADIO OR SEEING SOMETHING ON TELLY. “No. And it wasn’t just the music either. It was the whole package, the whole pop package. It was the look, you know, it was kind of… I don’t know if you can think about glamour when you’re eleven or twelve years old, but I kind of did. To me, the music and the fashion, the music and the clothes were always together. Lots of bands I didn’t like – whose music I didn’t mind but the way they looked was rubbish - I kind of dismissed them. (laughs) Call me shallow, but it was just that introduction at an early age to the combination of music and clothes being able to shock people, especially with punk rock. In sort of lower-middle class suburbia, it really was like someone had let the devil out of the box, and the whole of civilization was gonna come crashing down. But to me, it was just great, short songs about girls, drugs, and hating everything like you do when you’re twelve, thirteen, fourteen. And that’s always been the package I’ve looked for in any sort of music.” WHAT WERE YOUR VERY FIRST PROJECTS? WHEN DID MUSIC STOP BEING A HOBBY AND START BEING A CAREER, A FULL TIME OCCUPATION? “Well, I never got to that point. It still strikes me as a hobby, I still feel like I’m the luckiest person around. I had knowledge, but I was also…in the early years I always seemed to be in the right place at the right time. And I know you can’t make a career on that, you gotta have something to back it up. But when I started, it’s different than it is now. Since I started buying records I would always kind of… corral people, like ‘come round and listen to this new track’. To me, DJing in a big club always has been just an extension of that, just wanting to play music and seeing that look on someone’s face, and sharing that enjoyment of hearing something for the first time that you had when you first got that record, even if it’s only three people in a bedroom. When I first started DJing it was the classic bag of records ‘round a friend’s house…then when I started playing at Shoom I still had a plastic record case out of Woolworths, which fell apart one evening at one of their outside gigs. It was only over the last five years that I considered myself a DJ, ‘cos when I first started, I just played records. I never saw it as a career, because I dunno… I thought of it as a job, but I never thought of it as a career. When you start thinking career, you start thinking ‘game plans’, and ‘I’ve gotta be at a certain stage’, and ‘oh, why am I still doing this’ if, you know, ‘my career should be here’. I’ve never thought of it as a career.” SO WHEN YOU WERE DOING CLUBS, PROMOTING AS WELL, IT WAS MORE FOR THE SOCIAL ASPECT? “Yeah, yeah, it was just that, it was just for the love of it. It was just that I didn’t want to do anything else. I’d done every rubbish job known to mankind and all of a sudden, people wanted to come and hear me play records or come to my parties. And that’s all it ever was and all it still is. You know what I mean? Call me an underachiever but I never… I think if you start thinking of it as a career, you start thinking you’ve gotta be here at a certain time, then you start taking shortcuts and start making the wrong kind of decisions, really. For a long time I put myself down and said it wasn’t a proper job. But it is, because I do…you know, at the moment, and for the last six years, I do twelve-hour days in the studio and then drive two hours and do a gig. That’s six days a week, sometimes seven. So it’s a job, but I’ve never thought of it as a career. I think there is a big distinction between the two, really…I’ve never been interested in careers, and music, to me, was always something that was about discretion, not about careers.” WOULD YOU LIKE TO SIGNPOST ANYTHING FROM YOUR PRODUCTION PAST? A FEW THINGS THAT YOU FEEL PEOPLE SHOULD HAVE, ESPECIALLY FOR THE NEWER CONVERTS? “I think I had a stage two years back of really hating everything I did early on, ‘cos it was so naïve and I could see everything that was wrong with it. But then I was listening to some stuff the other night - I listened to some old tape when I used to play music on Kiss - and I was playing a lot of my productions. I’m actually beginning to like their naivety and roughness. It’s really weird ‘cos all my favourite music is really rough and badly played and usually badly recorded…so why shouldn’t I get the same enjoyment from my own rough, badly recorded, badly played music? You know what I mean? So yeah, I really like the My Bloody Valentine ‘Glider’ EP that I did, that’s quite a good early one. Any of the work with Primal Scream, obviously, has gotta be up there. And ‘Dexter’, the Villalobos remix on the CD, is one of my favourite things I’ve done in the last few years, ‘cos its not actually a remix. We couldn’t get the parts from him, so it’s us doing a cover version, taking a slightly