WHEN: Thursday, May 22nd, 2008
-- 9PM till 3AM

WHERE: Republic Night Club
- 958 Granville Street
- For info on the venue - CLICK HERE!
- 19+ venue, 2 pieces of ID required for entry

FIRST UP...

TREASURE FINGERS, Atlanta – www.myspace.com/treasurefingers / www.treasurefingers.com
Electro / Funk / Disco / FOOL’S GOLD

With over 10 years of international DJ’ing experience killing dancefloors from Russia to Australia and everywhere in between, Ashley Jones aka. Treasure Fingers is no stranger to rocking parties. A well-versed producer and an accomplished musician, Treasure Fingers has his lustrous hand in multiple genres. He is also part of the drum and bass trio, EVOL INTENT, who are widely considered the #1 US producers in their respective genre. While most would rest easy on the success of one genre, TF does not sleep. Operating out of his home base of Atlanta, he produces music endlessly in between touring, dabbling in hip hop, electro, idm, downtempo, and more.

The talented Mr. Fingers’ major break in to the electro scene came by way of his catchy remix of Snowden’s ‘Anti Anti’ for Jade Tree Records. The success of this remix led to remixes for other artists including one for Romanthony, the writer and vocalist behind Daft Punk’s mega-hit “One More Time”. All the while he has continued to produce banging original tunes such as “Cross the Dancefloor”, which caught the ear of A-Trak and Nick Catchdubs, landing him a spot on the Fool's Gold Records roster.

Coming from an incredibly varied musical background, ranging from dirty south hip hop to electronic experimental music (and everything in between), his broad tastes reflect in his tracks. The clean production style, laced with unique funky basslines and quirky synths, makes for lively, yet intricate melodies. His tunes widely appeal to fans of the grittiest electro, to ones of the more disco infused dancerock breed. Packing enough diversity to satisfy just about anyone, it doesn’t matter if the word ‘grill’ makes you think of barbeques or shiny mouths, Treasure Fingers will make you shake that ass.

SECOND...

KILL THE NOISE, New York – www.myspace.com/killnoisekill / www.killnoisekill.com
Electro House – to listen to a set from Kill the Noise, CLICK HERE!

In a time when the internet and dancefloors around the world are saturated with all types of artists and performers, it’s difficult for emerging names to carve out their own niche in the scene and have their sound heard by the masses. However, the dynamic production force known as Kill the Noise has done just that in the small amount of time since their introduction to the electro/house scene just before the turn of the new year.

Upon further inspection, the origin of this unique and refined sound is apparent. The project emerges from the same studio of NY-based avant garde drum & bass front runner Ewun, as well as the brand new, highly regarded mash-up/IDM project Ludachrist. The minds behind these projects are no strangers to the electronic music scene, having already traveled the globe in various other successful musical endeavors.

Tight production, creative, original, and innovative ideas begin to describe the sound Kill The Noise is known for. While some compositions growl with angry, distorted synth lines and glitchy sample edits, others lean towards the more playful, funkier side with addictive melodic hooks and lyrics, complimenting additional productions of the more techno-inspired realm of pumping side-chained beats and infectious rhythms.

This sound has resonated throughout the blogosphere and indie/ electronic dance communities, and has been embraced by both old and new generations of artists and enthusiasts. Commanding attention from its listeners, Kill The Noise has earned support from a diverse selection of notable players in the global electronic dance music community. Names such as Chromeo, Ocelot, Franki Chan of Iheartcomix, LA Riots, Scion Automotive Company, Treasure Fingers, Klever, Craze, Contagious Musiq, and Juxtapoz Magazine, just to name a few - not to mention the plethora of music blogs all over the world who have helped to spread the growing reputation of KTN. Whether it is an original composition or remix, the music stands out from the pack as something special to both the average and avid listeners.

2008 is already shaping up to be huge for Kill The Noise with a truckload of new material in the pipelines including various remixes and a debut EP of original material entitled "KILL KILL KILL". All in addition to a growing list of high-profile performances. Kill The Noise is on a mission to prove it’s name to be true... Kill the noise, kill the production, kill the scene, and become the most influential production outfit on the block.

AND LAST BUT NOT LEAST...

DATAROCK, Norway - www.myspace.com/datarock / www.datarockmusic.com

Many moons ago, atop one of seven mountains surrounding a picturesque Norwegian countryside, two scruffy-faced individuals – Fredrik Saroea and the man known simply as Ket-Ill – made a pact to alter the face of contemporary music as we know it by single-handedly transforming themselves into what they called the peak of pop evolution.

A big undertaking, but somebody had to do it.

