[dBx Showcase] AME (Innervisions - DE), THE MARTINEZ BROTHERS (Crosstown Rebels - US) & TIM GREEN (Get Physical - UK)

Thursday, September 26 at 9:00pm

at Q
  • 21+

Thursday, September 26th as part of the 10th Annual Decibel Festival

DEEP ROOTS SHOWCASE PT. 1

featuring...
AME
Innervisions - Berlin, DE
http://dbfestival.com/dbx/artist/ame

THE MARTINEZ BROTHERS
Objectivity / Crosstown Rebels - Brooklyn, US
http://dbfestival.com/dbx/artist/the-martinez-brothers

TIM GREEN
Cocoon Recordings / Get Physical / dirtybird - Paris, FR / London, UK
http://dbfestival.com/dbx/artist/tim-green

Doors at 9pm / 21+
Advance tickets $25 // FREE with the Decibel Pass

Q Nightclub
1426 Broadway Ave, Seattle

This event has passed.

Thursday, September 26th as part of the 10th Annual Decibel Festival

DEEP ROOTS SHOWCASE PT. 1

featuring...
AME
Innervisions - Berlin, DE
http://dbfestival.com/dbx/artist/ame

THE MARTINEZ BROTHERS
Objectivity / Crosstown Rebels - Brooklyn, US
http://dbfestival.com/dbx/artist/the-martinez-brothers

TIM GREEN
Cocoon Recordings / Get Physical / dirtybird - Paris, FR / London, UK
http://dbfestival.com/dbx/artist/tim-green

Doors at 9pm / 21+
Advance tickets $25 // FREE with the Decibel Pass

Q Nightclub
1426 Broadway Ave, Seattle

ABOUT ME
After a long night of dancing, many night club patrons leave the venue with a certain track stuck in their heads. But for me, the DJ/production duo of Kristian Beyer and Frank Wiedemann, the tunes lodged in their brains are the ones they didn’t hear, ones not yet written that would fit perfectly in their sets. Since 2003, Beyer and Wiedemann have penned songs that once existed just outside club- goers’ imagination, songs that boldly combined floor-filling elements with conceptual conceits while maintaining their visceral appeal. As part of Innervisions, the collective/label they run with Dixon, me (pronounced “AHM”) offer glimpses of the future of electronic music through their live project, genre-melding compilations, and an independently run shop that completes the connection between artist and admirer. In a genre obsessed with reliving the past, Ame are focused on what’s still to come.

The partnership was formed in their hometown of Karlsruhe where Wiedemann first crossed paths with Beyer in 2001 at the latter’s record shop, Plattentasche. Bonding over Chicago house, Detroit techno and much else besides, the duo joined forces in 2003 to produce seminal deep house platters for Sonar Kollektiv, many of which were collected on the duo’s self- titled debut album. Intent on not repeating themselves, Ame splintered their established sound and found a more nimble, compositional approach that yielded their scene-conquering single, “Rej.” Not content to rest on their laurels as the tune made the rounds on Defected Records and many others, the pair teamed up with Dixon and Henrik Schwarz in 2006 for another instant classic, “Where We At,” featuring Derrick Carter’s stirring vocals.

It would’ve been understandable if Beyer and Wiedemann had further pursued the sound which brought them such acclaim, but for Ame the appeal is in breaking down influences and songwriting habits in order to craft something new. Without attachments to particular methods and patterns, the duo was free to develop an overarching view of what dance music could be and pursue it through various moods, timbres and even genres. But if one stylistic point shines through it’s the group’s penchant for orchestral instrumentation and composition, albeit deconstructed and enmeshed in vintage synth tones and spectral vocal samples. From the waltzing proto- techno of “Fiori,” a key movement in Ostgut Ton’s ballet score, Shut Up and Dance! Updated, to the gargantuan brass tearing through the wildpitch strings of “Enoi,” their work simultaneously evokes the conceptual ardor of John Cage or Tony Conrad and the dance floor thrust of DJ Pierre or Underground Resistance.

