Vollansicht: 3.10.2009 The Room with LEE VAN DOWSKI (cadenza)
jawohl!° das kann ja was werden...
yesss taesss, davon kannst ausgehn!
fettestes booking... überleg ich mir auch noch 
Cadenza------Pflichttermin 
!!! Yeeeeeeeaaaaar !!! das wird rocken am samstag 
mann mann... das wird ja immer besser - thx 4 the link!
nach dem Amnesia Closing wäre ja eigentlich mal Ruhe angesagt.. aber nein 
mmuuuuahaha! weiter geht´s!
mmuuuuahaha! weiter geht´s!
Yeah...Cadenza artists sind immer einen samstag abend ausflug wert!!! Freu mich schon drauf!!
super party, jungs - endlich holt den mal jemand nach wien!
...wurde auch echt schon mal zeit...
...wurde auch echt schon mal zeit...
ZITAT(curd @ 1 Oct 2009, 16:28 ) 
super party, jungs - endlich holt den mal jemand nach wien!
...wurde auch echt schon mal zeit...
...wurde auch echt schon mal zeit...
War im November 2008 eh schon im Mumokka bei einer grauenhaften VICE-Party.
hin und wieder scheint es den VICE Jungs aber zu gelingen... war letzte Woche auf der VICE Party in Amsterdam -selten so gefeiert 
!
!
QUOTE(tass @ 1 Oct 2009, 11:05 )
nach dem Amnesia Closing wäre ja eigentlich mal Ruhe angesagt.. aber nein mmuuuuahaha! weiter geht´s!
mmuuuuahaha! weiter geht´s!ähhhhhhhhhmmmmmmmmmmm?
warst du in ner Zeitkapsel?
weil das Amnesia closing ist erst in 2 Tagen (eben am 3.10.2009)
oder hast das cocoon closing gemeint???
ungenau formuliert... das cocoon closing... danach kannste abhauen von der insel
yessaaaah! Lee van Dowski @ his best!
http://soundcloud.com/r_co/lee-van-dowski-...rden-14-06-2009
http://soundcloud.com/r_co/lee-van-dowski-...rden-14-06-2009
Official CADENZA Bio:
Lee Van Dowski: The very name exudes style and intrigue—a countrylord, perhaps, who at night throws open the manor gates to host all-night bacchanals legendary for their wine and song.
And though the French-born, Geneva-based artist may not have a manor to his name, the rest isn't far off the mark. Born Renaud Lewandowski, Lee has earned a reputation as a kind of dark prince of uplifting
electronic music—a trickster who spreads his mischief via long, undulating DJ sets and bewilderingly funky releases. And he's done this in a remarkably short span of time. In 2004, he and Philippe Quenum released the well-received "Extension"/"Oregon" single for Luciano's Cadenza label; since then Lee has gone on to unleash a deluge of material on labels like Mental Groove, Bpitch Control, Memo,
Plak, Defrag Sound Processing, Mobilee, Leena, Wagon Repair, Soma (where Lee and Quenum also released their collaborative album, As Told On The Evening Of…) and still more. He's a regular fixture at some of the world's most celebrated nightclubs—Weetamix, Panorama Bar, Goa, Rex Club, D edge etc…and even more celebrated afters. And as the director of two labels—Num, alongside Quenum, and 60Sec, with Agnes—he's released dozens of records from the likes of Ripperton, Mike Shannon, Dachshund, Alex Attias and many more.
But while it's been a comparatively rapid ascent, Lee's roots go deep. His musical prehistory may be similar to many of his generation: raised on rock and hip-hop, complete with the obligatory attempt to
learn to play guitar followed by short-lived bands with schoolmates. But Lee was the beneficiary of his stepfather's eclectic musical tastes, which spanned classical, jazz, funk, rock and even musique
concrete and academic electronic music. "I was fascinated by the metallic sleeves and their geometrical designs," he remembers, suggesting a possible source for the shimmering timbres and clever
vectors of his own music.
The pieces first fell together in 1993, when a friend invited Lee to attend a rave in southern France, near where he lived. "That was the shock of my life," says Lee, echoing a sentiment that will be familiar
to many. "That was what I was looking for, without really knowing it— thousands of people dancing and sweating in the open air. An amazing soundsystem. And this never-ending kick that drives you to madness… Since that day, I've devoted my life entirely to being a part of this."