different angle on things. We did it as a band, just kept playing the riffs over and over. I thought the bassline was pure Joy Division. So yeah, I’d say My Bloody Valentine, Primal Scream and then the Villalobos cover are three things people should hear to get a grip on what I do.” LABELS AND PRODUCTION IS THE NEXT ONE. OF COURSE THERE’S WARP… “Yeah, we’re on Warp, and most of our output up until the last album has been pretty electronic based. But for the last album we decided to change it. We didn’t get rid of the electronics, it’s all written electronically then recreated live in the studio. It was just…I think what we do now it’s not…a step back but everyone has said that it sounds like Sabres [of Paradise, Andrew’s previous band]. It does, but I just think…I mean, it’s still rough and ready, and still sloppy, but I just think the production and the music quality and the skill behind it… In fifteen years I’ve learned a lot. I’ve learned how to make things rough and how to make things sloppy and how to make things immediate. I’m making music now that I was trying to make fifteen years ago, and I’ve actually reached a place where I’m probably the happiest I’ve been making music since I started. But that’s not to say that I’m satisfied, I’m never satisfied. Even the stuff I really like, I can still go back and pick holes in it. But I think that’s what drives people on. If you’re satisfied and slightly happy with what you’ve done, you’d - well I know I would - get up and do something else. But the fact remains that there’s still more music to be made and there’s still so much more work to be done. It’s the same with DJing, I’m never totally happy. I can have a thousand people screaming but I can always get back home and go, ‘well that mix was a bit shit’, you know what I mean? I think the fact that I pick holes and the fact that I’m a bit of a curmudgeon, works mainly to my disadvantage (laughs), but sometimes to my advantage, you know what I mean? It was funny: for years I did have a reputation for being rather unpleasant. And I probably was. But it was just a defence mechanism. I think if you go on the attack, you’re always slightly unhappy with yourself and what you’re doing…I use my curmudgeonliness for artistic reasons now, rather than just to upset people and make girls cry.” YOU NEVER WANT TO STOP DJING? “Yeah, I do actually, usually at about six on Saturday when I’ve just got up, six in the evening, and I’ve got to get a really banging techno set together (laughs) although all I want to listen to is dub or something, or something a little more laid back. But even then it doesn’t…once I’ve passed that sort of barrier…I mean, it is hard work, but I never lose interest because if you have a good weekend DJing, you go into the studio on Monday full of really good ideas, rhythmic ideas. And you have a good week in the studio, which means you have a good week in general. It’s kind of like a train that keeps rolling, I couldn’t do one without the other. To be honest with you, the last couple of years I have thought, in the back of my mind, ‘what would happen if I gave up DJing or cut it right down?’ And then I thought ‘no, I can’t do it!’ As hard work as it is sometimes, it’s so helpful to the studio side of things to hear other people’s music, play it, kind of deconstruct it, and be blown away. You’ve gotta have that - people constantly raising the bar – and that’s what I like about playing other people’s music. When you get back to the studio in the week, you know you’ve got to exercise really high standards and high quality control. All the time, when I first started, I kind of…the quality control wasn’t all it should be. You know, I was a little bit arrogant. I was thrown into it, a young kid in the suburbs, and in a matter of months there’s these people telling you you’re the best thing since sliced bread. It can go to your head a little bit, so the quality control suffered. But as I got older and a little bit wiser, I realised I had to be on my game and not slack, and not be self-centred. I got to sit there and think ‘is what I’m doing (whether it’s playing records or making them), is it as good as what other people are doing?’ It’s a constant process of looking at yourself, whether you’re DJing or making music.” WHAT DO YOU THINK OF FABRIC? “To be honest, without sounding too cheesy, it’s one of my favourite places to play in Europe because it’s run well, everyone’s really helpful, and everyone’s got a love of music. Judy [Griffith]’s love of music is what makes the club so good. I don’t want to use the word ‘commercial’…but it is quite a commercial club, ‘cos it’s big, it has to have the commercial sensibility in the way it is run. But that never overshadows the artistic input that everyone puts into it, I mean it’s the perfect combination really, it’s good business and good artistic taste. ARE WE THE THIRD WAY? “Yeah, basically! And it’s a good blend of people that go down there, y’ know, everyone from like, sort of extreme trainspotting techno heads through to people that may have passed by and gone in on the off chance. And what you put on is just of such high quality. I mean, we get in e-mails all the time from people going ‘I just passed into Fabric to see whatever’, ‘cos they were tech house fans or something… ‘We wandered into your room… and what the fuck is that music?’ It’s a really good, open-minded crowd, listening to good music on a good system. You know, you can’t be more perfect than that, really.” THE LAST TOPIC IS ‘THE FUTURE’. WHICH, IMMINENTLY, MEANS YOU SINGING! “Yeah, can you spot the weak link in the Two Lone Swordsmen setup? (laughs) I’ve always wanted to do live stuff, but live electronic music is usually really tedious. If I see another man hunched over a laptop, there’s going to be ultra-violence, I’m telling ya! You know, there’s very little physicality in live dance music, and obviously with our last album being very live, there was no danger of it being two blokes hunched over a laptop. So we decided to get a band together, and thankfully we’ve all known each other ten or fifteen years, it’s not like I’ve booked in session musicians and played the record to them. I think what can happen if people go down the live route with live musicians, is lose the band dynamic. All they’re doing is recreating. I won’t name names, but I’ve seen certain acts and they’re good, they’re all right, but you just know exactly where...there’s no dynamic. The best groups, the best live groups…like Primal Scream, when you watch them, you think the whole thing is gonna fall apart around your ears any minute, but it never does, it always keeps you on the edge. So hopefully that’s what we’ll achieve when we play live, it’s that kind of tension that you don’t get with preset, laptop, live music. But it’s always nerve-wracking singing. I’ve not sung for twenty years. I was in bands when I was a kid but…look forward to seeing me being pushed on stage, with a big pole or something, to get me up there. Then again, that kind of nervousness and that kind of tension will hopefully contribute to the music. I get nervous and I get scared every time I’m about to play records, but I think that edge is what… I dunno, it’s what being alive is about, is it not? Once things start getting easy, I always get a little bit bored and want to do something, anything else. So hopefully, I’ll remain petrified for the entire tour, with people thinking ‘Fuck, this is gonna collapse at any minute’, and it never will. I think that’s what we’re going for.” ANYTHING ELSE TO MENTION? ANY PROJECTS? “No, not really, like I say, again, it’s back to not treating it like a career. I’m quite happy, you know, if in ten years people like you still want to take me into a bar and ask me dumb-ass questions (laughs). I’d be quite happy if people are still that interested. I find it quite flattering that people are interested. I did go through a stage of being a bit, again, a bit arrogant and I didn’t want to talk. And then I thought ‘I’m not really ashamed of my past’ and I just want to keep on doing this. Yeah, I just want to be sat around somewhere talking about myself (laughs). Enough about me, let’s talk about me! Did I say my arrogance has subsided? Oh, I’m sorry!”
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Ferry Corsten/CZ (öffentliches Ereignis)

thewulf	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*Ferry Corsten @ CZ*
LineUP	Ferry Corsten / NL
Specials/Infos	- www.techno.cz - www.ferrycorsten.com
Entry	k.A.
Styles	Trance
Location	-keine Location eingetragen-
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges
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Gayle San @ El Rubio, Neu-Ulm (öffentliches Ereignis)

fusionulm	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*Gayle San @ El Rubio, Neu-Ulm*
LineUP	FUSION WITH GAYLE SAN Freitag, 20.05.2005 \| 22:00 Uhr El Rubio, Lessingstrasse 10c 89231 Neu-Ulm / Industriegebiet Line-up: Gayle San (London) Danny Valencia (Ulm) Sven Crispy (Ulm) Contact: [email protected] More Infos: www.black-chrome.com Auch nach über zehn Jahren Techno sind weibliche DJs immer noch eine Seltenheit hinter den Tellern, die die Welt bedeuten. Gayle San ist sozusagen "made in Singapur", allerdings früh nach London gezogen. Dort arbeitete sie eine Zeit lang als Model, um später dem Techno und des DJ-Daseins zu verfallen. Eine schöne Frau, die harten Techno spielt - für viele immer noch zwei Welten, die nicht so recht zueinander passen wollen. Trotzalldem ist Gayle San schon seit über zehn Jahren dabei und zählt damit zu den Oldtimern der Branche. Aber wie das so ist mit Oldtimern, gerade mit schönen Exemplaren - sie sind beliebt und heiß begehrt.