me ‘s ability to fuse together seemingly disparate influences is greatly informed by their talents as DJs. Not given to fulfilling trends, their sets draw upon the whole of dance music’s history and keep them in great demand around the world. Their regular nights at such establishments as Robert Johnson (Frankfurt), Fabric (London), Trouw (Amsterdam), Lux (Lisbon), and Air (Tokyo) are exceeded only by their marathon sets during Innervisions nights at their beloved Panorama Bar (Berlin). Those awaiting the opportunity to experience an me DJ or live set have been well cared for as well, as the pair have captured their curating skills on mix CDs for Sonar Kollektiv, NRK Sound Division and Fabric, as well as the landmark survey of historical minimalism, The Grandfather Paradox compilation done in collaboration with Dixon and Schwarz. Ame are set to follow this achievement with a period- spanning mix all their own, Primary Structures.
As core members of what they refer to as the Innervisions family, the duo are deeply involved in the group’s operations. The imprint is renowned for exacting quality control, releasing only five or six titles a year encased in lavish artwork, many of which are widely tipped. With input from Wiedemann, Beyer and Dixon drive the label’s A&R direction, selecting a few artists – who have included Laurent Garnier, Chateau Flight, Stefan Goldmann and Culoe De Song – to accompany the main cohort of Henrik Schwarz, Tokyo Black Star, and themselves. Fully prepared for the 21st century, Innervisions connects to its fanbase through a thoughtfully stocked web store which sells records, fashionable clothing and books like Tobias Rapp’s Lost And Sound (which they translated into English) and its release subscription service. Ame are also crucial components of A Critical Mass, a live project that finds the pair, alongside Dixon and Schwarz, reworking the creative DNA of each other’s songs in real- time. It’s just one more facet of me’s artistry, further evidence of the duo’s position at the forefront of electronic music.


ABOUT THE MARTINEZ BROTHERS
If you’ve ever seen The Martinez Brothers spin, you know that what separates Chris and Steve Martinez from the rest of the pack isn’t just their skills, but their seemingly limitless energy, not just party-rocking stamina (though they’ve got that too) – but an unmistakable positivity…
Sure, their skills are considerable. You don’t get to play at global events such as Sonar (Barcelona), Movement (Detroit and Torino), Kazantip (Ukraine) or BPM (Mexico), nor clubs like DC10 (Ibiza), Panorama Bar (Berlin), Fabric (London), Space terrace (Miami) or Stereo (Montreal) (where they have been know known to throw down for twelve hour marathons) without skills, skills which were honed before they were old enough to get into clubs and had to get specially signed permission in order for them to play… Watch them behind the decks, born to move they’re practically climbing over each other as records flow together, one brother cueing up a track, the other EQing, the headphones passed back and forth, forearms intertwined, heads bobbing in unison. It’s amazing to watch, it’s even more amazing to hear; their musical style portraits a curiosity that builds bridges between New York’s house music history and a globalized deep house revival. What separates them from their European counterparts? In a word, rhythm.

Born in the Bronx, The Martinez Brothers were raised immersed in music. From an early age they learnt to play instruments, playing in different bands in churches of local boroughs. “Our main thing is percussion—drums, congas. We also play keyboards, bass, stuff like that.” Their father was a veteran of the disco era, of New York clubs like the Paradise Garage and The Loft, and growing up, the kids and their father would listen to Timmy Regisford’s radio shows on Kiss FM. And what found its way to the stereo usually found its way into the boys’ own diverse musical language.

The brothers found a home at the legendary New York club Shelter—the global capital of soulful house, with resident Timmy Regisford at the helm. “He had such a major influence on us. We were like the youngest kids to go to Shelter ever. He’s a big part of what we do because we would go there just to study and learn. As far as DJ technique and selection, everything we learned there… Anybody who went to the Shelter knows, we would just stand in the booth and watch.” But as anyone could tell you, standing and watching isn’t enough, to become DJs, Chris and Steve had to figure it out on their own. “We got into it really backwards… We started doing it on the computer, just messing around, then we got a CD set, and then we started playing vinyl.”
It was around then that they met up with the DJ Victor Rosado, who spent time behind the decks with Larry Levan. “We’d listen to him online and it turns out he was a friend of our dad’s from back in the day.” The boys’ dad had an idea: throw a party with Victor “under one condition: his sons open up”. So that’s how that started.

From New York to London to Paris, and beyond, The Martinez Brothers have kicked many dancefloors into touch since. Evolving their style from their disco and soulful roots, which they fully pay homage to, and finding their own natural path into techno, house and all lines in between. “You have to get influences from everywhere… House, Techno, electro, whatever, the key is not to be afraid to reinvent yourself”.

The list of their prestigious events also includes the legendary DC10 in Ibiza, where they were residents in 2012 and will be again in 2013. “We first started playing for them when they invited us to play a Life and Death party at Sonar in 2011… We were supposed to do another residency in Ibiza that summer but it didn’t come through, so we thought ‘freak it’ lets go to Ibiza anyway. We ended up going to Circo Loco every Monday and they gave us a shot inside in August. Everybody loved it and next month we got a great slot on the Terrace… Last year we were residents and we literally couldn’t believe it; DC10 was the place we always wanted to play but never expected to. Since we’ve been touring loads with Circo Loco – Brazil, Mexico, Italy, UK… We’re starting to go around with them a lot.”

