Spiritoso Records & Antidote with Lee Van Dowski (Cadenza) & Digitaline (Live) (Cadenza) at Basing House at Basing House | 29th October

ANTIDOTE “The Halloween” with LEE VAN DOWSKI & DIGITALINE (Live)

Saturday 29th October 2011
10pm-6am
BASING HOUSE
25 Kingsland Road
EC2 8AA

!Limited capacity!

ADVANCE TICKETS:

£7.50 Early Birds now On Sale
£10 Second Release
£12.50 General Admission
MOTD on The Door

We strongly Recomend you to Buy your Ticket Online as it will Sell Out!
Guest List will be Limited !…

INFO: Info@spiritosorecords.com

LINE UP:

*LEE VAN DOWSKI (Cadenza / Bpitch / Mobilee / Swissterzland)
http://www.myspace.com/leevandowski
http://www.cadenzarecords.com/

*DIGITALINE [Live] (Cadenza Records – Berlin )
http://www.myspace.com/lapsdigitaline
http://www.cadenzarecords.com/

Plus Spiritoso Records Residents:

* DubGraffiti (DETOX / Spiritoso records)
* LAN (Spiritoso Records)
* Yiannis Balkizas (Use Your Loaf)
* Fabrizia (maskik Records)
* Alfredo Ramos (BamBara)

http://www.facebook.com/SpiritosoRecords?sk=app_178091127385
http://www.spiritosorecords.com/

CONTACT
info@spiritosorecords.com

Bio:

*LEE VAN DOWSKI (Cadenza / Bpitch / Mobilee / Swissterzland)

Lee Van Dowski: The very name exudes style and intrigue—a countrylord, perhaps, who at night throws open the manor gates to host all-night bacchanals legendary for their wine and song.

And though the French-born, Geneva-based artist may not have a manor to his name, the rest isn’t far off the mark. Born Renaud Lewandowski, Lee has earned a reputation as a kind of dark prince of uplifting
electronic music—a trickster who spreads his mischief via long, undulating DJ sets and bewilderingly funky releases. And he’s done this in a remarkably short span of time. In 2004, he and Philippe Quenum released the well-received “Extension”/”Oregon” single for Luciano’s Cadenza label; since then Lee has gone on to unleash a deluge of material on labels like Mental Groove, Bpitch Control, Memo, Plak, Defrag Sound Processing, Mobilee, Leena, Wagon Repair, Soma (where Lee and Quenum also released their collaborative album, As Told On The Evening Of…) and still more. He’s a regular fixture at some of the world’s most celebrated nightclubs—Weetamix, Panorama Bar, Goa, Rex Club, D edge etc…and even more celebrated afters. And as the director of two labels—Num, alongside Quenum, and 60Sec, with Agnes—he’s released dozens of records from the likes of Ripperton, Mike Shannon, Dachshund, Alex Attias and many more.

But while it’s been a comparatively rapid ascent, Lee’s roots go deep. His musical prehistory may be similar to many of his generation: raised on rock and hip-hop, complete with the obligatory attempt to
learn to play guitar followed by short-lived bands with schoolmates. But Lee was the beneficiary of his stepfather’s eclectic musical tastes, which spanned classical, jazz, funk, rock and even musique
concrete and academic electronic music. “I was fascinated by the metallic sleeves and their geometrical designs,” he remembers, suggesting a possible source for the shimmering timbres and clever
vectors of his own music.

The pieces first fell together in 1993, when a friend invited Lee to attend a rave in southern France, near where he lived. “That was the shock of my life,” says Lee, echoing a sentiment that will be familiar
to many. “That was what I was looking for, without really knowing it— thousands of people dancing and sweating in the open air. An amazing soundsystem. And this never-ending kick that drives you to madness… Since that day, I’ve devoted my life entirely to being a part of this.”

Lee got involved with the infamous Dragon Bal raves, where Miss Kittin got her start; he worked mundane jobs, saved money, bought decks and a mixer and taught himself to spin. He came to production the same way, beginning with an MPC2000, but translating the sounds in his head into its fat, blocky pads wasn’t as easy as it seemed. His ambitions took Lee to Geneva, where he earned a degree in music engineering, but it may have been his next job, working in a Lausanne music shop, that really signaled his entry into the world of electronic music. “Even if the boss was a crazy guy, the shop was like a goldmine, full of gear and old analog synths, drum machines, all the recording and mixing tools you could dream of,” he recalls with awe. He took advantage of his employee discount to build out his studio, and just as importantly, the shop served as a focal point for all the area’s musicians. It was here that Lee would meet both Quenum and Luciano—and from there, as they say, the rest is history…

