VENUE: MUZIK NIGHTCLUB
15 Saskatchewan Rd, Toronto, Ontario (CNE)
Must be 19+ with ID
Doors Open at 10:00PM
ADVANCE TICKETS: Starting at $30 and Up
Tickets Available Online: http://www.wantickets.com/destiny22year
PLAY DE RECORD : 357 Yonge St. – Toronto, ON – 416-586-0380
CULTURE RISING : 139 Queen Street – Streetsville, ON – 905-826-9165
CULTURE RISING : 143 Lakeshore Rd E. – Port Credit, ON – 905-274-9165
DR DISC : 20 Wilson Street – Hamilton, ON – 905-523-1010
Celebrate the Game of Thrones Season 5 premiere with a special ONE DAY ONLY 2-for-1 sale!
On Sunday, April 12, when you buy one ticket for Rave Of Thrones at $55, our friends at Theatrix will buy you another one for free!
2-for-1 tickets to Rave of Thrones courtesy of Theatrix Costume Rental! This offer is only available on April 12, 2015 and is limited to the first 50 pairs of tickets.
Demand for tickets to Rave of Thrones has been crazy and we thank our friends at Theatrix for coming through with this great offer on most of the remaining stock!
Don’t have a costume? That’s OK, they’re NOT mandatory, but if you want to get in the spirit,Theatrix is also offering 50% off costume purchases and 30% off costume rentals with the promo code “Kaleidescope” – Please visit their store at 165 Geary Ave in Toronto. (www.theatrixcostumehouse.com)
Toronto is a city of love, passion and pride. Rarely do we encounter artists in electronic music that immerse themselves so much into their craft that they live their music. As Bassweek 2015 kicks off soon, we wanted to take a moment to remember why supporting our local artists are so integral to the stability of our community. Earlier this year I got to sit down with a local legend who’s helped shape the drum and bass scene in Toronto over 20 years. The one and only: DJ Lush.
I sat in a coffee shop anxiously awaiting the arrival of a man who’s presence around the city is felt, yet his illusive nature makes him more intriguing. There are no lights, no camera, no action, no plot twist. He is his own product. On this principle, he has built a career full of pride in himself, passion in his music and love for the city he calls his home. Well put together and not breaking a sweat, we opted to speak outside in his garden patio overlooking the city that knows him so well, the city that he owns.
The story behind his evolution as an individual and artist is a direct manifestation of hard work. And so it begins, raised in the suburb of Thornhill, he grew out of his childhood pastimes and made an early self-realization that music was his future. “When I became a teenager, I went into the direction of music. That really caught me.”, Lush begins.“The first thing I really became fanatical about was late 80’s early 90’s rap. Particularly, Public Enemy.”The mark of a budding DJ was already upon him. He wasn’t just a music enthusiast, he genuinely enjoyed all of the technical aspects he heard in early rap songs from Eric B & Rakim to EPMD. After playing around with his mom’s vinyl he had an epiphany. His interest was now clearly real and it all started after Gangstarr hit the rap scene.
“When Gangstarr came along and I discovered DJ Premier. That was it.”, Lush explains. “That’s when I realized I want to be a producer and a DJ.” And how did hip hop tie into drum and bass? Well, it was all about the technicalities – specifically, beats and scratching. Frequent trips downtown consisted of buying records, even without owning a turntable. “There were flyers also for the early raves. The coolest looking flyers we’re always at the front of the store and I used to take them and read them on the subway home. Simultaneously while this is happening, I started to listen to music other than rap.” Lucky for us, he had a cousin who was part of the first generation of ravers in Toronto going to Factory and early raves like Exodus and Chemistry. These eventsultimately lead him into the underground world of raves.
Mainstream acid house tracks in the early 90s like, ‘Killer’ and ‘I Want To Give You (Devotion)’ sparked his interest and the energy in the music was attractive. Deciding to find out for himself if this was the right fit, he took a trip to a record store by the name ofX Static, which kept appearing on all the flyers he saw, and purchased mixtapes from Grooverider and Dr. No. That was the solidifying moment of the move away from hip-hop into the world of electronic music.