Already home to indie-pop luminaries like the Kings of Convenience, Röyksopp, Annie, Ralph Myerz, and Even Johansen of Magnet, Bergen’s southwest coast would be a fertile proving ground for their exploits, but far be it from Fredrik and Ket-Ill to sit back and let the buzz come to them. DIY punk rockers by nature, but heavily influenced by the distinctive style and stage presence of groups like Talking Heads and Devo, the boys decided to ditch the thrash guitars in favor of the simple yet versatile Casio MT-64 keyboard and a Roland Groovebox. Toss in matching red track suits, a penchant for Transformers and John Hughes flicks, and two pairs of vintage Porsche wraparound sunglasses and you’ve got a little something called Datarock.

“In Norwegian, you would call a computer a “data machine,’” Saroea explains. “So in the beginning, Datarock was making fun all the rock people that thought electronic music was simply computer-generated music. But in English, “data” means information, which is even more appropriate because Datarock is essentially the product of 30 years of the information society. But for some reason, we’re constantly going back to the years between 1977 and 1982.

In December of 2000, Fredrik and Ket-Ill made their debut performance at Annie’s monthly club night, “Pop Till You Drop,”¯ setting off a high-energy disco inferno fuelled by sparse electro-rock rhythms and infectious pop guitar hooks. Their low-fi live shows soon became the stuff of legend, attracting guest performers from all corners of the Bergen scene, from Amulet drummer Jonas Thire and avant-jazz saxophonist Kjetil MĆøster to members of Purified in Blood and Norwegian Black Metal band Enslaved. Sophisticated multimedia shows soon followed, along with regular accompaniment by a traditional men’s choir. Then there was the gig with a modern theatre group that performed aerobics on stage. Not to be confused with the show that featured a full high school marching band. That one was different.

After releasing a split 10-inch on local label Tell Records, Fredrik and Ket-Ill decided it was time to up the ante. In 2002, the pair recorded a handful of new songs, burned them onto 400 hand-painted, three-inch CD’s, and distributed them through ten different countries. In 2003, they found themselves playing the main stage at Barcelona’s SĆ³nar Festival.

With the release of the “Computer Camp Love”¯ EP later that year, Fredrick and Ket-Ill finally hit their stride. A stomping call-and-response, the track pays homage to Revenge of the Nerds, Grease’s famous “Summer Nights,” and the archetypal Commodore 64, all in the span of 180 seconds. It’s this hyper jubilant, rapid fire reminiscing of 80’s entertainment culture that would come to define Datarock’s sound and vision.

“Someone once said that Datarock is taking the piss at everyone,”¯ says Saroea, whose videos are equally in tune with the band’s retro aesthetic. “But I don’t think he meant it as negative. I think Datarock is having fun with a lot of different concepts of humankind.”

In a brilliant show of foresight – and possibly a bit of obsessive compulsivity – Fredrik and Ket-Ill did what any young aspiring professionals would do upon recognizing the rapid growth of their empire, they formed a label on which to release their material. This label, in yet another display of innovation, was dubbed Young Aspiring Professionals. Datarock has since played over 300 shows in 16 different countries, including 15,000+ at the Good Vibrations Festival in Sydney and 10,000+ screaming maniacs at the Meredith Music Festival near Melbourne.

Their first full-length CD, Datarock Datarock, takes the feel-good vibe of “Computer Camp Love,” turns it up to 11, and blasts a power chord of throwback nostalgia that’ll knock you straight out of your Reebok Pumps. Love letters to Laurie Anderson (“Laurie”¯) and references to Close Encounters of the Third Kind (“Princess”¯) are just the tip of the iceberg. The album’s infectious first single, “Fa Fa Fa,” pairs up dance-rock drums with funk-strummed guitars and a chorus that’ll have you jonesing for the nearest copy of Talking Heads 77. “Ugly Primadonna,ā” meanwhile, is pure four/four Groovebox robotics and space age Casiotone melodies. On “I Will Always Remember You”¯ (featuring Annie), Fredrik does his best Wayne Newton, verbally undressing you with his velvety pipes over a bed of freeze-dried strings before formally “sexing you down”¯ on “Sex Me Up.”¯ But more so than any other track on the album, the opening “Bulldozer”¯ perhaps best encapsulates the band’s true modus operandi. Whereas Kraftwerk glorified the Trans-Europe Express and the Tour de France, Datarock prefer to sing the praises of a more proletarian method of transportation: the BMX. Which, according to the Fredrik and Ket-Ill, “is better than sex.”

By the time you read this, Datarock will have put the finishing touches on their newest song; a little ditty entitled “Molly.”¯ Which begs the question: Can one become the peak of pop evolution by cleverly and respectfully mining the vaults of our most beloved generation? If you happen to be two scruffy-faced, young aspiring professionals from the seaside town of Bergen, then the answer is yes.

With supporting sets by:
TREVOR RISK, MATTY C & KRAIG

And upstairs on the Patio Sound Lounge…
DANA D & ERNOLD SANE

TICKETS:
- First 100 x $15
- $20 thereafter

Available at:
- Beastreet
- www.clubzone.com/twisted

Click Here for Guest List