[v6.1] Detroit Luv :: Sat 10.8 | Temporary Autonomous Zone | JOEY BELTRAM-3HR Set!, Thomas Barnett +++

Saturday, October 8th, 2011
DPS™ ( d e t r o i t p a r a n o r m a l s o c i e t y ™)
in association with Burst LLC Sound & Lighting™ presents...

T H E
TEMPORARY
AUTONOMOUS
ZONE 2.0

f e a t u r i n g

o n - t h e - r o o f t o p :

JOEY BELTRAM
(3 HOUR SET!!!) STX, Tresor, Drumcode, +8 - Berlin, Germany. Techno

Without Joey Beltram the dance scene could not have been regarded as an innovative force, yet his output cannot be categorized very easily or be thrown into any particular sound scheme. Though he has never belonged to any particular urban scene, he has nevertheless fascinated his audience through his musical independence. Nor can he as a “non-Manhattaner”, be counted as part of the New York scene: ”...with my productions I have to have my own sound”. His tracks present what he sees, whatever is running through his mind at the time or things he has lived through and experienced in all the years as a musician and DJ: the ups and the downs, the violence and confusion and of course, the feeling. His music carries many subtle undertones...

Joey Beltram grew up in Queens, New York, the son of a Mexican father and an Italian mother. In his tough surroundings, he stood his own ground and won the necessary respect on the street with his graffiti art. As a ‘subway surfer’ he belonged to a generation of kids whose images in the New York subways show obvious traces of their “feeling for survival and life”. “Poes” is his pseudonym, which still can be found, once in a while, as the signature under some of the big, colorful graffiti works. That urge is still there, but now he uses a different outlet for his creative energies: music. Back in 1983, at the age of twelve, he stood behind a turntable for the first time, and by 17 he had recorded his first maxi single -- for Nu Groove in New York. Then followed a series of releases for Atmosphere Records and Easy Street, NY - and Trax Records in Chicago, under the project name Cold Six (“Forgotten Moments” - 1989). This “first official EP”, as he calls it, established contact for him with the Belgian label R&S Records, which ended up signing him to a recording contract.

At the end of 1989 Beltram went to Gent, Belgium as the first American musician to work there for a longer period. The result of his cooperation with Mundo Music as Second Phase was “Vortex” and “Mentasm”. “Let It Ride”, released under the project name Direct, opened his way into the US, “with a little detour through Europe”. But his worldwide breakthrough came with the release of “Energy Flash” in 1990. This Techno classic also succeeded in getting the new club generation onto dance floors in no time at all, again and again. By now a 20-year-old, the album “Beltram Vol. 1” (1991) helped to push the Techno revolution forward, and eliminated any of the early doubts that perhaps he was only a short-lived, one-hit phenomenon. This was beside the wildly popular Final Exposure group he started with Richie Hawtin on Plus 8 & many other pseudonyms he undertook. At the end of 1990 musical differences between himself and label boss Renaat resulted in a mutually agreed separation between Beltram and R&S Records. Joey then concentrated on his career as a DJ, toured all over Europe and America, and continued working in his studio, even though he allowed himself a two-year break from any new releases.

In 1992, Beltram made his comeback on Warp Records with the EP “Calibre”. Several releases followed and their success stabilized his position in the fast-moving dance scene. By 1995 he had established his long-standing relationship with Tresor Records in Berlin, releasing a succession of excellent maxi EP‘s (“Gameform“, “Instant“, “Metro“) and the now legendary, full-length album “Places“ (Tresor.078), re-released in 1998. The same year he delivered the critically-acclaimed maxi “Ball Park“ (Tresor.090) that still retains its place in most international techno DJs‘ record cases today. In 1999 Beltram founded his own label STX for which he continues to record under his own name and as JB3.

Joey returned to Tresor in '04. Starting with the stunning maxi “The Beyonder“ (Tresor.213) in the summer of 2004, he followed up with the album and winter world tour “The Rising Sun“ (Tresor.214) in October 2004: the new Beltram long-player brims with the physical power that earmarks his unique electronic style.

Fast forward a bit past some 10 more hits between 04-08, mentioning his huge Swedish Silver remix for Adam Beyer & collaboration EP with The Advent to name a few. In 2009 alone Beltram had a handful of Beatport top 10s such as his wildly popular remix of Oliver Huntemann's Shanghai Spinner. Then there was his huge vinyl releases like the Scorpion on Drumcode, Shaking Trees on Harthouse (a Raveline track of the month), and a killer remix of Abe Duque's Let's Take It Back that had rave reactions across the board including MANDY, Dave Clarke and Hell to name a few. And he has kept the innovative tracks coming since on Womb, Harthouse, Drumcode, MB Electroniks, and Bush.

There was also his run of headline slots at festivals, which in 08/09 has included Coachella, both of Italy's Play the Music Festivals, Mayday, BLOC in the UK, Hungary's Bonusz, Awakenings, Planetlove Ireland and Rockit Open Air in the Netherlands, plus club gigs from Berghain to the 10,000 capacity Fabrik in Madrid to Fabric UK's sister club matter, Ministry of Sound and numerous appearances in Germany, the US, Spain, Holland, Canada, Malta just to name a few. Check out the videos of huge festival crowds on YouTube.

