SATURDAY JULY 4TH ::

The Rapture [DJ Set]

2020 Soundsystem

Drop The Lime

Hot Pink Delorean

Ceeplus Bad Knives

Rocky Moon & Bolt

Electric Attitude

The Sour Notes

Grandfather Child

Searching For Signal

Shina Rae

Springfield Riots

Workingirls

Tax The Wolf

Female Demand

Grizzly

DJ Dayta

El Roy Boogie

Suraj K

SDFONE

Page

TDBZ

Kung Fu Pimp

DJ Dan-Knee

G-Wizz

The Call Me Jep

Brad Slack

MC Gremlin

Bloxwerth

SUNDAY JULY 5TH ::

RJD2

People Under The Stairs

Felix Cartal

Bird Peterson

The Button Freak

Satin Hooks

Factory Party

American Sharks

Josh Dupont

DJ Red

Grrrl Parts

Sad Gorilla

Glasnost

The Mathletes

James Reed

Brandon Silva

Alpaca

The Gold Sounds

Ben Wesley

Warbler PL

Bjorn Larsen

Chris Calix

Damon Allen

BMC

Steve Mok

DJ Maximilian

]]> http://texasheatmusicfestival.com/502/performance-schedule/feed/ http://texasheatmusicfestival.com/581/lancaster-texas-heat-music-fest/ http://texasheatmusicfestival.com/581/lancaster-texas-heat-music-fest/#comments Sat, 20 Jun 2009 18:46:13 +0000 admin http://texasheatmusicfestival.com/?p=581 The Lancaster Hotel is located directly across the street from Jones Plaza on the corners of Texas & Louisiana St.

Discounted Rates !!

Enjoy the Texas Heat Music and Arts Festival without the long drive home

$89.00 per night

(Rate valid July 3-5, 2009.)

The Lancaster
701 Texas Avenue • Houston, Texas 77002
tel 713.228.9500 • fax 713.223.4528
reservations 800.231.0336

Downtown Houston historic landmark, The Lancaster has played host to perfomrning artist and discerning travelers since the 1920’s. As Houston’s Premier Boutique Hotel, the ambiance of the Lancaster is on of comfort, personal attention and style!  The Lancaster’s 93 handsomely appointed rooms and suites evoke a feeling of comfort and convenience, combining traditional European decor and charm with high-tech amenities tailored to the business traveler’s needs. Our dark-wood two-poster beds topped with down duvets and feather pillows promise a luxurious night’s sleep.

Guest Bath

• Marble vanity
• Bathrobe
• Makeup mirror
• Designer toiletries
• Hair dryer

Guest Services

• Complimentary wireless Internet access in all public areas of hotel
• Complimentary Town Car service to local attractions and businesses
• Handicap accessible facilities
• 24-hour full service, multilingual concierge staff
• Valet parking
• Fitness center
• Massage service available in-room
• 24-hour room service
• Business center with access 24/7
• Same day laundry and valet
• Safe deposit boxes at reception area

JUST ADDED !! 

Felix Cartal

Bird Peterson

DJ Mel

Not your typical 4th of July weekend !! This year you don’t have 4 days , so do it in 2 !!

GENERAL INFO:

• Saturday & Sunday July 4th & 5th 2009
• Doors at 12 Noon
• Festival Entrance on Smith St.
• Over 40 Performers
• Parking Under Venue
• Local & Regional Venders
• Live Art & Displays
• VIP Available at Groovetickets
• Tickets On Sale at Wantickets :: Groovetickets

While it’s easy to pin the influence of Gang of Four, ESG, and Liquid Liquid on many of the followers, The Rapture’s territory of beat mining goes deeper further and wider. The band have shown respect for forbearers as diverse as ‘70s New York disco progenitor Larry Levan, ‘80s Chicago acid house innovator Marshall Jefferson, historic party staples like Happy Mondays, The Gap Band, Bizzare Inc and Incredible Bongo Band, as well as unlikely sources like Sun Ra and Uriah Heep.