Shortly after that, he began going to raves with his friends and studying the environment. From the DJs and promoters to the ravers themselves, his focus was 100% always about the music. “If there was 12 weeks in the summer we raved all 12 weeks Friday and Saturday. We totally immersed ourselves in it.” The nuances of the rave scene evolved over the years but the core ideology of how everything works has remained intact. The importance of promoters was, and still is, supreme. Every weekend Lush brought more and more people whether is was friends or supporters of his music. He soon became more recognized and the opening sets quickly turned to closing sets… or both depending on the night. “I would play at 9 o’clock and then 7 o’clock in the morning.”, Lush reminisces.“The next thing you know it’s a few years later and i’m djing every week.” Respect and admiration grew strong and deep throughout the scene for him during his rise from the boy in Thornhill with a dream to the man who would gain the respect of an entire city and beyond.
I then eagerly turned to the controversial topic of, ‘dubplate culture‘. The transformation of technology has been evident over the years in electronic music. From the classic dubplate to the ever so convenient usb key, it almost as if we’ve seen it all. Though tedious and expensive, there was a certain care and love that came into cutting plates and a commitment to doing so in order to be a DJ. The culture has no grey areas. Proponents believe its added viability to musical evolution and others say its just really expensive and a waste of time. I myself have grappled with the idea of dubplates as a lover of early drum and bass but Lush’s stance brought to light some of the issues surrounding that culture and why it had to die as the evolution of drum and bass continued. ‘The amount of time and money it took to cut dubplates was ridiculous.’ ‘I remember taking the TTC to the west end and cutting dubplates in a basement for hours.’ As organic as the process is, the amount of effort was almost unbearable. Cutting tracks one by one and the pace at which music was released provided much a feat although he was up to the challenge, he definitely wasn’t fond of it. ‘Dubplate culture is dead.’ The sterility in his voice and the disdain for the process made it clear that yes dubplate culture is dead, and yes, it should stay that way.
Beyond dubplates, the connection between technology and how it has affected the electronic scene was important for me to discuss with someone who’s essentially part of it’s creation. The way artists create and how consumers experience their media has drastically changed over the last 20 years. ‘I think this surge we’re seeing now in terms of popularity of electronic music is due to how accessible it is.” The influx of new gadgets and the ability to sync, copy, cut etc. has undoubtedly given artists much more leeway in terms of creativity. Unfortunately, it doesn’t always evolve into quality but much rather, cookie-cutter, fill-in-the-blank prototypes that we are hearing at a unprecedented rate. As technology advanced the state of equipment declined and thus the beginning of a new era was in motion. ‘The way we dj is different. As early as 2003 I started playing CDs alongside vinyl and dubplates, but by 2009 all the turntables we’re unusable so I went fully digital’ For djs and consumers alike everything has become easier. There is no need to spend hours cutting a dubplate or having no ability to change up your set if it may be too similar to the dj before you.
Technological advancements will always be at the crux of the argument to whether or not its been a blessing or a curse. Specifically with regards to how DJs treat their music, how they play their sets and how we consume their product. Continuing on the topic of changes, I asked about how he felt about the current state ofthe electronic sceneand he had a rather positive outlook grounded in personal preference. ‘The good ol’ days for me is going to a Sykosis rave. The good ol’ days for someone else is going to System Soundbar.’ ‘And the good ol days for someone else is going to be going to Digital Dreams.’ ‘It’s not as good as it used to be to me, its all relative because it’s never going to be as good (the scene) as when you first discovered it.’ During his reflections he made a poignant statement about one simple characteristic that takes a DJ from good to legendary and that is, passion. He spoke fondly about the one thing he think is missing the most saying, ‘The thing I miss the most is that because it wasn’t as accessible as it is now, the people that we’re in it were way more passionate than the kids that are in it now.’ After a few sips of water and a moment of nostalgia, we spoke about his current projects.