What’s his secret? Continued experimentation and an unparalleled run of influential tracks. Not content to rest, Beltram has continually toured at the major festivals around the globe treating the crowds to the full force of his inspiring sets. Which brings us to 2010, this is the year STX will return in new form with a fresh sound. He is currently in the studio remixing tracks from artists such as Umek, Steve Lawler, Paul Nazca and Adam Beyer for their upcoming 2010 releases. As well, we will see some new music from Joey in February with remixes by Carl Cox, Alan Fitzpatrick and Joseph Caprioti. Beltram will continue with the festival headline slots, but an intimate club tour is planned for venues with the right sound systems....

s u p p o r t :

PARANORMAL TEK
detroit paranormal society, Detroit. techno.

KERO - LIVE PA
detroit underground, Windsor. glitch tech.

d o w n s t a i r s :

THOMAS BARNETT
Visillusion, Transmat, Poker Flat, Detroit. techno.

Few artists have gone as unrewarded and unrecognized for their contribution to the development of an infant genre as much as Thomas Barnett. As Derrick May's original partner in Rhythim is Rhythim and 50% investor of the label Transmat, Thomas was responsible for one of Detroit techno's defining moments as the co-writer/producer of the ground-breaking "Nude Photo", as well as many other essential tracks that originally paved the way.

Barnett came to music early, writing songs in his bedroom before he even reached his teens. By the age of 13, he was drawing a crowd as the DJ at a local arcade, spinning a mix of Kraftwerk, Funkadelic and electronic disco hits such as Lipps Inc.'s "Funky Town". Within a few years he had taught himself to play guitar, bass, drums and keyboards, forming his first band Prevoice in 1983. When Prevoice's drummer left a year later, Barnett replaced him with a drum machine and spent long hours learning to program it. The band apparently had "dreams of being on MTV and playing in arenas" but, as Barnett confesses, "the underground seemed to have an equal appeal." It was through Chez Damier that Barnett was eventually introduced to May. Soon he began dropping over to May's apartment on Second avenue & the pair would play each other snippets of tracks-in-progress or chat about ideas. This led to their embryonic Rhythim is Rhythim partnership and, of course, "Nude Photo". "Nude Photo" finally emerged early in 1987, sounding like it had just dropped intact from another planet. Though May now regards it as his least favorite track, it was pivotal in the schism which separated techno from its musical antecedents. The seductively alien, wildy abstract sound that they had conjured up represented a profound break with everything that had gone before- Motown, Kraftwerk, funk, disco, electronic pop- and suddenly techno was launched into a developmental curve which has yet to reach its outer limits. Barnett's partnership with May floundered soon after the single's release. For a time, he worked in the Metroplex studio, learning to engineer and mix from Juan Atkins before hooking up with vocalist Eric Campbell to form the Panic Boiz. The pair enjoyed only one release- "I Wanna Play With You"- though they recorded more than 20 songs together.

By the early '90s, Barnett had sequestered himself in his studio and begun recording on his own. As Subterfuge, he released the utterly gorgeous "Liquid Poetry" EP and contributed to Infonet's influential 313 DETROIT (1992) compilation. The material from this time still carried with it the freight of strange alienation which had been evident on "Nude Photo" . Several releases followed in '92 and in '93 with many making the "Single of the Week" column in England's NME before releasing his debut album SYNTHETIC DREAM (1993 Dutch Prime). Though the album lacked proper promotion many tracks made their way onto various compilations. At this point Barnett began DJing regularly in Germany and creating a cult-type of following which eventually led to the highly successful Detroit People Mover Tour '99 where he played a 25+ club tour throughout Germany & Switzerland finishing up at the Love Parade '99 playing to an audience of 1.6 million screaming techno-heads. Barnett unveiled his own label VISILLUSION in 1996 with the release of the "Brotherhood of Blood" EP and following with several experimental releases. This period explored a leaner, funkier hybrid than his earlier Prime material. His '99 single, "Do Bionics Crystalyze?" topped many top German and UK DJs play lists and led to further European touring. Barnett’s DJing was becoming more popular back at home with residencies at several local dance clubs and many after-hours clubs, often playing 2 gigs a night Friday & Saturday. Helping to revive the downtown Detroit nightlife, Barnett was the resident DJ at Detroit's chic and upscale nightspot Pure Bar Room for its first year-and-a-half of business. This led to many other residencies and large events in and around the Detroit area including the Sunday night party series, Overdose, which has been running strong from August of 2000 up to the present.

In 2003 the readers of Real Detroit Weekly voted Thomas Barnett the best club DJ in Detroit. At the end of 2004 Barnett released Thrill of the Hunt on Poker Flat's new sub-label Audiomatique, topping many DJs play lists & receiving rave reviews & critical acclaim. With nearly a half dozen releases scheduled for 2006, Barnett's production work has him very busy. Look for Thomas in the up-coming documentary about the birth of Techno, titled High Tech Soul'. It is not overstating the case to say that, without his input, the course of modern dance music at home & abroad, would have been very different.

CHUCK FLASK vs KEITH KEMP
Paxahau, D-Records, Beretta Music, Detroit. techno.

GUYS ON DRUGS
Gary Springs Hunting Club, Detroit. techno.

ACIDPIMP
Friction, D-Records, Blank Code, Detroit. techno.

PROJECT 313
Blank Code, Friction, Detroit. techno.

TODD WESTON
DHD, BT12, Detroit. techno.

STEVE RA
Wax Kings, Detroit. Techno.

VONDIES

o n t h e r i v e r ™

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