“We are living in an exciting time for music, in the sense that there are a lot of things up in the air” says vocalist/bassist Mattie Safer. “Hip Hop producers are making electro-house. Club DJs are playing ‘70s rock edits. Guitar players are listening to James Brown again. It’s like over the last 5 to 10 years everyone has thrown out what they knew and what they grew up in search of some new shit, and it’s all come together in a beautiful mess.”

“I think part of the problem with understanding our band is that people think we’re really schizophrenic,” says saxophonist/keyboardist/percussionist Gabriel Andruzzi. “We work in and out of a variety of styles, we have 2 singers, and I’m doing something different on every song!”

Perhaps the best way to understand The Rapture is to stop worrying about genres and labels and simply get into the music. The first new single from Pieces of the People We Love, “Get Myself Into It” is a sweltery dance floor cut fueled by a bobbing bassline and jagged guitar bursts, and embellished with sultry saxophone and echoey percussion that show The Rapture circa 2006 bringing the party forward and pushin’ the positive. “It reminds me of being at a big beach party on the Islands somewhere,” Jenner says. “I used to have this idea that vocals were somehow valid if they sounded painful. But this time, I decided that I don’t need to hide behind that and that it’s okay to make something sound happy.”

And the beat goes on. “Whoo! Alright – Yeah…Uh Huh” rides a cowbell-infused drumbeat and monochrome vocals to a glorious place that’s so infectious even the most jaded 24-party people could not resist. ‘The Sound’ combines big beat drums like Tomorrow Never Knows the size of an ocean wave and buzzing, blaring guitars resulting in a blissful lightning bolt crescendo.

On Echoes Jenner sang lead on 8 of the 11 titles, but this time around the vocals are an even split between Luke and Mattie (Jenner = Don Gon Do It, Get Myself Into It, The Devil, Calling Me, Live In Sunshine. Safer = Pieces of the People We Love, First Gear, Whoo! Alright-Yeah… Uh Huh, Down For So Long, The Sound). Songwriting duties were once again handled collectively by the 4 members. This time around however, there was an eye to further opening the process. “One of the big things this time was that everybody got to do what made them happy,” chimes in Jenner. “Instead of focusing on what other people were doing, we focused on our own parts… making them better and using that to influence the songwriting. It was a very constructive process.”

“Working together, we were able to better realize some of the things we were trying to do last time,” Safer says. “We became more confident with the songwriting, and since everybody was engaged and building it up, there were more ideas to work with.”

After growing up together in La Mesa, a sunny suburb of San Diego, Jenner and Roccoforte moved to San Francisco in 1997. In 1998 they formed The Rapture. They recorded their first single ‘The Chair That Squeaks’ b/w the Psychedelic Furs’ ‘Dumb Waiters’ and the 1999 Mirror EP, which featured eight noisy, unglued tracks that revealed an energetic batch of musicians that had yet to find their voice.

“Back then, we viewed our music as this self-destructive art form, and onstage we would be really confrontational and smash stuff,” says Jenner. “But slowly, we came out of that self-loathing vibe.” The band went through five keyboard players and two bassists over an 18-month period, during which time the members often had a budget of $5 a day each to eat. The Rapture’s bad luck began to change after they played a show in Washington, D.C. There, they met then 18-year-old Safer, who became their bassist and second vocalist. At their first concert with Safer, The Rapture met James Murphy, one-half of the production team of Death From Above (DFA), which signed on to work with the band on their EP Out of the Races and Onto the Tracks as well as their debut album. Early in the process, they cemented their future with the release of the undulating fireworks-and-champagne shout-a-thon single “House of Jealous Lovers,” which became a hit on dancefloors across the world shortly after it came out on DFA‚s titular start-up label.

“Most bands never get to have a song that has some sort of historical impact, and that song really did shape a lot of stuff,” Jenner says. “Plus, it marked the moment when the prospect of doing a band for a living became real.”