Lee got involved with the infamous Dragon Bal raves, where Miss Kittin got her start; he worked mundane jobs, saved money, bought decks and a mixer and taught himself to spin. He came to production the same way, beginning with an MPC2000, but translating the sounds in his head into its fat, blocky pads wasn't as easy as it seemed. His ambitions took Lee to Geneva, where he earned a degree in music engineering, but it may have been his next job, working in a Lausanne music shop, that really signaled his entry into the world of electronic music. "Even if the boss was a crazy guy, the shop was like a goldmine, full of gear and old analog synths, drum machines, all the recording and mixing tools you could dream of," he recalls with awe. He took advantage of his employee discount to build out his studio, and just as importantly, the shop served as a focal point for all the area's musicians. It was here that Lee would meet both Quenum and Luciano—and from there, as they say, the rest is history…
There's no single description for Lee's productions, which have proved unusually malleable in his half-decade of releases; an early interest in the skittish rhythms of labels like Warp and Skam remains evident, but reformatted for the supple grooves of deep house and classic minimal techno. His time in the Lausanne music shop clearly served him well; Lee's tracks immediately stand out for their fine sense of detail, an almost intangible shimmer. Utilizing samples, drum machines and all manner of synthesizer, Lee's music remains open to every possibility. "It's an empirical process," he says of his method. "Each
sound or loop brings me to the next one, and so on, until the moment that I feel I have all the elements I need to finish the track. Of course, there are always surprises and accidents—that's what makes the magic in writing music."
Lee's DJ sets are similarly spirited. "Technically, I like to surprise myself," he says. "I like to do a long, smooth mix, and then a radical one… It's important for me to try telling a story, so of course your technique is another way of doing that, along with the music itself. With time and with age, maybe, the tempo really decreased—I think I play a bit deeper now than five or six years ago. But I still love a
good, bouncy track if it's not too aggressive, and if the energy serves the groove instead of breaking it." Slowing down also means stretching out. "I like to play long sets," he continues, "when you don't have to rush, and you can really forget yourself and build something different."
2009 finds Lee stretching out as never before. The year began with his Free For All Crash Endeavors, released on his and Quenum's Num label, and The Variable Man (Leena), with one track featuring Lee's longtime colleague Agnes; Lee also collaborated with Anja Schneider for Mobilee's 50th release, "Deseo"/"La Roulette” which was shortly followed by "Survival Edit" One Sided On Saf Series. Further releases include the toast of techno, up-tempo “Glass Ep” dropped on Material Series. “Let's Go Bowling” is a summer jackpot, packed with the kind of dancefloor stamina to make you weak at the knees. But the year's biggest development may be Lee's return to Cadenza, the label that helped launch his career five years ago. Just like the best kind of DJ set, Cadenza knows when to switch it up and with its 36th release this year, what better way to celebrate than with a new collaboration for Lee and newcomer, Glimpse on a split EP. The only unsurprising thing about the “La Cocina Del Cabron" is how hard the track hits. Lee is now part of Cadenza Booking, a family-style roster that includes Luciano, Thomas Melchior, Petre Inspirescu, Rhadoo, Mirko Loko and many more of electronic dance music's most innovative players.
Lee Van Dowski: The very name exudes style and intrigue—a countrylord, perhaps, who at night throws open the manor gates to host all-night bacchanals legendary for their wine and song.
And though the French-born, Geneva-based artist may not have a manor to his name, the rest isn't far off the mark. Born Renaud Lewandowski, Lee has earned a reputation as a kind of dark prince of uplifting
electronic music—a trickster who spreads his mischief via long, undulating DJ sets and bewilderingly funky releases. And he's done this in a remarkably short span of time. In 2004, he and Philippe Quenum released the well-received "Extension"/"Oregon" single for Luciano's Cadenza label; since then Lee has gone on to unleash a deluge of material on labels like Mental Groove, Bpitch Control, Memo,
Plak, Defrag Sound Processing, Mobilee, Leena, Wagon Repair, Soma (where Lee and Quenum also released their collaborative album, As Told On The Evening Of…) and still more. He's a regular fixture at some of the world's most celebrated nightclubs—Weetamix, Panorama Bar, Goa, Rex Club, D edge etc…and even more celebrated afters. And as the director of two labels—Num, alongside Quenum, and 60Sec, with Agnes—he's released dozens of records from the likes of Ripperton, Mike Shannon, Dachshund, Alex Attias and many more.
