Disco Kisses
What: Disco Kisses
When: -
Where: Lounge 3411 (3411 MacArthur Boulevard, Oakland, CA)
Minimum Age: 21+
Type: Indoor - Club
Web Site: Click Here
Promoters: Cable Recordings
Genres: House
| Tickets | Buy Tickets |
|---|
dj mes (Guesthouse Music)
http://www.djmes.com/
Switchblade (House Nation 99.7 fm / Dead Funk - SF)
http://www.soundcloud.com/deadfunk1
DJ 138 (Midnight Sons, Cable Recordings)
http://www.soundcloud.com/dj-0138
Justin Johnson (Cable Recordings, Southern Vice Recordings, Cylon Dub Receptor)
http://www.djjustinjohnson.com/
http://www.soundcloud.com/djjustinjohnson
Saturday, November 30, 2013
It's a super funky disco celebration and a great way to burn off pumpkin pie, share funny family photos, and make new friends.
Lounge 3411 - 3411 MacArthur Blvd @ 35th Ave, Oakland
9PM - 2AM | No cover! | Drink specials before 10
______________________________________________________
[[DJ Mes]]
www.guesthousemusic.com
http://soundcloud.com/dj-mes
https://www.facebook.com/DJMesOfficial
Bay-Area bred DJ Mes (Jason Sutton) rarely slows his groove. Since the 2004 inception of his Oakland-based label, Guesthouse Music, Mes has produced a prolific catalog of bass-heavy tracks that have scorched dance floors amid the ebb and flow of electronic music. As a DJ, his sets have inspired; as a producer, his montage of disco-dredged beats meld bump with rhythm and bass to create hot buzz in front of and beyond the speakers. In 2011, Traxsource honored Mes with the top spot on a list of 100 best house tracks of 2011 following the release of the bumpy Chicago-sound behind “Fools Gold” (Cajual Recordings). Mes’ career dates back to the mid-1990s, when the future producer took early influence from the likes DJ Dan (Funky Techno Tribe) and Tony Hewitt (Tango Recordings). Some two decades later, it would be DJ Dan who would join the talent ranks of Guesthouse Music, Mes’ genre-defying imprint that earned him notoriety beyond numerous festival appearances, club residencies, and as co-founder of Daddy’s Records (1996). Unlike previous endeavors, Guesthouse bloomed as a personal and creative project inspired by the underground house community that embraced the sound in the U.S. and overseas. While Mes continued releasing tracks on acclaimed labels such as Nettwerk, Black Cherry, Magnetic, and Flapjack, it was his own Guesthouse Music that set the pace, releasing 150 EPs—including 40 vinyl releases—since its inception. Mes’ ear for talent led to the unveiling of some of the most successful names in underground house, including breakout artists of 2011, J Paul Getto, who scaled the charts of Traxsource with “Need More Music” and “Paris Fried Chicken” Boundary-bending producers, such as Gramphonedzie, and classic acts, such as Cosy Creatures and The Sound Republic, exploded onto the scene under Mes’ own A&R moxie. Even while he introduced new DJs and producers to audiences, he continued creating his own body of boompty sounds. While Mes looks ahead for talent, he creatively nods to sounds that inspired him to slide behind the decks more than 16 years ago. In 2011, Mes followed up his seminal “Fools Gold” release (Cajual Recordings) with a second EP, “Town Business.” “Love Affair,” a rework of First Choice’s classic “Love Thang,” climbed the underground charts alongside a remix of Two Ton’s Of Fun classic, “I Got the Feeling.” Even while maintaining a regular touring schedule throughout the U.S. and Europe, Mes continues partnering with the some of the scene’s most lauded producers, such as DJ Sneak and his own greatest influence, DJ Dan. In December 2011, Mes and Guesthouse created another piece of house music history by releasing their 100th track, “3000” (J Paul Getto). For Mes, it marks the beginning of another phase of underground house evolution. Adds Mes: “I’m always working to sign new or undiscovered music and talent to the label, and maybe even throw a curve ball to startle people with a new, unexpected style or sound. It’s what it’s all about.”