In 2011 they also started to do special back-to-back sets with Soul Clap, playing their first party at KaterHolzig in Berlin and naming the collaboration ‘Soul Bros’. Together they play anything and everything – from house to soul to RnB to disco, winding back to techno, drawing inspirations from all areas of their musical collections.

They also started tag team sessions with Seth Troxler in 2012, playing the first set together at Movement Torino and more recently at the Circo Loco party at BPM festival in Mexico. These sets deliver a more straight up house and techno flavour, with a few curveballs thrown in.
Release wise, they kicked off a new chapter in 2007, when Dennis Ferrer’s Objektivity imprint released their first EP ‘My Rendition’, a powerhouse of a record which won the boys fans far beyond their initial boundaries of the soulful house scene, allowing them to step into a more modern, emerging deep house scene. They went on to produce their ironically named follow-up ‘Debbie Downer’ out in January 2009, with Berlin based Greek producer Argy and ‘Where’s Mr. Brown?’ a hissing, techno track. In 2011 they released ‘The Causeway / Issshhh’ on Objektivity and in 2012 they released ‘H 2 Da Izzo’ on France’s Real Tone Records – a synth heavy, sexy and serious record all in one. In 2013, after an NYC studio lock-in “making beats” they already have two remixes slated: Santos Resiak ‘A Better Light’ (TMB’s Cuttin’ Headz Remix), released on Subb Ann’s One Records and Burnski’s ‘Lost In The Zoo’ (The Martinez Brothers Bronx Zoo Remix) out on Nic Fanciulli’s Saved Records.

At the forefront of a musical generation looking beyond boundaries – new, old, house, techno, disco… whatever moves them – it’s hard not to be drawn to the Martinez Brothers. Observing their infinite and innocent energy mixed with serious musical skills and knowledge, you can only watch and do just as they do, go with the flow…


ABOUT TIM GREEN
As dawn breaks over 2013 the many facets of Tim Green’s production dexterity is casting reflections in innumerable directions, illuminating a musical and thought-induced excursion on which the 28-year old has well and truly embarked…

Prepossessing the ability to effortlessly manoeuvre through the realms of house and techno, experimenting across the spectrum of electronic music, whether putting out reverberating minimal techno of Amnesia peak-time kind-of-measures, lush and warm deep house, or sprinkling some of that unmistakable TG charm over productions of popular appeal, his work is stamped by ingenuity, fearlessness and fun – which also granted him the ‘Best Breakthrough Producer’ award at DJ Mag’s Best of British in 2010.

After fully bursting onto the scene in 2008 with modern classics ‘Revox’ and ‘Mr Dry’ snapped up by highly-revered Dirtybird and Trapez Records respectively, and picking up support from top players such as Sven Vath, Richie Hawtin and Luciano along the way, Tim swiftly catapulted himself into the upper echelons of the techno hierarchy. Countless high profile releases have followed since, Cocoon, Get Physical, Saved, Flumo & Four:Twenty, as well as remixing the like of Friendly Fires, Cassius, Booka Shade, Seth Troxler and many more.

With an idiosyncratic groove and off-kilter cheekiness, his sound has seen him tour every corner of the globe over the past 5 years. Highlights have included Space, Womb, Fabric, Watergate, D-edge, Electric Pickle, Warehouse Project and of course his own night Bedlam, which has gained an army of fans since it launched in 2009.

Having moved to Paris in 2012, Tim has spent the last few months preparing his very first live show, which will be premiered at this years SW4 Festival London. The show will contain live vocals, lots of exclusive edits made especially for the show and will be toured throughout Europe, North & South America from September onwards. With such an impressive back catalogue, it's likely to cause some rather raucous scenes and dancefloors when he performs.

On the production side of things 2013 looks set to be another steller year with huge remixes for Timo Maas haunting vocal track ‘Articulation’, Sid Le Rock’s ‘Nomad’ single on the hotly tipped My Favourite Robot Records & Sven Tasnadi’s beautiful ‘Thankyou’ for German imprint Oh!Yeah!Records. Tim has also been busy working on original material with two singles forthcoming on his very own label which launches in September also. Expect 2013 to be another big year for Tim.


For more information on the 10th Annual Decibel International Festival of Electronic Music Performance, Visual Art and New Media please visit us online at
http://dbfestival.com/dbx
http://facebook.com/decibelfestival
http://twitter.com/dbfestival



There are no tickets available.

Q

1426 Broadway
Seattle, WA 98122