Nightmares On Wax (DJ Set) w/ Romare (DJ Set), Wake Self and Mikey Thunder - The Ground Floor Tour

Party Guru Presents

Nightmares On Wax (DJ Set) w/ Romare (DJ Set), Wake Self and Mikey Thunder - The Ground Floor Tour

Wed, December 7, 2016

Doors: 8:00 pm / Show: 8:30 pm (event ends at 2:00 am)

$25 Day Of Show

This event is 16 and over

Nightmares on Wax
Nightmares on Wax
Nightmares on Wax is an institution, albeit a delightfully different one. The man behind the moniker, George Evelyn, just keeps reinventing, not in a wilful Bowie way, but flowing along, going at whatever speed he fancies to wherever his ideas carry him. For the last seven years he’s lived in an Ibizan farmhouse and, while he’s Warp Records’ longest serving artist – “the granddaddy,” as he puts it – he overwhelmingly focuses on his current projects, letting them revitalize his music.

Perhaps best known in Europe for his ground-breaking ‘90s albums ‘Smokers Delight’ and ‘Carboot Soul’ – although in America the cinematic lo-funk of 2006’s ‘In A Space Outta Sound’ is better known – Evelyn’s pride and joy these days is his four year old underground party on the white island. Wax Da Jam at Las Dalias, Ibiza’s oldest nightclub, 50 this summer, has become a go-to haunt for locals, for promoters and insiders, the place where George explains, “Everyone turns up as individuals but everybody leaves as one.” Here he soundtracks a night of groove, experimentation, percussion and improvisation, alongside guests such as DJ Shadow and Roots Manuva. It’s all fun, though, all for kicks. It’s all about ‘Feelin’ Good’, hence the name of his new album.

If that sounds a bit hippy dippy, forget it, ‘Feelin’ Good’ is zesty with funk, soul, even the throbbing low slung house tune ‘Tapestry’. Of the latter he says, “House was always about fun to me. There was a period when it didn’t sound like it was made by people who could dance but now it feels like the groove is back.”

He should know, he was there at the start, delivering those seismic 1989/90 bleep classics ‘Dextrous’ and ‘Aftermath’, but it was his KLF-influenced, five-years-in-the-making dissection of hip hop to its stoned component parts, ‘Smokers Delight’, that proved he was about more than the dancefloor. He followed this with 1999’s ‘Carboot Soul’, ten tracks that had a more organic funk feel.

Both albums, in fact all George’s recording career, alongside his contemporary Balearic vision, filter into the genial bounce and contagiousness of his seventh studio outing. ‘Masterplan’ is bracing trip hop soul featuring Californian folk singer Katy Gray, ‘Now Is The Time’ is a squidgy funk assault that George reckons is marinated in Wax Da Jam flavour, ‘Give Thx’ bleeds ‘70s Motown vibes, ‘Eye (Can’t See)’is a gripping, glitched, Latin groove, the latter pair both featuring ex-Zero 7 singer Moses, while ‘Om Sweet H(om)e’ finds M People percussionist Shovel and George himself revving up to the sounds of chanting Tibetan monks.

It’s an album that’s sonically rich, with orchestration and strings created in Berlin by Jazzanova arranger Sebastian Studnitzky, keyboard by George’s long-term collaborator Robin Taylor-Firth, drums by virtuoso German jazzer Wolfgang Haffner and bass by Paul Powell, who used to be at the heart of Mica Paris’s rhythm section.

Ah yes, the bass, that’s where it all started for George Evelyn. Raised in Leeds’ inner-city (Hyde Park, Burley), the son of a bingo hall accountant mum and engineer dad, a childhood friend’s older brother was don of the local Messiah sound system. George embraced dub and reggae from nine years old. The first artist he became a fan of was dub remixer Scientist – “It wasn’t just the music, it was the cartoon sleeves,” he laughs, “I was nine years old, after all!” Picking up his father’s appreciation of everything from Duke Ellington to Isaac Hayes to Shalamar, he also built his own home system from shoeboxes and discarded speaker units purloined from a nearby television factory, all attached to a Fidelity record player.

“I come from the city but sunshine is in my music,” he explains, “It was always a natural dream to make music in the sun like I do now. Not to take away from any of my previous music but ‘Feelin’ Good’ is what I’ve always been trying to do. For instance, on ‘Give Thx’ I wanted the message to be a universal thank you for everything. I wanted to get it across in a way that was happy but wasn’t preachy, wasn’t cheesy. I had to manifest it, to genuinely mean it with energy. That’s how I went through the process of making the whole album, really feeling it.”