Specials/Infos	Multicolor Laser Installations 10 KW Turbo Soundsystem
Entry	10 €
Styles	Techno
Location	-keine Location eingetragen-
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges	FUSION WITH GAYLE SAN Freitag, 20.05.2005 \| 22:00 Uhr El Rubio, Lessingstrasse 10c 89231 Neu-Ulm / Industriegebiet Line-up: Gayle San (London) Danny Valencia (Ulm) Sven Crispy (Ulm) Specials: Multicolor Laser Installations 10 KW Turbo Soundsystem Contact: [email protected] More Infos: www.black-chrome.com Auch nach über zehn Jahren Techno sind weibliche DJs immer noch eine Seltenheit hinter den Tellern, die die Welt bedeuten. Gayle San ist sozusagen "made in Singapur", allerdings früh nach London gezogen. Dort arbeitete sie eine Zeit lang als Model, um später dem Techno und des DJ-Daseins zu verfallen. Eine schöne Frau, die harten Techno spielt - für viele immer noch zwei Welten, die nicht so recht zueinander passen wollen. Trotzalldem ist Gayle San schon seit über zehn Jahren dabei und zählt damit zu den Oldtimern der Branche. Aber wie das so ist mit Oldtimern, gerade mit schönen Exemplaren - sie sind beliebt und heiß begehrt.
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5 Jears of Fat Booty/OÖ (öffentliches Ereignis)

Booty	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*5 Jears of Fat Booty*
LineUP	Techno Floor: Frank Prins (FF-Club Barcelona) Fat Booty Live! (Cosmix Cz, Stormshrimps) Absurd Mind (Cave Club) Rene P. (Cave Club) Gelectron Live! (Stormshrimps) Kid Plastic (Stormshrimps) Scut (Stormshrimps) Drum & Bass Floor: Re:Peet (dgtl42) Slap (dgtl42) Happo1 (dgtl42) Rascal MC (dgtl42)
Specials/Infos
Entry	€ 8,-
Styles	Techno, Electro, D & B...
Location	Tunnel Bockgasse 2 4020 Linz
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges	Es wäre uns ein Fest, wenn der eine oder andere von euch mit uns diesen 5. Geburtstag im Tunnel feiern würde... auf die nächsten 5 Jahre! Stormshrimps-Home
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HighEnd/OÖ (öffentliches Ereignis)

Narmak	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*HighEnd*
LineUP	Big Floor: Live - Maschinenvolk Anx (Red Sector) Kaypro (Red Sector) Iznougood (Teamtrash) Ketek (Teamtrash) Narmak (Red Sector) Little Floor: Emix (CTS) Rapha.L (Meschugge) NDL (Morphed) Critical Jules Zoo
Specials/Infos	- Start 21.30
Entry	€ 5,-
Styles	Hard- & Acidtekno - HipHop Reggae Jungle
Location	Stadtwerkstatt Kirchengasse 4 4040 Linz
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges
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Karma lounge Open Air/NÖ (öffentliches Ereignis)

Psyclanman	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*Karma lounge Open Air*
LineUP	Djr2 Professor Pelzschützer 8 Zack M.A.L.E.X. Goad
Specials/Infos	- ACHTUNG: Locationwechsel!!!! - Romantisches Lagerfeuer - Deco: cosmic signs - Progressive Club - Visuals by FadeFX & der lustige Astronaut
Entry	€ 8,-
Styles	Progressive, Goa
Location	Colours Roseggerstraße 3 8600 Bruck/Mur
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges	Location: Alland Steinbruch am Buchberg bei Tropfsteinhöle, A 21 Abfahrt Alland in Alland folow the signs Hotline 06602164466 Organizer Goaran Infos: Haben mir am Fr. die Jamaika Beach abgesagt, es werden Beschwerden durch Anrainer befürchtet (weit und breit keine Anrainer) Aussage Bezirksrätin (das Leben besteht nicht nur aus Party ) stimmt es gibt auch Afterhours.Dafür hab ich was viel besseres gefunden!!!!!!!! Daher machen wir das ganze überaschungs GEBURTSTAGSFESTL in Alland super geiler Steinbruch am Buchberg, in ALLAND folow the signs Party geht bis 9 Uhr und die Afterhour ist beim Boot, auch open air, Geburtstagsfeier von Regina!! Alles Gute!!