Over the past year Church Sundays have become a Toronto institution of faithful drum and bass seekers looking for a good night in the hands of some of Toronto’s finest DJs. Every drum and bass Moreover, his work with Marcus Visionary at their label, ‘Inner City Dance‘ is top priority on his list of things to do. When asked about DJ’s he’s currently impressed with he spoke of Oneman’s ingenuity but quickly moved forward and gave some major love to the wealth of production talent currently growing in the city. ‘I’m really loving all the work that not just the artists we are releasing on Inner City are doing but from all of the top tier guys from Toronto that are really bringing something fresh to the table. Everyone has unique sounds that remind me of how producers had to have more of an original identity like you needed to have back in the day. I’m very excited about the stuff that I’m playing and hearing from Artifice, Schematic, Dcision, RMS & Shotz, Code Red, Polaris and Hungry T, alongside my go to guys like Rene, Marcus, Gremlinz and NC 17″
His commitment to cultivating homegrown talent is undeniable and makes him a trailblazer for local DJs in Toronto from all genres.
Recently, we caught up quickly with Lush by email to touch base as its been a few months since we sat down to see what’s in store for 2015.”
“At the moment we are putting the final arrangements in place for our next three releases on Inner City Dance which will all be out in the Spring. Look out for a joint project between Marcus Visionary and Dancehall legend Cutty Ranks with Curtis Lynch. Following that will be the “In Our City” EP featuring cuts from Artifice, Marcus, Dcision, RMS & Shotz and Hungry T. Dropping after that is a Dcision, RMS & Shotz release which features a blazing hot remix from Schematic. Other than that keep your browser locked to Channel One (www.channelonestation.com) for the podcast’s and mixes that will soundtrack your spring and summer and catch me DJing here, there and every where.”
As we wrapped up our conversation and I couldn’t help but thinking about how amazing and rare it is to have people in our community that are so involved with the music and have core values that uphold its foundation. DJ Lush isn’t just a part of the drum and bass community, he’s a part of the future of music in our city. His talent and persistence have given him the title of a legend and we are so lucky to have him.
Catch Lush at the final weekend of Bassweek (both nights) and see him do his thing live in action!
When you think of the name Aphrodite, you think ‘golden’, ‘supreme’ ‘opulent’. That is exactly who Gavin King is. The mastermind behind the acid house club, ‘Aphrodite‘ in the the late 80s’ means the moon and back to junglists of today. Known as A Zone and DJ Aphro, he’s started his career alongside his friend and business partner, Adam Dyerson. Soon after, the moniker fell solely on King thus, his legacy as DJ Aphrodite was born. From a salacious dubplate collection to a now, classic library of all things jungle, he is the omega of drum and bass.
Playing shows all around England as the ‘Aphrodite DJs’ with his friend, he began to oversee drum and bass in its infancy. Owning a club in the heart of the acid house craze in England and making music wasn’t enough. With the rise of breakbeat and jungle in full swing, he started his own label to manage his own music and cut costs. The response was overwhelming. He focused on consistently cutting dubplates and looking for the hottest new sound to cultivate. Although small at first, the label would end up being more cutting-edge then was imaginable at the time.
Following several encounters within the Leamington Spa club, he met Mickey Finn and Claudio Giussani that would help kickstart a joint label called, ‘Urban Takeover‘. As individual artists, they were already accomplished. Tracks like, ‘Bad Ass‘ ‘Women That Rolls’ and ‘Arsonist‘ we’re regularly rotating at clubs and resonating with DJs. the label’s mantra had the intrinsic factor of uniqueness. Anything and everything that was put out on Urban Takeover had an original feel to it. There was no room for what’s now, it was only, what’s was next. With a vast collection spanning over a decades, it is historically known as the label that procured the ‘jump up’ style. From rare dubplates to exclusive set recordings the importance of this label is worthy of discussion and admiration.