As well as working with Warp, George had his own label for five years, Wax On, but he ceased involvement in 2010 to concentrate on his increasingly popular Wax Da Jam nights, which grew out of his Wax Da Beach parties in San Antonio Bay.

“It’s been pivotal to my music making,” he says, “and also made me think about the new concept of my live show. I’ve done the full band thing and the sound system thing and now I really want to marry the two and to do so with a real live percussive edge.”

With tours coming this Autumn, Europe and the US will be able to see these ideas come to fruition. In the meantime, there are the ten tracks of ‘Feelin’ Good’, the same number as ‘Carboot Soul’, a good omen according to George, a man positively overflowing with good omens.

“The album initially had many possible names,” he ventures, “But I got on the mic at Wax Da Jam and talked about how music shifted the energy to make people feel good. It’s everbody’s sovereign right to feel good, so I want the album to remind people of that, a soundscape to feeling good, that’s my aim.”

Setting his sights high, as ever, with a cheery, unpretentious sincerity, George Evelyn continues to carry the original flame of acid house and late ‘80s Balearica, pushing it alive’n’kicking into 2013. His new album will surprise many, as bubbly, warm and lively a thing as will be heard all year. Nightmares on Wax are back. Then again, like the underground itself, they never really went away.
Romare
Romare
The young electronic musician known as Romare wears his inspiration on his sleeve – in fact, he takes his very name from it. Having studied African American Visual Culture at University, he had his ‘Sex Pistols moment’ when he came across the work of Romare Bearden. The African American’s collaged, cut’n’paste artworks inspired the young musician to apply a similar technique to music – an approach that was hugely fruitful, and remains central to his work today. After stints as a drummer and guitarist throughout school and university, he moved to Paris where he picked up the turntables and began mixing his own music with samples from second hand records. Romare the musician was born and the template for his debut record.

Underground hothouse Black Acre signed him in 2012, adding him to a formidable roster that included Loops Haunt, Fantastic Mr Fox, Blue Daisy and Dark Sky. The imprint put out his first release ‘Meditations on Afrocentrism’ in March of that year. He began to play shows, making enough money to finance a move to London. Ensconced in the vast musical melting pot of the capital, he began work on his second EP ‘Love Songs: Part One.’ Romare’s songs were included on compilations by heavyweights such as Bonobo and Tiga, as well as the Brownswood Recordings imprint.

His debut album, Projections, is named after a pivotal exhibition of his namesake and likewise explores various elements of American life. The album is in many ways a homage to the cycle of cultural appropriation in America. “Work Song” is a tribute to the classic American and namesake work song, whilst “Rainbow” is a celebration of disco. Projections expertly catalogues the movements of influence within music. The album doesn’t just sample music and vocal snatches, but also other sources such as documentaries and marries live instrumentation with the sampling palette.