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Grooverider/ Stmk (öffentliches Ereignis)

pga	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*Grooverider*
LineUP	Grooverider (Prototype, BBC 1xtra, London/ UK) MC Beardyman (the Gobfathers, London/ UK) Markoman (illegalkru/ SLO) Illinoise (luv/ Graz) SlickDevlan (disko404/ Leoben) Zeck (disko404/ Graz)
Specials/Infos
Entry	€ 10
Styles
Location	Postgarage Dreihackengasse 42 8020 Graz
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges	Grooverider ist Pate einer ganzen Generation von Breakbeat-, Jungle- und Drum´n Bass Headz. 1987 lernte er seinen Partner Fabio beim Piratensender "Phaze One" im Londoner Brixton kennen und begann mit ihm Hip Hop Beats aufzulegen. Wenig später, als mit einem großen Bang die Acid House Welle startete, hatten Grooverider & Fabio ihre erste Residenz im Brixtoner Underground Club "Mendoza". Als House – DJ´s der ersten Stunde rockten sie bald auch die frühen Raves an den irrwitzigsten Orten der Stadt. Roger Bingham alias Grooverider begann schon Ende der 80er mit Breakbeats zu experimentieren. Zu dieser Zeit eröffnete er seinen ersten eigenen "Club im Club", das mittlerweile zum historischen Ort erklärte "Rage at Heaven". Hier kam die Creme der Djs zum Jam zusammen und fand auch Goldie seinen musikalischen Weg. Im Rage trennten sich die musikalischen Disziplinen Breakbeat, Techno und House- der Keim der Jungle Bewegung entstand- die ersten Drum´n Bass Beats füllten die Tanzfläche. 1993 nahm er seine ersten Tracks unter dem Pseudonym "Codename John" auf seinem eigenen Label "Prototype" auf. Er widmete sich mehr den Hardstep – Varianten von Drum´n Bass und releaste unter anderem auch Tracks von Ed Rush, Photek und Dillinja. 1996 veröffentlichte er die erfolgreiche Compilation "The Prototype Years" , 1998 folgte sein Solo Debüt auf Longplayer, "Mysteries of Funk" . Als Remixer arbeitete Grooverider unter anderem für Herbie Hankock, 808 State oder Björk. http://www.grooverider.com http://www.postgarage.at Doors open: 22h/ Admission AK: Euro 10 Ermäßigter VVK um Euro 8 für Megacard Besitzer/ Bank Austria - Ca Online Reservierungen Euro 8 unter [email protected] bis zu 24 h vor Beginn der Veranstaltung
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House Candi/K (öffentliches Ereignis)

naoma	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*House Candi*
LineUP	DJ nrg@ Roberto Manolo DJ Trimat
Specials/Infos	- live didgeridoo (didge triggers)
Entry	k.A.
