pleasurekatzen

I prefer to call you the Motorcity Songbird Looking forward to tomorrow night!!!

Pulsestate's Jam!

Join The Collective, Function13 and DJ Pleasure Kitten this Thursday at New Way in Ferndale for RESIST! 21+ welcome. Doors @ 8pm.

You might also look into 5F_55, 5F_X, Tarmvred, Morgenstern, Whitehouse, Painstation, Needle Sharing, Proyecto Mirage, Somatic Responses, Mlada Fronta, Axiome, NullVektor, Telerotor, HIV+, Synth-Etik, Ah Coma-Sotz, Muslimgauze, Nurse With Wound, Aural Blasphemy, Beefcake, MS Gentur, Mono No Aware, Imminent Starvation, Sonar, Config.sys, Orphyx, Lith, Vromb, Flint Glass, Klangstabil, Mimetic, Wai Pi Wai, Silk Saw, Kiew, Haus Arafna, Ad·ver·sary and Exocet. Enjoy

Very, very fun night. Everyone who did dress up all steampunky looked great! Thanks to all who came out, especially those that drove up from Ohio

Usually, whatever DJ's are working that night post it to their facebook or twitter page. There is also a thread on the board posted for each Friday. EDIT: Though it appears that this week, no one made one :/

Sunday, August 29, 2010 Darque Productions presents: Tragedy (For Us) Tour featuring: Iszoloscope + Ad•Ver•Sary w/sg: Servitor Sanctum 7, Lunar Effect DJ's Saint + Meta Tickets $10 door only ALL AGES Doors at 8p.m. @ Smalls Iszoloscope Since 1999, Iszoloscope has been pushing the abstract conceptualization of isolation and its induced altered states of consciousness into a powerful, ominous, and immersive world of dark sonic aesthetic that can be called its very own. Seamlessly bending stylistic constraints by creating a fusion of industrial, electro-acoustic, ambient, rhythmic noise, psy-trance and break-core; this artistic endeavor sets an exceptional standard in hybrid electronic music. Establishing itself as an experimental music project in the late nineties on the radiophonic landscape of Ottawa, Canada; Iszoloscope quickly gathered momentum through weekly broadcasts and renditions at local alternative electronic music events. In 2001, Iszoloscope gained world-wide attention performing at the German underground music festival Maschinenfest and releasing its debut album, "Coagulating Wreckage", on Belgium's Spectre Records. As of Today, Iszoloscope has remixed countless artists, appeared on dozens compilations, produced 4 more full length albums on the European labels Ant-Zen & Spectre ("Aquifère", "Au Seuil du Néant", "Les Gorges Des Limbes", and "The Audient Void") along with several EPs and collaborations on the labels YB-70, Ad Noiseam, and Spectre. Iszoloscope has also executed 5 successful European tours, and a myriad of shows at international events across the planet from Australia to Japan, to Europe and North America (Including the Movement Festival in Detroit). Ad•Ver•Sary Hailing from the Canadian electronic music underground after a decade of Techno and Industrial DJ and promotional work, Ad·ver·sary is Jairus Khan. While providing North American tour support for such acts as Terrorfakt, Antigen Shift, Cyanotic, Adam X, Iszoloscope and others, his many remixes of such Industrial Noise icons as Converter and Iszoloscope have enjoyed heavy club and airplay around the world. Now, Ad·ver·sary is conquering minds and destroying dancefloors with his critically-acclaimed album 'Bone Music' on Tympanik Audio. Hard Industrial rhythms meet enormous organic soundscapes to create what Re:Gen Magazine calls "…a balance between the brutal and the beautiful." Featuring remixes by Antigen Shift, Tonikom, and Synapscape. Mastered by Yann Faussurier of Iszoloscope. Ad·ver·sary's latest release on Tympanik Audio is a fantastic remix album titled 'A Bright Cut Across Velvet Sky' featuring collaborations with Stendeck, Autoclav1.1, Cyanotic, ESA, Phylr, Iszoloscope, and more. 'A Bright Cut Across Velvet Sky' is harnessed within a unique packaging, designed by the artist himself, hand-assembled and limited to 1000 numbered copies. Servitor Sanctum 7 Servitor Sanctum 7 is not only a musical idea based in the Detroit area, it's concept has much to do with the area itself. A once vibrant industrial metropolis struggles to keep from becoming an apocalyptic wasteland. While factories and entire neighborhoods fall into ruin, the plant-life that was years ago slashed and burned is once again creeping back into the industrial skeleton. Servitor Sanctum 7 is about realizing where we are and knowing that we now have to control technology and industry that makes life easier while learning to re-embrace the earth that gives life. Musically, Servitor is dark, rhythmic, and organic sounding electronic on a foundation of West African, Brazilian, and Middle Eastern rhythms. Live, Servitor is a relentless, screaming, chanting, feral experience with live drums pulsing through the entire show. Lunar Effect Lunar Effect is a one-man Detroit based musical project whose music is akin to taking a sonic journey through ambient galaxies. Inovative and inspirational with ever evolving compostions, sound manipulating and exploration as well as a stunning use of effects. A relative newcomer to the stage, be sure not to miss what could/should be a much talked about live performance.