[[SwitchBlade]]
http://www.soundcloud.com/deadfunk1
“Ghetto Superstar DJ” SwitchBlade, has been taking Northern California’s EDM scene by storm, killing dance floors nationwide with his energetic performances! SwitchBlade is a resident DJ for House Nation on Now 99.7FM and is one half of the duo Dead Funk which are smashing out hits on such labels like Guest House Music, Fogbank Recordings and Chicken Fried Disco to name a few and can be found on beatport, traxsource, iTunes and many other online sites!! SwitchBlade has shared stages with superstar producers Felix Da Housecat, Joey Beltram, DJ Dan and Donald Glaude to name a few. If you have not experienced the slashes of SwitchBlade, then you won’t want to miss out on his DJ set! From his crazy House and Techno track selection, to his flawless cuts, SwitchBlade’s sets are as insane and twisted as the madness that hides behind his dark glasses!
[[DJ 138]]
http://www.soundcloud.com/dj-0138
https://www.facebook.com/pages/DJ-138/103878536366963
Originally hailing from the Washington DC area, DJ 138 has been playing dance music since late 1999. Starting off learning the ropes with the broad spectrum that is the House genre, this entity swiftly fell in love with a thing called a "breakbeat", and while DJ 138 never lost it's love for the four on the floor style, the breakbeat became it's favorite muse. Drum&Bass, Breaks, Downtempo - if it's got a broken beat, DJ 138 will exploit it.
[[Justin Johnson]]
http://soundcloud.com/djjustinjohnson
http://www.facebook.com/deejayjustinjohnson
DJ and producer Justin Johnson has been rocking the dance floors of North America for over twenty-five years, and his eclectic mix of Funky Breaks blended with House Music and Tech House has made him a favorite at countless raves, clubs, radio shows, and special events. His influences come from all aspects of music, and he always brings the funk with him. His mix tape and CD series has been applauded for his flawless mixing skills, unique track selection, and excellent programming. Justin's production skills only add to his talent arsenal, as shown on his four record labels (Cable Recordings, Cylon Dub Receptor, Southern Vice and Barely Legal Records) and his remixes for Velcro City Records, Made Records, Mutate, Beyond Zilla, Blunted Funk, Knob, and Quartz Lock.
Justin originally began DJing in 1985 on his high school radio station (KSRH 88.1 FM), but got his first taste of being selector when he was three years old when his dad let him pick out songs for his radio show (KUMD Duluth, MN). Heavily influenced and raised on artists like Yello, Soft Cell, Depeche Mode, Giorgio Moroder, Cabaret Voltaire, The Psychedelic Furs, The Clash, Michigan & Smiley, Mad Professor, B.B. King, Buddy Guy, Bod Diddley, James Brown, B.T. Express, Curtis Mayfield, Afrika Bambaataa, and Egyptian Lover all kept his musical tastes diverse. It was Kraftwerk’s album “Radioactivity” that really pulled him in further to Electronica, but it was Frankie Bones’ “BonesBreaks Vol. 3” that made him turn the corner into a full fledged obsession with House and Breaks.
In the early 90s the rave and club scene in San Francisco was exploding with parties from promoters like Funky Tekno Tribe, Stompy, and the Wicked Crew, and he would find himself at events like “Boogie Buffet” at 1015 Folsom on Sunday Mornings grooving out to the sounds of Mark Farina, Spun, and good friend John Howard. Inspired further, he teamed up with Sean Murray and DJ John Mac as a founding member of the earlier Renegade Sound System parties and they threw the first “4:20” party at the Marin Headlands.