Styles	House
Location	Clingkeller Lederergasse 15 9500 Villach
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges
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electric boogie/D (öffentliches Ereignis)

prisonchris	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*electric boogie*
LineUP	Main floor: Arthur Hyde (www.teknosushi.com) The row (teknosushi rec., OrangeIIred) Bojan Hozjan (teknosushi rec.) Bernd Berger (Resident, www.dj-kleinberger.de) Ballroom: Mike S. Cobar & Jürgen D. (on 4 decks & 2 mixers) live percussion, congas & sax by Aynu (stuttgart)
Specials/Infos
Entry	€ 9,-
Styles	Tech-House, Techno, House
Location	Club Sonic Bahnhofstraße 10 94447 Plattling
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges
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[20.05.2005] TALLA 2XLC in MÜNCHEN!!! (öffentliches Ereignis)

electric delicat...	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*„Technoclub Frankfurt meets Electric Delicate” Talla 2XLC , Dany Holm*
LineUP	TALLA 2XLC, DANY HOLM
Specials/Infos
Entry
Styles
Location	Nachtwerk Club - Electric Delicate Landsbergerstraße 185 80687 München
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges	Fr, 20.05.05: „Technoclub Frankfurt meets Electric Delicate” Talla 2XLC , Dany Holm Short Facts: Titel der Veranstaltung: „Technoclub Frankfurt meets Electric Delicate“ Veranstaltungsort: nachtwerk CLUB, Landsberger Straße 185, 80687 München. Veranstaltungstermin: Freitag, 20. Mai 2005, 23.00 Uhr!. Wissen, wie eine Nacht zu einem unvergesslichen Erlebnis wird - das beherrscht TALLA 2XLC seit Anfang der Achtziger perfekt. Als DJ und Producer gehört der Frankfurter jedenfalls zur Créme der Technoszene und machte sich in den vergangenen Jahren als Top-Charakter der Technokultur eine Namen. Zusammen mit „Westbam“ gehört „Talla 2XLC“ zu den Deejays der ersten Stunde. Talla startete den berühmten „Sound of Frankfurt“ und seine Partys im „Technoclub“ @ Dorian Gray waren einfach legendär! Seit 1995 gehört TALLA 2XLC zu den meistgebuchten DJs der Republik , Space (Ibiza), Gatecrasher (Sheffield), Spundae (Los Angeles), the Arc (N.Y.C.) - die Liste der Events und Clubs, in denen TALLA verkehrt, ist nahezu unendlich und vom Feinsten. Unter anderem mit den Labels Tetsuo, Suck me Plasma, machte er in den Charts von sich reden. Remixe für B.B.E., Yves de Ruyter, Front 242, Praga Khan, Giorgio Moroder, Gary Numan sowie seine Membership bei Trance Allstars brachten ihm einen oberamtlichen Ruf. Mit seiner Serie Technoclub Compilation und den Mix-Battles konturierte er ein ganzes Genre. Wir schreiben das Jahr 2005, viele reden Techno und Trance tot, aber „Talla 2XLC“ beweist das Gegenteil: Mit der Reanimation seines Labels „Technoclub“ will er dieses Jahr durchstarten. Vor allem eigene Produktionen aber auch Trax seiner Friends wie z.b. dem Wahl New Yorker „Thomas Datt“ werden auf „technoclub records“ veröffentlicht. Zusammen mit seinem neuen Producerteam „room2 Productions“ sind derzeit neue wunderbare Hymnen in Arbeit, die im Laufe des Jahres international erscheinen werden. Die neue Technoclub Compilation ist seit September 2004 am Start und bricht unter dem „Technoclub Next“ zur Zeit alle Rekorde. Zeitgleich eröffnete Talla den legendären Technoclub wieder und zwar in der schönsten Frankfurt Location, dem „Cafe Royal“. Früher ein Oldschool Filmtheater, jetzt ein wunderschöner Club indem man ausgelassen feiern kann. Ausserdem kann man Talla 2XLC jede Woche live im Radio hören. Bei Deutschlands größtem Dance Sender „Sunshine Live“ präsentiert Talla immer Donnerstags von 22.00-0.00h die besten trax der internationalen Trance und Techno-Szene. Last but not least möchte „Talla“ bei seinen Gigs zeigen, dass es wieder richtig guten und innovativen Sound , weit ab von dem ganzen billigen kommerz-trash gibt. Preview Mai 2005 Sa.,21.05.05: „re:volt“ Machin Gäng LIVE/ Frank Effex / Up-STRACT / WEBSTER / Florian Hirnreit So,.22.05.05: “Cocoon Afterhour” André Galluzzi / Domenic D’Agnelli Mi.,25.05.05: „Chefsache” Achim Penker & Friends Fr., 27.05.05: “Our House” Josh Wink / Groovebaby & TINI Sa.,28.05.05: “LEADED FUEL ONLY” Chris Liebing, Brian Sanhaji LIVE, Ivo Preview Juni 2005 Sa., 04.06.05: „Gigolo Rockers” David Caretta/Mick Wills/Martin Matiske/Frank Effex Sa., 11.06.05: „Engelspost E.P. - Porn Releaseparty” Engelspost LIVE, Matthias Delay, Michael Shults, Tensing & The 5th Element Sa., 18.06.05: „EL MASSIVO” Massimo / Conflict LIVE Sa., 25.06.05: „Federation of Groove“ Toni Rios / Groovebaby www.electric-delicate.de
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Stardome/SLO (öffentliches Ereignis)

soundfreak	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*Stardome - Umek vs. Marko Nastic*
LineUP	Umek vs. Marko Nastic
Specials/Infos
Entry	VVK € 17,- SIT 3900 , AK € 19,- SIT 4500
Styles	Techno
Location	Stardome Tabor 14 1000 Ljubljana
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges
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Sasha@Flört the Club/HU (öffentliches Ereignis)

Neo	Datum des Ereignisses: 20. 5. 2005 (Einmaliges Ereignis)
*Sasha @ Flört the Club*
LineUP	Sasha Moonline Garay Dandy
Specials/Infos	- technoboard VVK (siehe unten) - http://djsasha.com - http://www.flort.hu - http://www.excession.co.uk - LIMITED TICKETS - Flört 16 th Birthday Party - Infoline: + 36 20 333 3303
Entry	k.A.
