When the man behind those wire rimmed glasses and that disarming smile writes his job description just what does he put? The man who took the drum and bass concept from a small venue off London's Charing Cross Road to the nation's superclubs and then onto the international stage?

The geezer whose records launched breakbeat into a brand new galaxy of sound? Or maybe he just writes 'Renaissance man for a digital age'. In truth LTJ Bukem is all of the above. Although he wouldn't like to admit it, LTJ Bukem is the living embodiment of the post-acid house entrepreneurial creative spirit. He is a mild mannered energy flash whose panoramic musical vision has found success in every area he has explored.

From running soundsystems to cutting up breaks at raves, from relocating the heart of breakbeat culture to redefining the spirit of drum and bass, the man known to his friends as Danny Williamson has sat at the forefront of breakbeat evolution, lighting the way with little more than a zest for life and a love of music.

In other words, LTJ Bukem is a man on a mission! Bukem's first introduction to music was, like so many others, through piano lessons as a child. Unlike so many others however, the young pianist turned out to possess a natural talent and he quickly moved through the piano grades. Classical music represented the soundtrack to his home life.

Both parents having a passion for Rachmaninov and Tchaikovsky that rubbed off on their son. However it was when the family moved to Watford and Bukem changed music teachers that he developed his first true musical love. Thanks to a progressively minded teacher called Nigel Crouch - with whom he lost touch but, after a long search, has recently found again - he was introduced to the world of jazz fusion, a style which has informed his work ever since.

In the mid eighties, at the age of seventeen, Bukem discovered the joys of clubbing. The teenager regularly checked out the local soul clubs and legendary rare groove all dayers. As a keen record buyer he soon became interested in the idea of putting over his own version of the club soundtrack and before long he got involved with a sound system. Throughout this time he also had a jazz funk band, although this had never presented itself as a serious past-time just fun.

The DJing was his main thing and by 1987 he gained something of a reputation for his sets. However it was 1988 that Bukem first realised that DJing could offer a full-on career. In 1990, LTJ Bukem got his first big break at Raindance. Booked to play between one and two AM in front of 10,000 people, it was the first true test of the fledgling DJ skills. It may have taken all his mates to push him onto the stage but it proved to be a set that he'll never forget. From the first track he ripped it up and LTJ Bukem, the world class DJ was truly born.

Around this time Bukem had also ventured into the studio to record a track which was to become one of the most influential records of the era. Called 'Logical Progression' it surfaced on the newly formed Vinyl Mania imprint. At once anthemic and relaxing it offered the first true blueprint to Bukem's sonic vision. By the time of his follow up to 'Logical Progression' Bukem had set up his own imprint. Run from a small office in Harlesden, London, the label was christened Good Looking and its debut offering came in the shape of 'Demon's Theme'. Finished in mid 1990 and pressed up onto dub-plate, Bukem dropped it into his sets for a full year just to test the reaction before he finally released the track officially in July 91.

'Demon's Theme' caught people's imaginations immediately, its soulful combination of rushing breaks, lush ambience and mellow vibes opening up fresh vistas within the increasingly dark ambience of the rave.

Photek stands mercilessly on the edge. A sonic scientist, pushing both his sounds and fans' expectations to the outermost limits since 1994, he floods the footnotes of electronica like MP3s clutter up your hard drive.

He was there when Goldie declared it drum & bass but to this day he still prefers the term jungle. He chats regularly with James Lavelle, wondering what would've become if his remixes of Attica Blues had led to a more affirmed relationship with the agenda setting Mo Wax. His major label link with Virgin is the blueprint of how things once were; endless time and budget-free worries led to 'Modus Operandi'. A conceptual experiment of time and emotive atmospherics, it pushed the drum & bass template to the edge. Previously misinterpreted as a lone paranoid soldier, a conspiracy theorist and a man from Ipswich, Rupert Photek Parkes is none of the above. Each tale you'll be regaled with elsewhere online is based on a spec of truth that's exploded beyond proportion. May the real Photek please stand up…