But while it's been a comparatively rapid ascent, Lee's roots go deep. His musical prehistory may be similar to many of his generation: raised on rock and hip-hop, complete with the obligatory attempt to
learn to play guitar followed by short-lived bands with schoolmates. But Lee was the beneficiary of his stepfather's eclectic musical tastes, which spanned classical, jazz, funk, rock and even musique
concrete and academic electronic music. "I was fascinated by the metallic sleeves and their geometrical designs," he remembers, suggesting a possible source for the shimmering timbres and clever
vectors of his own music.
The pieces first fell together in 1993, when a friend invited Lee to attend a rave in southern France, near where he lived. "That was the shock of my life," says Lee, echoing a sentiment that will be familiar
to many. "That was what I was looking for, without really knowing it— thousands of people dancing and sweating in the open air. An amazing soundsystem. And this never-ending kick that drives you to madness… Since that day, I've devoted my life entirely to being a part of this."
Lee got involved with the infamous Dragon Bal raves, where Miss Kittin got her start; he worked mundane jobs, saved money, bought decks and a mixer and taught himself to spin. He came to production the same way, beginning with an MPC2000, but translating the sounds in his head into its fat, blocky pads wasn't as easy as it seemed. His ambitions took Lee to Geneva, where he earned a degree in music engineering, but it may have been his next job, working in a Lausanne music shop, that really signaled his entry into the world of electronic music. "Even if the boss was a crazy guy, the shop was like a goldmine, full of gear and old analog synths, drum machines, all the recording and mixing tools you could dream of," he recalls with awe. He took advantage of his employee discount to build out his studio, and just as importantly, the shop served as a focal point for all the area's musicians. It was here that Lee would meet both Quenum and Luciano—and from there, as they say, the rest is history…
There's no single description for Lee's productions, which have proved unusually malleable in his half-decade of releases; an early interest in the skittish rhythms of labels like Warp and Skam remains evident, but reformatted for the supple grooves of deep house and classic minimal techno. His time in the Lausanne music shop clearly served him well; Lee's tracks immediately stand out for their fine sense of detail, an almost intangible shimmer. Utilizing samples, drum machines and all manner of synthesizer, Lee's music remains open to every possibility. "It's an empirical process," he says of his method. "Each
sound or loop brings me to the next one, and so on, until the moment that I feel I have all the elements I need to finish the track. Of course, there are always surprises and accidents—that's what makes the magic in writing music."
Lee's DJ sets are similarly spirited. "Technically, I like to surprise myself," he says. "I like to do a long, smooth mix, and then a radical one… It's important for me to try telling a story, so of course your technique is another way of doing that, along with the music itself. With time and with age, maybe, the tempo really decreased—I think I play a bit deeper now than five or six years ago. But I still love a
good, bouncy track if it's not too aggressive, and if the energy serves the groove instead of breaking it." Slowing down also means stretching out. "I like to play long sets," he continues, "when you don't have to rush, and you can really forget yourself and build something different."
2009 finds Lee stretching out as never before. The year began with his Free For All Crash Endeavors, released on his and Quenum's Num label, and The Variable Man (Leena), with one track featuring Lee's longtime colleague Agnes; Lee also collaborated with Anja Schneider for Mobilee's 50th release, "Deseo"/"La Roulette” which was shortly followed by "Survival Edit" One Sided On Saf Series. Further releases include the toast of techno, up-tempo “Glass Ep” dropped on Material Series. “Let's Go Bowling” is a summer jackpot, packed with the kind of dancefloor stamina to make you weak at the knees. But the year's biggest development may be Lee's return to Cadenza, the label that helped launch his career five years ago. Just like the best kind of DJ set, Cadenza knows when to switch it up and with its 36th release this year, what better way to celebrate than with a new collaboration for Lee and newcomer, Glimpse on a split EP. The only unsurprising thing about the “La Cocina Del Cabron" is how hard the track hits. Lee is now part of Cadenza Booking, a family-style roster that includes Luciano, Thomas Melchior, Petre Inspirescu, Rhadoo, Mirko Loko and many more of electronic dance music's most innovative players.
Lee ist gelandet - jetzt geht´s zum essen und dann weiter! See you @ Pratersauna!
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