Denver Disco & Cervantes' Present
Tensnake w/ Treasure Fingers, Andre Bratten, Falcon Punch and Sam Warren
2637 Welton Street
Denver, CO, 80205
Doors 8:00 PM / Show 9:00 PM (event ends at 2:00 AM)
This event is 16 and over
Tensnake, aka German DJ and producer Marco Niemerski, made his name with the huge 2010 dancefloor smash hit ‘Coma Cat’, and since then has been in ever increasing demand. Seemingly effortlessly managing the elusive feat of marrying classic disco and house influences to a contemporary sound, Marco is in that very rare position where his music appeals equally to the biggest dancefloors, from Ibiza and Miami, and real chin-stroking aficionados. All of which has gained him a solid reputation as a producer’s producer. His music effortlessly transcends genres, and the release of his eagerly anticipated debut album Glow looks set to cement his reputation as a major talent.
Born in Hamburg in 1975, Marco grew up listening to disco, soul, boogie, funk and the finer cuts of 80s pop, from Prince, to the more Balearic tracks from Simple Minds to, er, Prefab Sprout. His older brother also introduced him to other influences like freestyle and boogie to Italo-pop. As he grew older he went through a Mod-period before finding and embracing more dancefloor-inspired influences from Larry Levan to Junior Boys Own, Romanthony to Masters of Work. With such a diverse set of influences, it’s no surprise Marco’s own music has already shown more depth than most artists manage to achieve in a lifetime.
After starting the Mirau label with friends in 2005, Marco’s first record was ‘Around The House’, which he felt was “a lucky strike” at the time, but still sounds fresh six years on. The Mirau motto is ‘Not mass but class’ and over the years it has steadily grown into an international label, and released their first compilation album last year, as well as Erdbeerschnitzel’s excellent album “Tender Leaf’.
It was the aforementioned all-conquering ‘Coma Cat’, which first made Marco’s name. “I knew as soon I wrote it that I had something special,” says Marco, “but I never expected it to be so big, or last so long”. But although ‘Coma Cat’ may have been the breakthrough, the 80s tinged, more cinematic and laidback ‘Congolal’, and ‘Mainline’, Marco’s 2012 collaboration with UK vocalist Syron, and storming remixes for everyone from Aloe Blacc and Friendly Fires to Lana Del Ray clearly showed the depth of Marco’s range. Then there was a sublime mix of ‘Ritual Union’ for Little DRagon, a beautiful downtempo piece which was so good that vocalist Yukimi Nagano herself sang a show-stopping live version of the song with Marco in Miami last year.
It was a sign of things to come. The first single released from his forthcoming debut album, the smooth, down tempo ‘58BPM’ with Fiora surprised a few people when it was released. “That was deliberate decision,” says Marco, “I wanted to make a statement with the first single and surprise people.” With shades of Prince and a brilliant remix from Mano Le Tough, it was another reminder that it was proving impossible to corner this Snake.
When he first appeared on the scene his early releases were seen as a welcome antidote to the omnipresent minimal house scene of the time. If there’s anything Marco is rallying against with Glow, it’s what he sees as the sidelining of the songwriting in the desperation to create big brash dancefloor moments, in the wake of the rise of EDM. “I feel like people have forgotten the art of songwriting,” explains Marco, “which is all important”.
It will come as no surprise to fans of Marco’s mixes, which always take listeners on a journey, that Glow is an album that stands alone as a complete, cohesive piece of work, rather than a collection of dancefloor tracks collated on one CD. It’s one of those rare beasts, a dance music album that makes total sense if you sit down and listen to it at home from start to finish.
Glow features collaborations with Fiora, Stuart Price, Jamie Liddell, MNEK (British singer Uzoechi Osisioma Emenike), Jeremy Glenn, Gabriel Stebbing (Nightworks)… oh, and the mighty Nile Rodgers from Chic, who plays on two tracks. There’s been a million misinformed column inches written about the return of disco over the past couple of years, but for Marco, disco never went away, it’s been an ever-present influence in his record collection and music, so for Marco collaborating with Nile Rodgers was a dream.