By May 2003, The Rapture were signed to Universal and that September they released the critically-acclaimed DFA-produced Echoes, which featured songs recorded over a six month period and completed a year prior to the Universal signing. The record was a misch masch of house, punk, funk, classic rock, and all else that is lovely. During the recording process, Safer’s cousin Gabriel Andruzzi was brought in to play saxophone and percussion and soon after became a full-time multi-instrumentalist. The Rapture toured for Echoes through December 2004.

In early 2005, writing for the new album began. They worked steadily through the spring, and that winter they set up in a friend’s studio and started recording demos.

“We had been on tour for years, so when we started writing again, we were all bursting with ideas,” says Andruzzi. “We were almost too excited at first because we all wanted to work on our own ideas and these clashes started happening, so we had to take a little time off to regroup.”

When The Rapture returned in early spring, they had learned how to work together and many of the best songs for Pieces of the People We Love, including “The Devil,” “Don Gon Do It” and “Get Myself Into It” were written in less than a day each. When all the new songs were demoed to their satisfaction, The Rapture started searching for producers. Instead of going with celebrity names, they hired British indie producers Ewan Pearson and Paul Epworth (Futureheads, Bloc Party, Goldfrapp) to work on the majority of the record.

“We have known Paul and Ewan for years and we knew both of them would kill to work on this,” Safer says. “They’re good and young and they get it. It was really easy to work with them and they worked with us instead of trying to work for themselves, which a lot of big producers try to do.”

While Epworth and Pearson produced the bulk of the disc, Danger Mouse (Gnarls Barkley, Gorillaz) worked on the title track and “Calling Me.” “He definitely did not need to work on this record. He did it because he really wanted to,” Jenner says. “He was so enthusiastic and easy to work with. He was so into it.” From the hook-filled keyboard-laden electronic pop song “Don Gon Do It” to the swaggering funk-pumping “The Devil,” from the mindbending guitars, distorted electronic drums and sedated vocals of “Calling Me” to the mellower album closer “Live in Sunshine,” Pieces of the People We Love has something for every mood, genre and party preference. The Rapture are on the verge of becoming as important to dance music as their greatest heroes. This album is history in the making.

From 1998 to 1999, he saw success blossom as DJ/producer for the Columbus-based group the Megahertz, with two twelve-inch singles on Bobbito Garcia’s legendary NY label, Fondle ‘Em Records. This explosive entrance to the underground hip-hop scene gave way to shows from Europe to Japan, not to mention garnering mention in Vibe magazine’s “History of Hip-Hop” historical volume. Opening doors outside of the east coast, the MHz went on to appear on the Bay Area’s ABB records compilation, Always Bigger and Better, Volume 1. Their contribution (entitled “This Year”) was voted best track on the ABB website, while competing against major label heavyweights such as Dilated Peoples and Defari.

In 2000, the praise only continued for RJD2, producing Copywrite’s debut single “Holier Than Thou” on Rawkus Records. The work certainly didn’t stop there; spring of 2001 was RJD2’s formal introduction to hip-hop as a solo artist on Def Jux Presents, a compilation showcasing the roster of his record label, Definitive Jux Records. Having to hold his own next to NYC underground legends such as Company Flow, Cannibal Ox, and Aesop Rock, RJD2 did no less. That summer he followed up this string of releases with his own twelve inch entitled June, which featured fellow MHz member Copywrite laying down two incredible book-end verses. Melding the hip-hop tradition of raw, gritty samples with a more classical approach to song structure, he has concocted a style of production that pleases the most discerning hip-hop scholar without compromising that old dance floor aesthetic.

2002 saw RJD2 release the critically acclaimed debut Dead Ringer, which not only solidified his spot as one of the underground’s top producers, but also caught the ears of Grammy-man ?uestlove of The Roots who called the album one of his favorites of the year. Not to mention even landing the track Ghost Writer in a Saturn ad, with juggling solo ventures, producing rappers, and DeeJaying, the man is certainly in the hot seat at the moment. It has been said by many legendary producers that the ultimate goal is to move a crowd-not just to dance, but sometimes also to feel and think. In this vein, RJD2 is only continuing a time-honored tradition.