Styles	Progressive House/Trance
Location	Flört the Club Sio.u.4 8600 Siofok (Plattensee)
Distance	um die Entfernung zu berechnen bitte Postleitzahl in deinem Profil eingeben
Routenplaner	Größere Kartenansicht/Routenplaner
Flyer
sonstiges	Technoboard VVK f. Sasha @ Flört the Club am 20.05.2005 - € 31.- (= 7.800.- Ung. Forint) - KEINE VVK-Gebühr! - Auflage 25 Karten - Pro registriertem Member kann eine Karte erworben werden - Formular bis zum 18.05.2005 - 10:00 Uhr vollständig & richtig ausfüllen (Vor UND Nachname) und abschicken - darauf bzw. spät. am 18.05.2005 (12:00 Uhr Uhr) werden alle, die eine ermässigte Karte reserviert haben, per E-Mail verständigt - Die Karten müssen am Tag der Veranstaltung (20.05.2005) bis 20 Uhr an folgender Adresse abgeholt werden (ein späteres Abholen ist NICHT möglich !!!): Charley Cafe (100 Meter neben Flört the Club) Fö.u.47-53 8600 Siofok Centrum Te.: + 36 84 510525 zum VVK-Anmelde-Formular Infoline: + 36 20 333 3303 http://djsasha.com http://www.flort.hu http://www.excession.co.uk DJ SASHA There are DJs who turn up, play records and make people dance. And there are producers who make the dancefloor-igniting records those DJs will kill for. There are very few people in dance music who can do both and Sasha is the leader of the pack. Ever since he rode in on a tidal wave of adoration from the North of England's explosive early 90s club scene, that magic touch has made Alexander Coe one of the most famous, most revered DJ on the planet. It's because of what he can do with music - the way he can make good records sound better, great records sound awesome, and everything he plays into his own. The way his mixes take elements from across the spectrum of electronic dance, from trance, breaks, progressive and deep house, and create a languidly hypnotic liquid groove. The way his understanding of both melody and momentum can tease, taunt, and en-trance a dancefloor before unleashing a record that will have people not just leaping up and down but bursting with emotion. The best DJs know that Djing is first about being able to read people and then about being able to tap into that human experience and take it on a journey. Sasha has always been noted for being a master at this and it is this universal appeal that he has tapped into that has established his strong fanbase around the globe. Do not be mistaken, this kind of recognition does not happen overnight. Born and raised in a small town in Wales, Sasha was exposed to Motown records when he was just a baby and it was in the home that his talent for playing the piano was developed. His stepmother forced him to take lessons. At the time, he hated them, but after his first studio session - and this is typical Sasha - he phoned her to say thank you. His first exposure to house music was at Manchester's Hacienda; just as dance music exploded into the summer of love. One visit and the young pony-tailed Sasha was hooked. "The smoke machine, the strobe lights, everyone trance dancing, wearing bandanas and smiley T-shirts," he smiles now. "It definitely had a fuck-you attitude compared to the rest of pop music." This impact encouraged his move from Wales to Manchester. His first exploration into Djing was when a DJ in a local pub announced he was looking for people to play club dates. Sasha volunteered and now says that he 'had about 30 records and basically just blagged it'. After honing his deck technique, Sasha's first big break came when he was offered a residency at Stokes legendary club Shelly's. When all the other DJ's were playing US House, Sasha's style was much more uplifting, and he encapsulated clubbers with his mixture of piano led Italian House whilst playing acapella tracks over the top. This combination alongside a wide variety of anthems kept dancefloors full and elevated Sasha to hero status. And, lets not forget, in a world where the DJ had too often been bespectacled nerds, here the headline DJ had the looks and charm to match his growing following. In classic rock n' roll style, here was a star that boys wanted to hang out with and girls wanted to get just that little more bit close to. Shelly's was the launch pad for the residency at Renaissance, where Sasha created his niche and helped forge a new style in UK house music. At Renaissance two major things happened; Sasha mixed the first