2011 will see him drop a series of sounds that reflect the truest perception of him once and for all. Driven by his years of studio discipline; sharpened by an acute awareness that he'll be received by the heads that know him well and ears that don't know him at all, Photek's new sound carries all the barbed motifs and icy atmospherics you'll know from seminal cuts such as 'Seven Samurai' and 'Hidden Camera' all tied up tight with his own take on today's contemporary genre-breaking melting pot.
Ardent displays of his eclectic method were there from the very beginning. The seeds had been sewn back in the dancefloor's most formative days, attending early raves, pretty much in his school uniform, and hearing DJs like Jumping Jack Frost fire their way through everything from Derrick May to Phil Collins. These influences are clear from his first EP on Metalheadz with the drum & bass meets downtempo 'Into The 90s'… 'Yendi', the flipside to the 'Modus Operandi' 12″, was a prototype for dubstep while 'Mine To Give', a sassy slab of sexed up house coated in Robert Owens' iconic soul, set the foundations for the genreless battlefields well trodden by the likes of Commix and Mount Kimbie.

A list of his big screen scores should follow, but it won't. Photek carelessly yarns his years in LA as 'doing this and that', but it wasn't. Hived in the western world's most creative hub, his time since 2007′s 'Form & Function Volume 2′ has been a creative whirlwind. Collaborations with Nine Inch Nails and troubled troubadour Ray LaMontagne; sell out TekDUZ shows with 12th Planet and DJ Craze; the evening commute down Sunset Boulevard with Fab & Groove on Sirius reminding him of the UK bass culture he helped develop… Photek stands undeniably on the edge of undiluted inspiration.

Destination tomorrow: Photek's decorated past and diligent work ethic leads us here. The new music you'll hear this year is yet another chapter in a life spent overdosing on sonic nuances and boundary testing. An exultant voyage in a life that's shaped the very foundations of the sounds we love, these are sounds that he's teased at since the techno tickles of his 2000 album 'Solaris' Take his collaboration with Switch, 'Avalanche'; a low-swung modulator, its half-step march belies the crafty subversion of a well known rave sample. Take '101′; its icy peripheries suggest a Photek we've known since time while kidnapping the principals of classic electro and booting them effortlessly into the 23rd century. Take 'This City'; a lolloping load of filters and reverse athletics, its somnambulant sounds make it a literal house dream.

2011 has already seen Photek's new material remixed by the brightest young stars of dance music – Boddika, Falty DL, Addison Groove and Breach to name a few. With international support from tastemakers such as Benji B, Gilles Peterson, Skream, Annie Mac, Zane Lowe and more for February's 'Avalanche EP', you can be sure that whatever sound Photek drops on his next EP, 'Aviator', it won't fail to to get the world's attention. A busy summer of live shows also awaits Photek, including the legendary Glastonbury and Glade festivals and London's Lovebox.