In 2003, RJD2 released The Horror, and the landmark Since We Last Spoke in 2004.

RJD2 has participated in numerous collaborations with artists such as Aceyalone, Ric Ocasek, and Goapele.

In 2007, RJD2 released The Third Hand which, if nothing else, showcased his ability to evolve beyond the hip-hop genre. Around this same time RJ created a compilation album with fellow underground DJ’s Mick Boogie and DJ Flash for their A.B.B. compadres Little Brother entitled AND JUSTUS FOR ALL.

People Under the Stairs, or PUTS, have released three albums since 1998, and have since put out a record every two years, with the exception of 2004. Myek. They have also moved to Basement Records, who will formally release their next album along with Tres Records. Tres Records was started by Chikaramanga & Sausen with the assistance of Thes One and has began releasing 12” singles and CD’s for Thes One, Giant Panda, Lightheaded, and other artists.

PUTS is often considered one of the hip-hop underground’s most prominent acts, with a musical style similar to that of A Tribe Called Quest and The Pharcyde.  Their album, Stepfather, was released on April 18, 2006. A false leak of the album was released on the internet on February 21, 2006. The leak was orchestrated by Thes One himself by recruiting members on the PUTS Online messageboard to spread the bad copy. The leak is in fact a recital of The Rime of the Ancient Mariner with an introduction containing such jeers as, “You got it way before everyone, you’re so smart. You couldn’t wait for 4.18.06, huh. You’re smart, well enjoy this.”

In 2008 they released their sixth album Fun DMC.

Thes One released his first solo album, Lifestyle Marketing, in early 2007. It is a 2-disc album of instrumentals featuring samples from Herb Pilhofer’s Music That Works. A ‘Target’ b/w ‘Grain Belt Beer’ 10” single was also pressed.

All eyes are now on them from the underground to the masses, what will they do next? Like the open–ended closings of the great television shows of the 70´s, “Or Stay Tuned” takes you on another ride with The P. A twelve–track collection of party rockers, love songs, silly skits and more, all guaranteed to bump you up! Lay back in the cut with “Fly Love Song” or just have a ball with “Yield” and “Plunken Em”…This is the funk for your bottom, the beats for your top, and even the ´green´ for in between?let it all hang loose and turn it up!

Cartal has created a zealous following through his emergence in the international blog scene, with hard hitting original tracks such as “Moss vs. Trees” and “Parisienne” as well as remixes of pop sensation Ashlee Simpson, MSTRKRFT, electronic rock act Dragonette, and Scottish producer-turned-DJ Alan Hostage. With many commissioned remixes (such as the upcoming Moving Units single) waiting in the wings, Cartal continues to write and produce original and remix material with a professional touch which colleagues and fans regard with great admiration and respect. Consequently, his music has become a staple in the sets of artists such as Tommie Sunshine, Steve Aoki, and many others. As well, he has earned the backing of many prominent artists, including East York powerhouse duo MSTRKRFT.

Cartal represents the new breed of industry players. Owing his success almost entirely to word-of-mouth and blog-endorsements, he is representative of the grassroots music movement that has been created due to the Internet – in a school of artists which includes contemporaries such as LA Riots, Sinden, Lazaro Casanova and Yuksek. Completely distanced from the world of expensive promotional gimmicks and label-hype, Cartal has risen in notoriety solely due to his musical abilities and talent. This new breed of artist, distinguished by exceptional content rather than hype, has begun to show much greater staying power than traditionally promoted artists.

Cartal maintains a rigorous international tour schedule and has brought his brand of techno-esque hard-house to thousands of dance-hungry club kids worldwide. Having already supported acts such as Vitalic, Felix da Housecat, Richie Hawtin, Justice, Busy P, and Steve Aoki, look for Felix Cartal to continue to spread his hard-hitting brand of electronica across the globe.