After several years of sharpening his mixing and crowd-rocking skills at full moon parties, one-offs, and house parties, he decided it was time to break out, and so he made a move to New York City to see if he could conquer the Big Apple. Within a year of being in the north east, his shoulder was tapped by Scotty Marz, the founding father of Kingsize USA promotions, to become part of the crew and a resident DJ at the weekly Bounce parties as well as at their one-off events. One year later he had built up such a solid reputation that he was recruited by Scott Richmond and Jonathan Kadish (aka Mr. Kleen) to work at the world famous Satellite Records in New York City. Justin quickly made a massive impact in the store and became the Breaks buyer and the stock manager for all three stores (Boston, NYC, Atlanta). Satellite offered the opporutunity to not only be on the cutting edge of new sounds and producers, but also to be able to help cultivate the sounds of other DJs like Danny Tenaglia, Roger Sanchez, Erick Morillo, DJ Icey, Adam Freeland, DJ Dan, Dave Dresden, Thomas Bangalter (Daft Punk), Todd Terry, John Creamer and Stephane K, Christian Smith, Deep Dish, Freq Nasty, Tommie Sunshine, and just about any other taste maker in the industry. After years of consistently rocking the north east in renowned venues like The Limelight, The Tunnel, The Roxy, Roseland Ballroom, and Irving Plaza, he became known as the “King of Breaks” in NYC, and an appearance at a massive NYC festival (6th Element) was so impressive that it even caught the ears of The New York Times.
Ready to take his career to the next level, he connected with local Breakbeat producer Gruv 42 and made the track “Lazer Blast”, which was licensed to San Francisco’s DJ Liquid mix compilation “Electroacidfunk2” (making the West Coast/ East Coast connection complete). Justin would make two more tracks for Gruv 42’s label Don’t Panic Records - “Cranberry Breaks” and then another with Satellite Records coworker John Selway for the Acid Breakbeat anthem “Supernatural”.
In 1999 he started up his own Breakbeat label called Barely Legal Records and the first release featured the A-side track “All the Ho’s” by Scotty Marz, while the B-side had a collaboration of Justin Johnson and KMH called “Dai-Lo”. This would be the first in a series of ongoing Breakbeat hits that continues today.
In 2001, Justin and Satellite coworker DJ 3PO launched a brand new label from the depths of the lower east side called Cable Recordings. At the time, Chris and Justin were the two most senior employees at Satellite Records and were roommates in a Brooklyn loft near Bushwick. Their mission was to connect all the sounds that they loved into their own sound. Their first offering “Stolen” was influenced by their surroundings, their peers, their DJ gigs, and their love for bangin' house music. They took the dirtiness of the subways, the grime of the sidewalks, and the magnificence of the skyscrapers and turned them into a menacing Tribal House stormer, which embodied the sound of the dance floors of New York City at that time. The B-Side featured an amazing remix from long time friend and collaborator John Selway whose progressive Tribal Techno sound had already taken the world by storm. Indeed, it was Selway's remix that helped bring the spotlight to Cable by the track being licensed to mix compilations on Fabric (Slam), Ultra (Taylor), and Moonshine (Dave Aude), as well as being featured in an episode of Showtime's 'Queer As Folk'.
http://www.djmes.com/
Switchblade (House Nation 99.7 fm / Dead Funk - SF)
http://www.soundcloud.com/
DJ 138 (Midnight Sons, Cable Recordings)
http://www.soundcloud.com/
Justin Johnson (Cable Recordings, Southern Vice Recordings, Cylon Dub Receptor)
http://
http://www.soundcloud.com/
Saturday, November 30, 2013
It's a super funky disco celebration and a great way to burn off pumpkin pie, share funny family photos, and make new friends.
Lounge 3411 - 3411 MacArthur Blvd @ 35th Ave, Oakland
9PM - 2AM | No cover! | Drink specials before 10
__________________________
[[DJ Mes]]
www.guesthousemusic.com
http://soundcloud.com/
[[SwitchBlade]]
http://www.soundcloud.com/
[[DJ 138]]
http://www.soundcloud.com/
[[Justin Johnson]]
http://soundcloud.com/
Justin originally began DJing in 1985 on his high school radio station (KSRH 88.1 FM), but got his first taste of being selector when he was three years old when his dad let him pick out songs for his radio show (KUMD Duluth, MN). Heavily influenced and raised on artists like Yello, Soft Cell, Depeche Mode, Giorgio Moroder, Cabaret Voltaire, The Psychedelic Furs, The Clash, Michigan & Smiley, Mad Professor, B.B. King, Buddy Guy, Bod Diddley, James Brown, B.T. Express, Curtis Mayfield, Afrika Bambaataa, and Egyptian Lover all kept his musical tastes diverse. It was Kraftwerk’s album “Radioactivity” that really pulled him in further to Electronica, but it was Frankie Bones’ “BonesBreaks Vol. 3” that made him turn the corner into a full fledged obsession with House and Breaks.