There’s no single description for Lee’s productions, which have proved unusually malleable in his half-decade of releases; an early interest in the skittish rhythms of labels like Warp and Skam remains evident, but reformatted for the supple grooves of deep house and classic minimal techno. His time in the Lausanne music shop clearly served him well; Lee’s tracks immediately stand out for their fine sense of detail, an almost intangible shimmer. Utilizing samples, drum machines and all manner of synthesizer, Lee’s music remains open to every possibility. “It’s an empirical process,” he says of his method. “Each
sound or loop brings me to the next one, and so on, until the moment that I feel I have all the elements I need to finish the track. Of course, there are always surprises and accidents—that’s what makes the magic in writing music.”

Lee’s DJ sets are similarly spirited. “Technically, I like to surprise myself,” he says. “I like to do a long, smooth mix, and then a radical one… It’s important for me to try telling a story, so of course your technique is another way of doing that, along with the music itself. With time and with age, maybe, the tempo really decreased—I think I play a bit deeper now than five or six years ago. But I still love a
good, bouncy track if it’s not too aggressive, and if the energy serves the groove instead of breaking it.” Slowing down also means stretching out. “I like to play long sets,” he continues, “when you don’t have to rush, and you can really forget yourself and build something different.”

2009 finds Lee stretching out as never before. The year began with his Free For All Crash Endeavors, released on his and Quenum’s Num label, and The Variable Man (Leena), with one track featuring Lee’s longtime colleague Agnes; Lee also collaborated with Anja Schneider for Mobilee’s 50th release, “Deseo”/”La Roulette” which was shortly followed by “Survival Edit” One Sided On Saf Series. Further releases include the toast of techno, up-tempo “Glass Ep” dropped on Material Series. “Let’s Go Bowling” is a summer jackpot, packed with the kind of dancefloor stamina to make you weak at the knees. But the year’s biggest development may be Lee’s return to Cadenza, the label that helped launch his career five years ago. Just like the best kind of DJ set, Cadenza knows when to switch it up and with its 36th release this year, what better way to celebrate than with a new collaboration for Lee and newcomer, Glimpse on a split EP. The only unsurprising thing about the “La Cocina Del Cabron” is how hard the track hits. Lee is now part of Cadenza Booking, a family-style roster that includes Luciano, Thomas Melchior, Petre Inspirescu, Rhadoo, Mirko Loko and many more of electronic dance music’s most innovative players.

This summer will also host Luciano’s new groundbreaking project “Æther.” The term “Æther” means the personification of the ‘upper sky’, space or heaven and is a phrase used in both science and engineering but also in music. Essentially, Luciano will conduct 5 musicians from the CADENZA label, including Reboot, Digitaline, Mirko Loko and Lee himself in a live one hour set. The dynamics of a conductor orchestrating with the use of colour, will like never before, make you see sound and taste the bass, it’s mind-bending stuff. From Tokyo to Liverpool, this event will pull out all the stops and is not to be missed. The Count Lee has returned to his Swiss manor, the gates are wide open, and the beat is beckoning.

*DIGITALINE [Live] (Cadenza Records – Berlin)

Digitaline is a live act project formed by the Swiss producers Laps (Laurent Bovey) and Gregorythme (Gregory Poncet), who work together in Lausanne and Berlin since 2001.

What began as a bit of fun between two friends turned into various long live sessions and club nights between Lausanne and Zurich, slowly bringing them closer to finding a sound of their own – music full of atmospheric detail, sometimes a little abstract and sometimes more narrative, but always deep grooves made for the club.

Their work became more serious in 2005, when they released their first EP (‘Rubicube’) on Cadenza, after they had given some of their tracks to Luciano. With the help of this new collaboration, Digitaline’s music instantly got international recognition. In 2007, their first longplayer (‘Anticlockwise’) and another EP (‘Honululu’) came out. The next step was playing live gigs in places such as Panorama Bar, Mutek 2007, Movement (DEMF) 2007, Fusion Festival, Fabric, Rex Club and DC10.

After more then one year touring with their fully acclaimed deep techno live act, the duo went back to the studio end of 2008. Their studio collaboration went a step further with these two releases out beginning and end of summer 09 : Seeking Attention Ep on Zürich based label City Fox Records and Oz factor Ep on Cabanne’s label Minibar From Paris. Both records go in the same direction into electronic dance music, deep grooves, concrete atmospheres, organic synthetizers and a bright sense of repetition.