Justin Martin

As the late Oscar Wilde once said: "life is too important to be taken seriously", an ethos that Justin Martin is sticking with despite achieving soaring success over the last six years as a producer and international DJ.
Justin initially pricked the ears of the electronic music community in 2003 with his first record 'The Sad Piano' on Ben Watt's Buzzin' Fly label. Everyone in the electronic music food chain got involved, from the A list DJs like Derrick Carter and Pete Tong that were playing the track, to the international music press that were raving about it. It even translated to the German underground, with Poker Flat licensing it for Steve Bug's 'Bugnology' compilation. Like someone that goes bowling for the first time and gets five strikes and a turkey, Justin couldn't really have hoped for a better entrance.
Feeding off the energy of the San Francisco underground and mentored by fellow super producer Claude VonStroke, Justin was intrinsically involved with the development of dirtybird records, appearing on its first four releases. Justin was soon ready to take flight, releasing a string of solo EPs which flaunted a very unique sound and garnered still more respect among fellow DJS and heavyweight's of the scene.
In 2010, such respect prompted an invitation for Justin to DJ mix Pete Tong's infamous "Essential Mix" series and also landed his felicitous placement on the front cover of DJ Magazine. Justin continued to roll out two further killer EPs on dirtybird, which were collaborations with his protégée Ardalan. "Mr Spock" earned recognition from major digital news outlet NPR as "surrounding sounds with tactful little details: the hissing white noise; that chubby, wet bass kick. This is music that doesn't need to be heard on the dance floor, though it does work awfully well there". What followed was "Lezgo", which knocked down the genre walls and pretty much remained a firm fixture in every DJ's box throughout 2011.
As well as his formidable arsenal of original productions, Justin is now equally known for his collaborations with his brother Christian as The Martin Brothers, producing such hip-hop influenced hits as 'Duckface', 'Stoopit', 'Dum'. Justin has also made his mark remixing such bona fide classics as Radiohead's 'Nude', Marshall Jefferson's 'Mushrooms', TG's 'Revox' and remixes for labels such as Fools Gold and Greco Roman, firmly establishing himself as the man to make big tracks even bigger.
2011 found Justin in the perfect position to work on his boldest project to date, his debut artist album and he couldn't be more enthusiastically happy with the results. "Ghettos & Gardens" long player will be released on dirtybird late spring 2012, with a string of stunning singles to support the release.
Demand for Justin's skills behind the decks has skyrocketed with his bookings schedule constantly crammed to capacity. With dates everywhere from Panorama Bar (Berlin), Fabric (London), Space (Ibiza) and a full album tour for summer and fall 2o12, its no wonder Justin's diary is reading like the dreams of a professional raver. Stateside he continues to be a regular fixture at the dirtybird events in San Francisco and beyond.
Music journalists typically describe Justin's sound as 'melodic and tough' with his music encapsulating both melody and emotional depth yet always with enough undeniable ass shaking properties to translate to the floor.
"I'm always trying to find music for my DJ sets that rattles sound systems, but still has enough melody and interesting texture to expand your mind even if you're sitting at home on a snowy or rainy day."
He remains as enthusiastic as ever to be involved in the scene. When recently questioned by Resident Advisor on what he'd be doing if he wasn't a DJ or dance music producer he just replied: "Wishing I was a DJ or music producer."
By all accounts it's hard to tell him to wipe that smile off his face.

In 1999, R/D and his former DJ partner were invited to help throw a party for the closing of Perry Farrell's studio in Venice Beach, CA. They DJ'd for 6 hours, breaking only once for a debut of Perry's new solo project. Several month's later, R/D was invited to DJ in the Oasis dome at the very first Coachella music festival. These monumental events drew him straight to Los Angeles and the rest, as they say, is history. He went on to throw scores of parties in L.A., Dj'ing alongside Plaid, Squarepusher, Prefuse 73, Dntel, Jaimie Lidell, Luke Vibert, Nightmares on Wax, LFO, Chris Clark, and many other electronic acts of the early '00's.

Eventually R/D started making his own music on borrowed gear, hammering out glitched up IDM and electro on an MPC 2000. Luckily, the first tracks he ever wrote were later released on Andrea Parker's UK label 'Touchin' Bass'. As the era of Aphex Twin influenced IDM came to an end, R/D virtually hung up his hat, turning to film sound as a creative outlet. But, his musical nature was re-invigorated in 2007 when he moved in with pals edIT and Ooah, just as the Glitch Mob sound was forming. Feeding off the fresh energy of his incredibly talented roommates, he went back to the drawing board, developing his take on glitch-hop inspired tunes aimed at the dancefloor. His new sound fetched him gigs at Coachella with the Do Lab in 2007 and 2009, and put him on the West Coast festival circuit where he shared bills with Flying Lotus, Pretty Lights, Bassnectar, The Glitch Mob, Les Claypool, Cocoe Rosie, Caspa, Mala, Beats Antique, Mimosa, MartyParty and a laundry list of incredible talent.