“I couldn’t believe he was so grounded,” says Marco. “I sent him a message on Facebook, and didn’t really expect a reply, but he replied himself 20 minutes later and he said he knew my music. I sent him the music and he called me and said, ‘Would you mind if I was just your session musician on this track’ which was amazing.”
Marco will also be going out and showcasing the album this autumn, which promises to be a very special show.
All of which looks like hammering home that 2013 is the year of the snake.
Treasure Fingers, the DJ and producer born Ashley Jones has been making it rain in the disco with innovative remixes and original tracks. Jones is far from a new jack, having racked up over a decade of international club experience and studio chops as part of the legendary drum & bass group, Evol Intent. Yet as Treasure Fingers, he’s found a way to merge his diverse influences and deep history into a signature sound, packed with intricate basslines, chopped-up, gritty synth melodies, and party-ready drum breaks. It’s already captured the ears of everyone from Innerpartysystem , Monarchy, Theophilus London and Miike Snow to dance music icons Eric Prydz, Romanthony and Roy Davis JR (all of whom requested the Treasure Fingers remix treatment). His amazing new twist on Disco attracted the attention of such labels as Defected, MOS, Nervous, Hed Kandi and Fools Gold to name a few.
“Cross The Dancefloor” was Treasure Fingers’ debut, an inescapably catchy, vocoder-laced dance gem that two-steps over genre boundaries. The instant classic received support from A-List DJs around the world such as Erick Morillo, Pete Tong, Annie Mac, Sinden and Kissy Sell Out. He has had 2 more monumental releases since then. First is his Lift Me EP on Defected records. “Lift Me” leads the way with a twisted synth and trigga happy vocal cut session, and that gets combined with the bouncy edge of “It’s Love”. Secondly is Keep Up feat Haley Small on Fools Gold. Four minutes of vocoder funk and throwback freestyle drums that feel right on time thanks to Treasure Fingers’ clever arrangements and candy-sweet vocals. Treasure Fingers has kept the momentum going with heavy touring and official remixes for numerous artists including Avicii & Seb Drums (Around the World), Chromeo (Vice/Atlantic), Estelle (Atlantic), Empire of the Sun (EMI), Kid Cudi (G.O.O.D/Sony), Monarchy (Mercury), N.A.S.A feat Kanye West, Santogold & Lykke Li (Epitaph), Theophilus London (Warner Bros Records)and James Curd (Om) (remix went to #1 on the Beatport Club Chart). A constant favorite on Hype Machine, he has also received amazing support from such blogs as Disco Dust, Boom Boom Chik, Indy Shuffle, Big Stereo and Discobelle to name a few. A new batch of equally funky Treasure Fingers originals & a mix CD are on their way along with tours in North America, Europe, UK, Asia, Australia and South America. These coming after successful tours and gigs with artists Roy Davis Jr, Fake Blood, A-Trak, Chromeo, Laidback Luke, Fred Falke, Felix da Housecat & Benny Benassi, to name a few.
What else would you expect from the A-Town original with the Midas touch, who continues to receive accolades and Radio 1 support from heavy hitters Pete Tong, Annie Mac (with a mini mix under his belt), Kissy Sellout, Jaymo & Andy George, all helping Treasure Fingers launch up, up and away into the future with people getting their smooth house groove on around the globe.
Andre Bratten was born in Oslo and grew up in a suburb of the Norwegian capital, which borders on the deep, dark Scandinavian forest. Like most kids in the late 1990s, he was bitten by the hiphop bug, but he also got turned on by the Led Zeppelin records he picked out from his father’s record collection. He’s broadminded enough to be into everything from the Norwegian electronica masters Røyksopp to Metro Area, Sigur Rós, Eno, Cluster and Weather Report.