Sunday, August 22, 2010 Darque Productions presents: Ego Likeness w/sg: The Ludovico Technique Tickets $10 door only ALL AGES Doors at 8p.m. @ Smalls Ego Likeness Ego Likeness was created in 1999 by artist Steven Archer, a DC native, and writer Donna Lynch in Baltimore, Maryland. Taking their name from Frank Herbert's classic science fiction novel Dune, the band began as an experimental/ dark trip hop project. A demo called Songs From a Dead City, recorded on a four track, was released that same year. By 2000, the couple was moving the project in a darker electronic/ dance direction, resulting in a self-released full length album entitled Dragonfly. After a short hiatus from recording and a lengthy period of trial, error, and revision, and many regional live performances, Ego Likeness signed with Dancing Ferret Discs for the release of 2004's Water to the Dead. This album featured the band's electronic roots while exploring a bit of a heavier rock sound. For 2005, Ego Likeness re-released Dragonfly and toured Germany, Luxembourg, and the continental US with The Cruxshadows, as well as performed at several festivals on the east and west coast, including Convergence 11 (San Diego CA), Dracula's Ball (Philadelphia PA), Black Sun Festival I (New Haven CT), Freaks United (DC), Eccentrik Festival I (Raleigh NC), and others. In 2006, the band toured Germany once again with The Cruxshadows, and preformed at Dragon Con in Atlanta GA, as well as released their third full length CD The Order of the Reptile. The album brought together several of their past styles, including darkwave, trip-hop, and rock. The following winter after the release, Ego Likeness toured the US yet again, this time with The Cruxshadows and Ayria. Ego Likeness went back to Germany, as well as Poland and the UK, with Ayria and Angelspit in late autumn of 2007. They also released the first of four limited edition EP's entitled South. In early 2008 they headlined a warm-up tour of the US and performed at Black Sun IV before setting out with Voltaire in the spring for his month-long Maiden Voyage Tour. Ego Likeness wrapped up their touring for the year by playing Dragon Con in Atlanta once again. 2 008-2009 also saw the release of the single, The Lowest Place on Earth, as well as the North, West, and East EPs. For 2010, Ego Likeness signed with Metropolis Records to release their fourth album, Breedless. The album showcases their dark electronic trip hop sensibilities overlaid with Donna's passionately emotive vocals. Ego Likeness brings a smooth, danceable yet aggressive sound that will appeal to a wide variety of fans. Bridging goth and electronica with sultry female vocals, they certainly will make you want to just listen, or move your body. While many may compare them to Curve and Collide, Ego Likeness continues to take their music to darker corners of the human psyche. The Ludovico Technique The name itself stems from the drug-assisted aversion therapy found in the novel and film "A Clockwork Orange", in which the patient is forced to view violent imagery while injected with experimental medication in an attempt to condition the subjects behavior. The Ludovico Technique as a band takes this concept and transforms it into music. The lyrical content draws from personal experience and observation - you will hear nothing which has not been translated from feeling to sound. It is harsh industrial music highlighting the dark aspects of the human experience as well as the depths to which the human mind can deteriorate. The bands debut EP can be found on Crunch Pod Records.

ell oh ell.