Never settling with his success in England, he branched out to gain strength in the American market. With a busy schedule and the constant change within sub-genres, he started creating his own dubplates. Merging genres together, he started cutting dubplates of hip-hop tracks like A Tribe Called Quests‘, “1NCE Again” and Blackstreet’s “No Diggity” Those hits led to supercharged remixes and word spread quickly about the exciting sound DJ Aphrodite was creating. With a clear expansion in the underground scene all over Canada and the U.S. the unforgiving, darker sound of drum and bass was quickly building cult followings.
In 1999, he released his self-titled, debut album, to much acclaim. The album focused on the harmony of his earlier work and his continuous redefinition of jungle. Popular classics like “King of Beats” alongside the newer sound of, “Summer Breeze” furthered his commercial success and solidified his power within rave culture. Subsequently, he launched a world tour for the album traveling everywhere from America to Malaysia. With a constant chaotic schedule he still managed to create dubplates on the road, staying one step ahead of everyone else.
Although his debut album was genre-defining, it was his sophomore album, ‘Aftershock‘ that highlighted his ability to seamlessly merge all types of music. The album was released in 2000 and featured legendary hip-hop MCs such as Rah Digga, Big Daddy Kane and Schooly D. The inclusion of more vocalists on this effort was different from the sample-heavy vibe on his debut album and led to questions of what is authentically, ‘underground’. Not caring about the purist ideology, he stood behind his choices and soon enough, everyone began following. Today, this album is important for showcasing how malleable drum and bass really is. From ragga and melodic vibes to jump up featuring hip hop aficionados, he hits all the right notes.
The mark that Gavin King has left on drum and bass has no size. He continues to tour the world and play sold out shows. Do not miss him at the Legends showcase happening this Friday at The Phoenix Concert Theatre!
It’s the most wonderful time of the year! BASSWEEK! Even though this is our 5th Bassweek we still often get the same questions over and over, so we’ve compiled this list of Frequently Asked Questions.
What does the wristband get you?
The Bassweek Wristband is your pass to get you into all 5 Bassweek events. It also gets you express entry into all the events! (Enter through the guestlist line)
Where do I pick up my wristband?
You can redeem your wristband ticket for your Bassweek Wristband at the first Bassweek event you attend. There will be Destiny representatives at the door to do the exchange.
Can I take my wristband off?
IMPORTANT! No, you can not. The Bassweek Wristband is your ticket to all the events, and yours alone. It must remain attached to your body at all times for the entire week. The wristband will become invalid if removed for any reason. The wristbands are made of high quality materials and do not ‘break’ or ‘fall off’. Security will be checking the wristbands upon entry to each event to ensure they have not been removed or tampered with. We know all the ‘tricks’. We know what you look for.
IMPORTANT! If you have a job or some other requirement preventing you from wearing a wristband for whatever reason and you can’t hide it under a wristwatch or long sleeves, do not attach it to your wrist. In previous years we have had people attach their Bassweek wristbands to their ankles. DO NOT REMOVE YOUR WRISTBAND! Doing so will VOID your wristband and you will not be allowed into the rest of the shows.
Can I shower with my wristband on?
Absolutely! It dries quickly and won’t come off.
*NEW* Are you sure I can’t take this wristband off?
No, YOU can’t. But we can! After much discussion we’ve decided to try something new this year. If for whatever reason you can not wear your wristband (proudly) for the week we will hold your wristband for you.
On your way out of the party tonight, stop by the cash booth and our lovely cashier will remove your wristband and write your name on it as it appears on your ID (please have your ID ready) and you can pick it up again at the cash booth next week at projek: Legends with your photo ID.
TO BE CLEAR: If YOU remove your wristband it is no longer valid and you will not be permitted into the rest of the events. If WE remove and store your wristband for you, you WILL be permitted into the rest of the events.
Can I eat my wristband?
We don’t recommend it, but it could be a good fibre supplement! Please note: Bassweek wristbands that have passed through your intestinal tract are no longer valid.
You can still buy a wristband HERE. See you on the dancefloor!