Recently, R/D has traded the bleeps and bloops of glitch-hop for pure melody and song structure, and as his music matures, so does his career. In March of 2010, R/D unleashed an un-official remix of Fever Ray's 'I'm Not Done', which reached #2 on both Hype Machine charts and reaped 27,000 listens in 3 days on SoundCloud alone. Several months later, he released an original, four track EP titled 'Face Of God'; the title track again landed him in the top #3 on Hype Machine's Twitter charts. So far this year, he has played live for a crowd of more than 2,000 at Coachella 2010 (the Do Lab stage), shared the stage with Nosaj Thing & Elliot Lipp at Lightning in a Bottle festival and played directly after Bassnectar for a crowd of nearly 5,000 dusty ravers at this year's Burning Man festival.

Currrently, R/D is poised to release an official Glitch Mob remix as well as a remix for Ball Of Waxx records, both due in late September of this year. He's also cranking hard on a new, full-length album, due in early 2011.*

Bachelors of Science

As long-time residents of the weird and always unexpected city of San Francisco, Bachelors Of Science are renowned for mixing up and making unique blends of laid back, tripped-out, soul drenched tracks that are designed to be listened to as well as just heard on the floor. Choosing quality over quantity, they are regarded as one of the most consistently innovative and sought-after remixers and producers of the area, working with everyone from dance music legends Groove Armada and Paradox to indie darlings Home Video and Silver Swans.

On stage, the tales of the "full Bachelors Of Science set" are the stuff of legend. Having performed alongside acts as diverse as Pendulum, LTJ Bukem, High Contrast, Kode9, Photek and even Elvis Costello, the guys take a crowd on a journey with everything from BoS originals and bootlegs to custom edits of cutting edge tracks and past future classics … making d&b guys admit they've got a soft spot for 4/4, and house lovin girls admit they miss drum n bass.

Joe Mousepad

The who, the what, the where, the how, and the why.

WHO. Joey Mousepad is a musician, an artist, a philosopher and a student of life.

WHAT. Party rocking sounds, wide format digital printing, vinyl graphics, and rhythmic lyrics

WHERE. Joey Mousepad lives in San Francisco currently, but is a native of the east coast.

HOW. Joey Mousepad operates by pure brute strength. And a laptop.

WHY. Why not?

Matt Haze is a riddle, wrapped in an enigma, covered in stylish facial hair. One of the most forward- thinking DJs emerging from the San Francisco scene, Haze is a treasure trove of musical versatility. Rubbing the decks with a marinade of cutting edge beats and old school vibes, Haze is difficult to classify, but impossible to resist. He is best known for his work with SF’s Slayers Club collective, dropping his crazily eclectic kitchen sink sets wherever the spirit carries him and the bassbins follow.

Professor Bang has been DJing since 1997. As a founding member of San Francisco party collective Slayers Club, he's been on the forefront of evolutions in modern bass music and performed alongside both established names and rising stars. His background in live music performance and commercial radio gives Professor Bang a unique perspective when it comes to mixing electronic music; look for big tunes and the occasional curveball from this West Coast club veteran.a

Manitous is a Bay Area DJ and arts/music event producer that has been performing for over 15 years. As founder of the seminal Bay Area Bass music outfit, “The Slayers Club,” and one of the minds behind beloved San Francisco event space “Public Works,” Manitous is an integral part of the arts and music community in the Bay Area. As a DJ, Manitous has shared the stage with some of the industry’s best and brightest. Past performances have found Manitous performing alongside the likes of Flying Lotus, The Glitch Mob, Black Moth Super Rainbow, Bluetech, Ed Rush & Optical, Christopher Willits, Daedelus, + more…as well lauded festival appearances at Symbiosis, The Bounce, Enchanted Forest, and more. Manitous explores an eclectic array of music, leaning towards the deep, left field side of the musical spectrum, crafting sets that defy genre and reinvigorate the art of storytelling through music, while maintaining a discerning, dance-floor aesthetic.