I'll be bouncing back and forth between the ballroom and the dj'ing in the club

Also, another reminder not to take onesself too seriously, which I think everyne needs at one point or another

Mostly inspired by a picture a friend sent to me of Rick Astley and Morrissey sitting on a couch together being all cute and smiley

See also part two..... LOL PART2 I'm laughing so hard... oh man... DJ Razor Suicide!

The Extraordinary League of Industrial Retards Silly, but fun.

A friend of mine, Matt posted a four-part series of rants today discussing the state of the music in our "scene" as a whole, live shows, club patron/local scenesters, DJs, musicians and the inner workings and impact they have on one another. I thought I might share these with you guys to see what your thoughts on them are. I agree with quite a few points he makes below, and I welcome your feedback and perspective. "You're the Fucking Problem (part one of four) by: Matt Fanale Here's a note to every person who bitches about "not getting any good shows" in their area: What the hell have YOU done to make them happen? We live in a time where everyone can be lazy as fuck. You don't need to pay for music or television or movies or ANYTHING if you don't want to. On top of it you can anonymously whine online about all the shit YOU DIDN'T EVEN PAY FOR and be an asshole just because you hate your life or think it's funny being a dick when you're drunk. Guess what? You're the fucking problem. I've done pretty much every position in this little genre, from promoting to making music to running a label and marketing CDs. I'm not "big business," but I probably know more than you. Mostly I've done it because it's fun. If I make a couple bucks here and there and know I've entertained a few people that's cool enough. I don't expect the world. At the same time I stopped doing a lot of it because of the pure apathy I encountered. Some of it was because, at least locally, a lot of people here got married, had kids, or moved away. There wasn't much point in promoting shows when nobody really came out anymore and I lost a good chunk of money every time. The only shows I generally book now are either good friends (and then not always either, depending on what they're looking for moneywise), or...Assemblage 23. Oh, and Stromkern. I can always do well with A23 or Stromkern locally. And that's really fucking sad. Do I go out to every show that comes through? No, I don't, but I at LEAST help get the word out on it. What really, really, REALLY pisses me off in this scene is that we have a million ways to spread word of mouth FOR FREE and You Fuckers barely make a peep to let others know when shit is coming to town. I've heard countless times after shows "DUDE! YOU WERE IN TOWN?! I DIDN'T HEAR!!!" when I KNOW the promoter got the word out. Is it REALLY so fucking hard to "share" upcoming events on Facebook or retweet something? Even if you're not going, is it REALLY so fucking hard? Is your reputation so important that if someone actually goes and spends the $5 cover most promoters charge and don't like the band it'll damage your friendships forever? I see people talk about every fucking MOVIE they're going to see or the hot youtube video or a million OTHER fucking distractions out there, but these same people won't talk up when "UP AND COMING EBM BAND X" is coming to town unless they've got that band's logo tattoed on their vagina. Guess what? WE NEED SUPPORT. Guess what? MOST OF YOU DON'T EVEN PAY FOR THE MUSIC. Seriously, what the fuck do we have to do? Our mouths aren't big enough to blow every one of you (or girl-blow you. I don't want to be sexist.) and we can only sweet talk to the point where we simply give up. I'm not saying go see a band whose music you don't like, but you have no problem blowing money on even stupider shit in your daily lives and if you check the band out on Myspace (What? Google's too hard to use for 5 seconds?) and it sounds interesting then STOP PLAYING WoW FOR A FEW HOURS AND GO TO THE SHOW. Most fans (and I still consider you fans-- I can't judge that) are spoiled rotten these days. I'm obviously not trying to ingratiate myself to anyone here, but frankly what can anyone do to me? STEAL MY MUSIC?!?! Steal it LESS?!? It takes 5 seconds to get the word out on a show and a few bucks to check the show out. Even if you hate the promoter don't blame the bands for that. If it's any consolation the promoter will probably STILL lose their ass, and that'll be the subject of my next rant. Yeah. I'm gunning for ALL you assholes right now." And now, on to part 2! "You're the Fucking Problem (part two of four) By: Matt Fanale Most people who promote in any genre of movie where the main venue for the acts sells $2 bottles of High Life has very little clue on how to promote shows or clubnights. Here's a note to all promoters: Putting an event on your Facebook page and inviting your 50 friends, half of which aren't even WHERE YOU LIVE, and expecting a sell-out show is NOT promoting. Putting fliers out ONLY at the club the event will be at IS NOT PROMOTING. Complaining on your blog that nobody showed up IS NOT PROMOTING. PROMOTING is promoting. Okay, I've promoted probably 75-100 shows since 2001. I've been running a festival since 2002. I know How To Promote, and I know how to do it with zero budget. It takes WORK. Just because you DJ or know a few people does not ensure that anyone will come to your gig. If people don't come it doesn't mean they don't love you or aren't your friends. You need to GIVE THEM A REASON. Whether that be a cheaper door price for coming earlier, a giveaway or some special twist, or making the show earlier if it's on a weeknight and people have to get up at the asscrack of dawn to go to their shitty jobs. Give them a reason. And give it to them 1000 times. I hate to say it, but being a promoter is all about reminding people over and over again but knowing that breaking point when you're simply COMPLETELY ANNOYING. It sucks. It's frustrating. It's no fun. But yup, it's promoting. And if nobody shows, when it comes down to it, it's YOUR FUCKING FAULT. If the bands you book suck, it's YOUR FAULT for booking shit. If the DJs play terrible music and people leave it's YOUR FAULT for letting them spin at all. If your sound person sucks or is always late it's YOUR FAULT for hiring them. If nobody comes out it's YOUR FAULT for not giving them a fucking reason to show. It sucks and it's ALWAYS an uphill battle, but you decided to promote. If you decide to become a doctor and every person dies on the operating table that's YOUR FAULT too. Do your fucking job. And if you can't do it alone get other people to help you. There's safety in numbers and getting the word out is a lot easier if there's a few of you on the job. And STOP FUCKING WHINING about stuff and trying to guilt trip people into coming to gigs. Promoting is basically a crapshoot and I have nothing but respect for people who do it as, like I've said, I've done it plenty. I've lost literally THOUSANDS of dollars over the years promoting shows. Know the costs. Know what you can lose. Know who you can count on. Or stop promoting shows. A bad promoter can kill all chances of ANYONE going to shows in your city. Hell, for YEARS bands in our scene wouldn't play CHICAGO (remember that town? Home of WAX TRAX!?) because there was only one good promoter there and if she passed you were FUCKED because nobody else could pull off a gig. CHICAGO!!!! Nobody goes into promoting for the glory. Small promoters aren't generally the ones getting laid after a show for a job well done, but they are the ones that bands will remember, ESPECIALLY when they're working their way up the food chain, and will appreciate later. I know personally I will only work with certain people if I play some cities because they took a chance on me when I first started out. Maybe I didn't make a lot of money but there's an unspoken loyalty that I know I have with some people. Do it right or don't do it at all. And learn how to do it better. It's your fucking job." Thoughts? Parts 3 and 4 to be posted later.