Tom Mundell better known as ‘Metrik‘ is the jack of all trades. From exhilarating drum and bass to the realms of house music, he’s musicality has no boundaries. With an eclectic source of inspiration from everything from synth pop to classical he ventured into producing his own music. In 2008, he released the wildly contagious track, ‘Your World’ which got a great response from fellow DJs and also started a quickly growing fan base. Shortly after, his next effort ‘Technicolour‘ was released and supported by Radio One giants, Annie Mac and Zane Lowe.
Working tirelessly over the years in harnessing his own sound and taking big risks paid off for the multi-talented DJ. He released two EPs on Viper Recordings including the ‘Between Worlds EP‘ which featured one of his biggest tracks to date, ‘T-2000‘. With more productions under his belt, fellow artists from an array of different genres began to notice his work and enlisted him to remix their songs. The A-list includes the likes of Eric Prydz,Swedish House Mafia, Skepta, Sub Focus, DJ Fresh, Ellie Goulding, Gorgon City, Dirtyphonics etc.
Amongst all of the work, he released his self-titled EP which sparked major support from his labelmates and fans alike. The success from the EP opened up more commercial opportunities in radio resulting in him joining the BBC Radio family on 1Xtra. With a major residency alongside Crissy Cris and worldwide recognition of his music the next natural progression was a tour. He kicked off a lengthy worldwide tour and closed out 2013 on a high note. With accolades and praise circulating in his career, he carved out his own spot in drum and bass royalty.
If 2013 wasn’t busy enough, 2014 marked a lot of changes for the talented DJ. He re-focused on the one project he hadn’t attacked yet; The all-mighty, LP. Metrik exclusively signed to Hospital Records in 2014 and ferociously cultivated a soundscape for his highly-anticipated debut album, ‘Universal Language‘. Both of his singles released, ‘Want My Love’ ft. Elisabeth Troy and ‘Human Again’ ft. Jan Burton had great success on the music charts peaking at #31 and #13 respectively. The debut album itself showed his growth as a producer. His keen understanding of the importance of editing along with creating a cohesive piece was undeniable. Music is subjective but the appropriately titled, ‘Universal Language’ made it a stand out album of the year.
With his residency at BBC Radio, his own tour and a 14 date Hospitality North American tour alongside Nu:Tone, Etherwood and Dynamite MC, Metrik has no plans of slowing down. Luckily, that Hospitality date stops in Toronto as part of Destiny’s 5th annual Bassweek festivities! Catch Metrik at The Phoenix Concert Theatre and get ready for a night of sheer pandemonium! Get your tickets now: CLICK HERE
Fun Fact: His song, ‘Technicolour‘ got used as a sound bed for Barack Obama’s victory speech on Radio One!
The Prototypes are undoubtedly one of the most exciting acts in drum and bass right now. Their passion for production and performing solidifies them as key contributors to the excitement and evolution of the scene.
Chris Garvey and Nick White teamed up a while back in Brighton and started to formulate their own hard-hitting, dance floor gems. Soon after, in 2010, they made their debut on Viper Recordings with the most intriguing track titled ‘Evolution’. From that point forward, they were full steam ahead into making a name for themselves. Their next big single, ‘Cascade’, was gained huge commercial success. It was well received on the radio and supported by BBC Radio 1 vets; Zane Lowe, Annie Mac & Fabio & Grooverider. Later in 2010, they released one of the their biggest tracks to date, ‘Breathless‘ which was featured on Pendulum’s essential mix.
With all of the accolades and support flowing in for the talented duo, it wasn’t a surprise when DJ Friction wanted to foster their talent and bring them into the Shogun Audio family in 2011. They released their debut EP, ‘Born To Rise’ which showcasing their versatility. From the confident, uptempo ‘Born To Rise’ to the progressive, enchanting, chords on ‘Your Future‘, it was another standout release from the duo. Their follow-up EP titled, ‘Suffocate‘ was also a major success and reinforced their continuous rise to fame.
By 2014, they made a career move and decided to sign with Viper Recordings. The transition was seamless and they wasted no time in starting to conceptualizing their first studio LP. ‘Pale Blue Dot‘ and ‘Don’t Let Me Go‘ released as singles, have been heard and used in variety of sets creating an infectious buzz and amping up the anticipation of their debut album, ‘City of Gold’.