With fierce support from by the likes of Benji B, Gilles Peterson and Huw Stephens, Romare’s music has, rightfully, already caused a stir. The stage is now set for his stunning debut album, Projections.
Wake Self
Wake Self
It’s true. Rappers are a dime a dozen these days. It takes a unique voice,
innovative ideas and a killer work ethic to reach a nation of millions. Chuck D of Public Enemy, KRS-One and a handful of other talented emcees have paved the way for like-minded artists to attempt the nearly impossible. The harsh truth is most will fail. Others will rise to the occasion. Andy “Wake Self” Martinez is one of those people. As a staple in Albuquerque’s hip-hop community, Martinez is always grinding. From his work with his hip-hop band, Zoology, to his project, Definition Rare (with fellow emcee Christopher “Def-I” Bidtah) to his solo efforts, it seems there is nothing Martinez cannot do. Born in Roswell, New Mexico, his family moved to Fort Wingate, New Mexico soon after, which was located in the middle of the desert, surrounded by a lake, the mountains and various Indian Reservations. “It was beautiful and immensely positive for personal growth to live so close to nature,” he says. His parents would eventually relocate to Gallup, 336 miles northwest of Roswell. The vast landscape and solitude gave Martinez a place to discover himself. Around 1992, Martinez stumbled upon A Tribe Called Quest’s “Bonita Applebum” video and that was it. He fell in love with hip-hop. Since then, he has immersed himself in the culture. “Hip-hop has opened so many doors for me not just musically, but with personal growth and my relationships with friends and family. I am a spiritual person and believe that writing is a therapeutic meditation,” he explains. “Making music helps me feel free and more connected with myself and the world around me. Doing what I love never gets old. I've also met a lot of my best friends through hip-hop, which I am thankful for on a daily basis.” Hip-hop has taken Martinez on a nationwide tour with Evidence of Dilated Peoples where he opened up with his group, Definition Rare. It has taken him to Portland, Oregon where he participated in and won 2 Grindtime Battles. Zoology was named “Best Hip-Hop Group” in the Albuquerque Alibi newspaper. And that’s just the beginning. He has shared the stage with a slew of notable hip-hop acts such as KRS-One, Blackalicous, Del the Funky Homosapien and Souls of Mischief. Wake Self’s debut solo album, 2011’s Like ClockWork, is a brilliant showcase of his versatility as an artist. He can range from melancholic, self-reflective lyrics to in-your-face, bass-heavy party anthems. As far as his work with Zoology, 2011’s Krush Love, is another example of the positive energy emanating from Martinez. It’s all love, all the time. If his endless dedication to his craft is any indication of the success he will see in his future, then the future looks bright for Martinez. His spirituality and penchant for writing is evident in his music. This sets him apart from the ever-expanding sea of rappers out there. “I plan on doing something amazing that my mother can be proud of. I want to do more workshops and events involving the youth,” he says. “I know how it was growing up with so many emotions and needing an outlet. The world is a crazy place and it has a strange effect on people, but having and outlet to express and learnmore about yourself really helps people grow.”
Mikey Thunder
Mikey Thunder
Mikey Thunder likes to party. But more than that, Mikey Thunder just so happens to be the party. Thunder spins a genre-blending, bass-driven partyrock, fusing banging electronic beats with funk, hip-hop, soul, jazz, blues, swing, reggae and anything else the party may call for on the fly. With 19 years in the game, he's mastered the art of improvisation with an uncanny ability to work with and rework the vibe of the party with precision. If you’re a true connoisseur of the Colorado music scene, you’ve seen Mikey share the stage with any number of your favorite artists- no matter the genre.

It all began for Mikey at the age of 15 when he discovered DJing in Springfield , Mass. Thru friends older brother's record collections and the Hiphop scene in the city. From there he moved up to Burlington Vt. and immersed himself in the diverse musical culture. In the fall of 1999, he relocated to the mountains of Jackson Hole where he was soon kidnapped by Michael Franti and Spearhead for the Stay Human Tour. After opening for Spearhead in Jackson Hole, Thunder was handpicked by Michael Franti to open the rest of the tour, where he mixed beats into their sets, during set break, and scratched with their beatboxer, Radioactive.

After the Spearhead tour Mikey relocated to Boulder and continued to pursue his musical career. At that time Thunder also was an Atari playing stuntman/ DJ in the band Sonar. The band shared the stage with the Wailers at the Winter Olympics in Salt Lake City, the String Cheese Incident, and played Hightimes Magazine’s SXSW party, and the Cannabis Cup in Amsterdam. In the fall of 2009 Mikey joined the Pretty Lights crew, opened for over 30 shows on their tours and performed cuts on the Making Up a Changing Mind EP, released in 2010. He also has played the sold out Red Rocks Amphitheater runs with PL in 2012/13/14.

Since that time, he has made his presence known in every single facet of the Colorado music industry. Over the years he has shared the stage with an extremely diverse range of musicians, including (but certainly not limited to): Bassnectar, The Glitch Mob, The Disco Biscuits, Boombox, Soul Live, Lettuce, The Motet, Michal Menert, Nightmares on Wax, Mr. Scruff, DJ Krush, Bonobo, Z Trip, DJ Qbert, Pete Rock, DJ Premier, Jurassic 5, Slick Rick, Method Man, Raekwon, Ghostface killa, Red Man, Juicy J, and Big Boi of Outkast. Additionally, he has been prominently featured on such festivals as Shambhala, Sonic Bloom, Snowball, Global Dance Festival, and many others.

Mikey Thunder’s true talent lies in his versatility. Every Thunder performance presents something familiar in an entirely unfamiliar way, as well as something unfamiliar presented in a way that is immediately recognizable as Thunder.
Venue Information:
Cervantes' Masterpiece Ballroom
2637 Welton Street
Denver, CO, 80205
http://www.cervantesmasterpiece.com/