Swoonz

singer/songwriter/lyricist/visualizer

Nebakaneza is nuts! I think he is certifiably insane, but he seems to find his therapy by slamming Dubstep through the speakers. Don't be surprised if he interacts with the crowd and throws random things at you in the name of fun and mayhem. He has an eerie yet sexy style that covers many aspects of Dubstep from the face melting wobbles, to the strip your clothes off sultry sounds. He is a DJ that likes to use his mixer and turntables as instruments, so you will see him playing with the music like a DJ should. He looks scary, but is a friendly soul. Don't be afraid to run up to him during a set and show him some love. He may just give you a bear hug and show you love back.

This masked DJ has created quite the splash in the Bay Area dubstep scene. Since crawling out of the shadows in January of 2010 and joining the Irie Cartel crew, he has put out countless mixes, been in various publications, and helped start Ritual, one of the largest reoccurring dubstep events on the West Coast. He is a dubstep DJ with a wide range of styles from the ragga joints, to the sexy sub bass sounds, to the nasty filth, or the UK uptempo style. You may have seen him at the Emissions campout, the Dub Fillmore festival, the Elements campout, Camp Questionmark's stage at Burning Man, or opening for Borgore and Caspa. This phantom is showing no signs of slowing down and is forever expanding his style, and his passion for bass is infectious

The name comes from King Nebuchadnezzar II who was an evil ruler of ancient Babylon, and who built the Hanging Gardens. Eventually he was exiled and spent 7 years in the wilderness wandering the land like a beast. There are many rumors about the mask, no one knows the truth.

In a recent interview, Nebakaneza says, "I eat paint. I like to climb up into trees and jump down on little kids in the park and make them pee themselves. I am a convicted felon in 49 states and like to eat paint. I frequently go to Bingo tournaments and pretend I speak Italian, to Koreans. I have 17 girlfriends that are between the ages of 62 and 78, and I enjoy dining on a healthy plate of paint. On the 3rd Wednesday of every other month, in even numbered years, I take a bath in canned tuna fish mixed with live tuna fish, then lay in the street while dozens of feral cats lick my body clean. I frequently eat paint. Last night I met a sailor that I paid 73 cents to, and he beat me senseless while I did cart wheels on a 2007 Ford Fiesta. I am so much of a hippy vegan that I do not actually even eat food anymore, I just meditate until I am no longer hungry, and I have done this for 19 years, but for some reason I still have regular bowel movements that come out in vivid technicolor because it is only paint."

If you want to book this psychopath, beware. He may literally melt off every face in the room, causing everyone on the dance floor to slip and fall on their own liquified flesh. No one wants a liability on their hands, but if you chose to book this maniac, contact David Winans at IrieCartelPresents@gmail.com

$20.00

Off Sale

SunsetSF is proud to partner with Euphonic Conceptions on their monthly blowout RE:CREATION for a huge May 10 edition. We are proud to bring you an insane triple bill featuring LTJ BUKEM, PHOTEK and JUSTIN MARTIN. BUKEM will be joined by high flying MC ARMANNI and PHOTEK and MARTIN will drop sets of ultra-creative, genre bending drum & bass. And if that wasn't enough, we welcome bass-music superstar R/D, d&b globetrotters BACHELORS of SCIENCE feat. EMCEE CHILD. Support will come from the SLAYERS CLUB feat. MATT HAZE, PROFESSOR BANG, MANITOUS, and the SPIT BROTHERS with MC's JOE MOUSEPAD and SWOONZ. RITUAL DUBSTEP will crush the upstairs with NEBAKANEZA, JOHNNY 5 and MR KITT. Tickets & info available at sunsetpromotions.com and euphonicconceptions.com

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LTJ Bukem, Photek, Justin Martin, R/D, Bachelors of Science, Ritual DJs and Slayers Club with Emcee Child, Joe Mousepad, Matt Haze, Professor Bang, Manitous, Swoonz, Ritual Dubstep, Nebakaneza, ...

Friday, May 10 · Doors 10:00 PM at 1015 Folsom

Off Sale