"DJ Saint *Peter Murphy - Cuts You Up" You non-noise-loving sissy

Someone passed that my way. Had to share

Happy Birthday

I'll be there, DJ'ing with Elektrosonik

It will be good having you guys back

If you'd like to contact me via email (pleasurekatzen@gmail.com), I'd be glad to see if we can help set something up. I'm a part of a group called Darque Productions. We specialize in booking electro/industrial/goth/ebm/darkwave acts here locally. You can check us out at http://www.darqueproductions.com

Zoiks! Totally did not see the other thread about this. Of course, apparently lot of other did not either

Hey everyone, Join us this Friday night at City Club! DJ's Pleasure Kitten @ Aaron Hingst will be spinning your requests from 10pm-4:30am! Tell the door girls '1324' for FREE ENTRY before MIDNIGHT! Looking forward to seeing everyone this weekend!

After selected vinyl releases by Welle Erdball, Feindflug and Nitzer Ebb, the Chemnitz based label Black Rain is to issue the 1996 Apoptygma Berzerk classic album "7" as a picture vinyl, strictly limited to 500 copies and hand-numbered. To be released in early August the first 50 picture LPs will be delivered with an original autograph of Stephan. You can order this gem at www.emmo.biz . "7" is a classic hit album featuring all the famous tracks like "Love Never Dies", "Deep Red" and "Non-Stop Violence" which rocked the dancefloors back in 1996. Read More + Tracklisting HERE