In the early 90s the rave and club scene in San Francisco was exploding with parties from promoters like Funky Tekno Tribe, Stompy, and the Wicked Crew, and he would find himself at events like “Boogie Buffet” at 1015 Folsom on Sunday Mornings grooving out to the sounds of Mark Farina, Spun, and good friend John Howard. Inspired further, he teamed up with Sean Murray and DJ John Mac as a founding member of the earlier Renegade Sound System parties and they threw the first “4:20” party at the Marin Headlands.
After several years of sharpening his mixing and crowd-rocking skills at full moon parties, one-offs, and house parties, he decided it was time to break out, and so he made a move to New York City to see if he could conquer the Big Apple. Within a year of being in the north east, his shoulder was tapped by Scotty Marz, the founding father of Kingsize USA promotions, to become part of the crew and a resident DJ at the weekly Bounce parties as well as at their one-off events. One year later he had built up such a solid reputation that he was recruited by Scott Richmond and Jonathan Kadish (aka Mr. Kleen) to work at the world famous Satellite Records in New York City. Justin quickly made a massive impact in the store and became the Breaks buyer and the stock manager for all three stores (Boston, NYC, Atlanta). Satellite offered the opporutunity to not only be on the cutting edge of new sounds and producers, but also to be able to help cultivate the sounds of other DJs like Danny Tenaglia, Roger Sanchez, Erick Morillo, DJ Icey, Adam Freeland, DJ Dan, Dave Dresden, Thomas Bangalter (Daft Punk), Todd Terry, John Creamer and Stephane K, Christian Smith, Deep Dish, Freq Nasty, Tommie Sunshine, and just about any other taste maker in the industry. After years of consistently rocking the north east in renowned venues like The Limelight, The Tunnel, The Roxy, Roseland Ballroom, and Irving Plaza, he became known as the “King of Breaks” in NYC, and an appearance at a massive NYC festival (6th Element) was so impressive that it even caught the ears of The New York Times.
Ready to take his career to the next level, he connected with local Breakbeat producer Gruv 42 and made the track “Lazer Blast”, which was licensed to San Francisco’s DJ Liquid mix compilation “Electroacidfunk2” (making the West Coast/ East Coast connection complete). Justin would make two more tracks for Gruv 42’s label Don’t Panic Records - “Cranberry Breaks” and then another with Satellite Records coworker John Selway for the Acid Breakbeat anthem “Supernatural”.
In 1999 he started up his own Breakbeat label called Barely Legal Records and the first release featured the A-side track “All the Ho’s” by Scotty Marz, while the B-side had a collaboration of Justin Johnson and KMH called “Dai-Lo”. This would be the first in a series of ongoing Breakbeat hits that continues today.
In 2001, Justin and Satellite coworker DJ 3PO launched a brand new label from the depths of the lower east side called Cable Recordings. At the time, Chris and Justin were the two most senior employees at Satellite Records and were roommates in a Brooklyn loft near Bushwick. Their mission was to connect all the sounds that they loved into their own sound. Their first offering “Stolen” was influenced by their surroundings, their peers, their DJ gigs, and their love for bangin' house music. They took the dirtiness of the subways, the grime of the sidewalks, and the magnificence of the skyscrapers and turned them into a menacing Tribal House stormer, which embodied the sound of the dance floors of New York City at that time. The B-Side featured an amazing remix from long time friend and collaborator John Selway whose progressive Tribal Techno sound had already taken the world by storm. Indeed, it was Selway's remix that helped bring the spotlight to Cable by the track being licensed to mix compilations on Fabric (Slam), Ultra (Taylor), and Moonshine (Dave Aude), as well as being featured in an episode of Showtime's 'Queer As Folk'.
