Believe in Vivid present
SATURDAY MAR 14


ADAM FREELAND (DJ set)
http://www.myspace.com/adamfreelandmusic

Also with...
KRAIG
SOMA
PAT LOK
CRAIG ALAN
EVAFRESH

TICKETS AVAILABLE AT:
- http://www.clubzone.com/events/Vancouver/124635/adamfreelandlive
- Beatstreet on Hastings
- Zulu Records on 4th


///////MAJOR UPDATE//////////

Unfortunately the band can not perform tonight. While this is a disappointment for us, he will be back this summer at a lower price, will still perform a dj set tonight, and we’ve arranged two options for ticket holders.

PRE-SALE TICKET HOLDERS ONLY
HAVE TWO OPTIONS:

1. Full refund at point of purchase only
or
2. Come in and have get one free drink tonight. Your ticket stub will be worth 1 free drink (non-premium) at the bar.


MESSAGE FROM ADAM FREELAND:

DUE TO UNFORSEEN CIRCUMSTANCES WE REGRET TO ANNOUNCE THAT FREELAND, THE LIVE BAND, WILL NOT BE PERFORMING LIVE IN VANCOUVER ON MARCH 14.

ADAM FREELAND WISHES TO EXTEND HIS APOLOGIES FOR ANY DISSATISFACTION CAUSED AS THIS WAS THE DEBUT LIVE SHOW PERFORMANCE FOR HIS BAND.

ADAM WILL HOWEVER BE PERFORMING AS A DJ AND HOPES TO MAKE UP FOR ANY DISAPPOINTMENT CAUSED.

WE’LL BE BACK TO BC SOON WITH THE LIVE BAND AND WANT TO THANK EVERYONE FOR UNDERSTANDING AND THEIR SUPPORT.

WE’VE UPLOADED A FREE DOWNLOAD OF FREELANDS NEW SINGLE AT WWW.ADAMFREELAND.NET FOR YOU ALL. WE ALSO WILL BE BACK IN THE SUMMER TO BRING YOU THE FULL LIVE SHOW AT A LOWER PRICE.

WITH THANKS

THE FREELAND TEAM


http://www.believeaudio.net | http://www.ph1.ca | http://www.tigerstone.tv









RED ROOM 398 Richards
11pm doors

Tickets will be available at clubzone.com, Beat Street, and Zulu Records
Myspace.com/adamfreelandmusic
believeaudio.net
ph1.ca
tigerstone.tv
redroomrichards.com


FREELAND (LIVE BAND)
Come spring 2009, iconoclastic producer/DJ Adam Freeland will release Cope, his first artist album in six years, on his own independent Marine Parade label. Like his 2003 solo album debut Now&Them and its uncompromising worldwide smash “We Want Your Soul,” Freeland’s much-anticipated latest traffics in the unexpected—electro beats banging enough to fill dancefloors, yet twisted with sounds and collaborations from uncharted waters. Indeed, Cope ultimately proves a genre-smashing, era-defining call to arms on par with Leftfield’s Leftism, Prodigy’s Fat Of The Land, Daft Punk’s Discovery and Justice’s †, defying expectations of what an electronic album should and could be.


Yes, Cope features its share of club killers, like the storming “Morning Sun”; however, instead of ye olde prog fromage, “Morning Sun” gets laced with Freeland’s raw, hard-rocking “e-drone” grooves, aided by akimbo guitars courtesy Joey Santiago (Pixies) and sinister low end courtesy Twiggy Ramirez (Marilyn Manson, Nine Inch Nails). Tracks like the driving, gritty “Borderline”—co-written with Brody Dalle of Spinnerette/Distillers, with a raw, eerie vocal by Dalle—show Freeland’s ability to blend electronic charge with artfully confessional songwriting. Likewise, “Only A Fool,” Freeland’s epic collaboration with Jerry Casale of DEVO, proves a Krautrock apocalyptica anthem for the entire family. Indeed, psychedelic drone rock redolent of Freeland’s move from his native U.K. to the California desert reverberates throughout Cope, from the swirling shoegaze of “Silent Speaking” (written and performed with Brooklyn Pitchfork faves SoundPool) to the heartwrenching, Sigur Ros-like “Mancry,” an epic modal soundscape anchored by thundering percussion courtesy Tommy Lee (yes, that Tommy Lee). Meanwhile, “Do Ya” proves totally uncategorizable—imagine DJ Shadow given a Mooged-out Krautrock retrofit by Can with Bonham sitting in on drums, and you get the idea. Co-produced by Marine Parade’s latest producer-DJ star Alex Metric (Autokratz, Locarnos, Black Daniel, Hard-Fi, Eddy Temple’s “Remixer of the Year 2007,” Annie Nightingale’s BBC alternate) and mixed primarily by Alex Greggs of South Rakkas Crew fame (Yo Majesty!, Beenie Man, and, er, N*Sync), with Cope Freeland and crew give dance music a crucially heretical wake-up call.


Most of all, while standout tracks like “Electric Valentine” and “Bring It” belie Freeland’s roots in stark electronic funk, the album overall shows him decisively soldering DJ-friendly grooves with authentic musical interplay. This hybrid is made clear in innovative rockers like “Undercontrol,” “Strange Things,” and a decidedly tweaked deconstruction of David Essex’s 1973 glam smash “Rock On,” all of which feature the haunting vocals of new discovery Kurt Baumann, frontman for the eponymous Freeland touring band. Filled with paranoiac wordplay and skewed political commentary that complements the futuristic yet dissident sonics, such songs almost tip Cope into concept-album territory—except for the fact that it never sits still long enough for any concept to take hold. In the end, Cope proves a revealing snapshot that refuses to remain in focus, a brutally vivid document of yesterday’s future today, intentionally timeless yet shocking enough to wake up today’s attention-deficit dancefloors addicted to nothing. Cope with that, motherfuckers…