Currently dwelling in the heart of the city, his efforts with the synthesizer coincided with a huge boom in Norwegian electronic music, his productions recently came to the attention of Norwegian ‘cosmic disco’ mogul Prins Thomas and his Full Pupp colony. Andre’s tracks share the exploratory vibe of the 80s synth pop pioneers, and misfit electronic pop musicians like John Foxx, who were forced learning to sculpt new sounds with new tools. Yet he updates those sounds to a contemporary rhythm matrix, in parallel with the dayglo analogue dance music of Lindstrøm, Todd Terje and Prins Thomas himself – and he just happens to share the central Oslo studio space used by that glorious trinity.
But Andre has always known his own mind and was never going to be content with being just another anonymous insect in the logpile. So his debut album, Be A Man You Ant, is a string individual statement, his ‘I am Spartacus!’ moment. It computes almost infinite variations on the sounds he could extract from a single modular synthesizer – ‘the limitations are inspiring’, he says. So you’ll find squelchy bugs in the bassbin, weird analogue squeegee smears, bright drum machine splats and the occasional significant pause. The spaces in his music are at least as important as what fills it. Listen to the movement of “I Am Square”, how he gets a yearning effect from a few vapour-trail synth wipes. Or the vivid, neon synth solos in “Aegis” and “Second Steepest”. “Libra” is as stripped-back as a late 90s Cologne Minimal joint. Like the best electronic dance music, you can follow sounds on their individual journeys through each track, and nothing ends quite as it started. The ants really do become men.
If so much Scandinavian techno has been content to sound relaxed, steam-bathed and scrubbed-up, Andre Bratten’s music rejects cosiness and whimsy, and steps away from pleasing the crowd. Get ready to let it caress your antennae.
The cosmic grooves of Falcon Punch are steepedin no particular musical tradition, but rather in a multi-genre background ranging from soul and funk to house and disco. Establishing himself on the scene throughout a successful 2010, producer and DJ Avery Henderson (a.k.a. Falcon Punch) began his foray into the edit-disco/indie-electronic scene with his first single “Where You’ll Stay,” which since its release has reached the top 10 on the Hype Machine’s Popular Chart, enjoyed frequent radio play in New Zealand and Ireland alongside the likes of Ray Mang and LNTG, and has
appeared on countless American and European electronic music blogs.
Since then he has collaborated with Dutch Duo Keljet to produce the single “Saturday Night,” which, like “Where You’ll Stay,” became a staple of the nu-disco blogosphere. More recently, Falcon Punch has put out remixes of Bobby McFerrin’s “Thinkin’ About Your Body,” and Cutty Gold’s “Meaning of Love,” as well as a slew of critically acclaimed mixes.
But perhaps most notably, Falcon Punch has recently teamed up with L.A. based producer and close friend, Roller Radio, to put out “I Might Be Gone” and “Never Enough.” The latter of which exploded in the edit-disco scene being claimed as one of the breakout hits of the summer of 2013.
Another slew of releases and collaborations are slated to be released throughout the remainder of summer and fall.
Playing live throughout the US alongside the likes of Juan Maclean, Orchard Lounge, Good Night Keaton and Penguin Prison, Falcon Punch’s live sets have gained a reputation for their funky progressions and loyal adherence to the true roots of the disco jam.
Occupying the twilight zone between deep house, nu disco, and techno, Sam Warren’s eclectic and pulsating sound pays homage to the clubs and dancefloors around the world that birthed it. His love for soulful, forward-thinking house music is steeped in an affinity for complex, haunting melodies that somersault the crowd and infect every set he plays. Barely an infant in DJ years, within 9 months Sam had already begun holding down residencies all over Washington D.C. and sharing the stage with D.C.'s house veterans. Between supporting artists like Plastic Plates, teaming up with JD Productions, and a forthcoming move to the West Coast, big things are just over the horizon.
$15 Advance / $20 Day Of Show
Tickets Available at the Door
Cervantes' Masterpiece Ballroom
Sat, January 21
Sat, January 28
Wed, February 1
Thu, February 2
Fri, February 3