ever UK DJ mix album and he met John Digweed which cemented the partnership known as 'Northern Exposure'. Sasha and John have played together on five continents, have mixed 3 'Northern Exposure' albums which have sold to over 1 million people worldwide. This special brother like relationship that Sasha and Digweed have on the decks, is what landed them the monthly residency at New York's "Twilo", following in the footsteps of Vasquez and Tenaglia. The first DJ cover star - on Mixmag in early 1991 - the still shy DJ was freaked. "I was so used to going to places and just hanging out. Suddenly there was a stream of people coming up," he recalls. "Of course it's bound to happen. You go to Liverpool and you're the first 'pin-up' DJ and you're going to get shit. Frankly, It still weirds me out." Today he still remains shy at heart. "I'm not very good in social situations where I'm put on the spot," he says. "Like meeting new people, small talk. Just never been good with that." It's this contradiction - the coyness that Alexander Coe has when it comes to being Sasha, that's at the core of the Sasha myth. Although Sasha has clearly reached a celebrity status, it's his generous personality, his love for his peers and of course his completely candid humour that has enabled him to maintain such a likeable high profile in the often-fickle world of club culture. Sasha has gone from DJ to superstar status in America, where 'Sarsha' is a household name for many teenagers - a gruelling three month tour took their sound further out into deepest America, preaching a gospel of repetitive beats and imaginative mixing from coast to coast, and right through the mid western heartland of the States. A punishing gig-a-night schedule that must make nights like the opening of Space in Ibiza in June seem like a holiday by comparison. There followed a move back into releasing his own music, collaborating with the former Underworld mainstay, DJ Darren Emerson on 'Scorchio'. For Sasha, music is his first love, and what gives him a buzz is being able to share his music with others. Soon after 'Scorchio' came the first concrete proof of the long-awaited, debut Sasha longplayer. 'Airdrawndagger' took his nose for the dancefloor's g-spot and combined it with the ears for a heartstring strumming melody, a smile inducing hook and dirty great b-line to create a 69 minute symphony that sounds as wistfully enchanting doing the hoovering at home as it does reaching for the lasers on Saturday night. Like the best Sasha DJ set you ever heard, it has melancholy mixed with euphoria, downtempo introspection mixed with jump n' shout excitement. Across the 11 tracks, there's the time and space to reflect his love for music that rarely gets the chance to shine in clubs, whether that's punishingly gnarly breakbeats or glittering modern classical film scores. It's a symphony for all ravers that grew up but never grew out of chasing that buzz. A record of a journey that began, as so many did, in the smoke and strobes of Manchester's Hacienda nightclub and has now taken him to Midwestern stadia and around the globe. And that's an award-winning journey. The Delta Heavy Tour that consisted of Sasha, John Digweed and Johnny Van M and took in 35 gigs between March and May last year was recently awarded Best Dance Event at the Dancestar Awards 2003. It was a series of gigs that took DJing into unprecedented waters - two mammoth tour buses, visuals by the company behind hit movie 7even's intense opening credit sequence, and crowds of up to 15,000 clubbers crammed into arenas, warehouses and theatres across the United States. The success was such that Sasha and the boys will be back on the road to do it all again, bigger, better, badder come Spring next year. After a summer of dates across the globe, including sets at Homelands, Creamfields, Dance Valley, and hosting a stage in the forest of the Mount Fuji Festival, Sasha has been in the studio again, working on new plans and ideas, and most recently remixing the forthcoming UNKLE single. Expect a few surprises over the coming months, for the man simply refuses to stand still.
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Geburtstage

tini2005 (20)
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Secret (28)
hofiwan (23)

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