With an album on the way and a hectic touring schedule, they always set the bar high for themselves! Make sure to catch them at our 5th annual ‘Bassweek‘ for the World of Drum & Bass! Get your tickets HERE!!
Drumsound and Bassline Smith have been dominating the drum and bass scene for years and always manage to stay one step ahead of the curve with the most original, dance floor hits. With Destiny’s 5th annual Bassweek right around the corner, I got to ask them some questions about how it all started, their sister label and all the going-on’s of the hottest trio in drum and bass right now.
1. You all met in Derby during a club night back in 1998. What happened that night that made you guys decide to band together as ‘Drumsound & Bassline Smith’?
Yeah we met a night called Technique, we were all residents there, it was the hub of Jungle & Drum & Bass in Derby at that time. It was a real vibrant place with a collection of musicians & DJ’s from across the city, it was the place to be. I guess we would have been having a few drinks, you know how it is, exchanging ideas, & naturally decided to get in the studio together. After a few sessions in the studio & the realisation that there was a good chemistry between us all, Drumsund & Bassline Smith, Technique Recordings was born. The rest as they say, is history.
2. You were asked to complete a CD of samples for the coveted Loopmasters Series. How important was that project in pushing your own realms of creativity?
Yes very important indeed. We wanted to make it as unique as possibility, but also a collection of samples that we would be happy to use ourselves & in fact we have. The response was great, & we were honoured to be given the opportunity by Loopmasters too.
3. Technique Recordings recently celebrated 15 years, with a growing artist database and general expansion what are some of the differences between running the label and managing your own group affairs?
To be honest there not enough time for me to answer this properly. Both require a considerable amount of attention.
4. Along with Technique Recordings you’ve started a sister label, W.A.R. Records. What can we expect from that quickly growing imprint?
Currently we don’t have any releases planned for WAR as all the attention is on the 15 Years Of Technique at the moment.
5. ‘Your last LP ‘Wall of Sound’ is a journey of various emotion that seem to ‘ebb and flow’ throughout. How much did personal experiences help shape the lyricism of the album?
Well we worked with a wide variety of very talented vocalists for our Wall of Sound album, such as Youngman, Ayah Marar, Tom Cane, Sam Frank, Bam from The Jungle Brothers, Fleur who recently just shot to stardom with the X-Factor, DRS to name just a few. Each of which definitely brought their own angle & experiences to the table.
6. Achieving a classic sound is something you’ve all said is important to you. What makes something ‘classic’ in your opinions?
Well most artists will strive to have a classic sound to some degree, but ‘a classic’ sound, result is very much subjective & ultimately only fans, press or public can judge that.
7. Over the years, what do you collectively feel is the one thing that has kept you successful?
Hard work & dedication, no question about. Throw in a bit of blood, sweat & tears too, & there’s your magic formula.
8. What advice would you give to DJs looking to band together as a group?
Same as the last answer. There’s definitely no overnight success’ in this business. Other than that, carve out your own sound, do not imitate whats gone before. If you want to stand out from the crowd & get recognition for your work, be original. Good luck!
9. You’ve all had a crazy year, what more are you expecting from 2015?
Well the 15 Year’s of Technique project is still rolling out, it’s had a fantastic response from across the board. We had an exciting recording session in London at the weekend with some incredibly talented vocalists, so our next single is well an truly underway, we’ll have more news soon regarding that.
10. Is there any new studio equipment you guys are excited about and currently using in production?
We’re all working ‘in the box’, and although we very much keep an eye out on the latest plugins etc, our go to favourites are Waves, Fab Filter, SugarBytes, Studio One & Ableton.
11. Other than necessities, what are some of the items you like to bring on the road with you while touring?
Plenty of music & favourite TV shows & movies to pass the time. Not very exciting but for the most part, if we’re not in a club Or traveling, we’re probably trying to get some some sleep, tour life.
12. You are playing Destiny Event’s 5th annual Bassweek at the Hoxton March 20th for World of Drum Bass. What are you looking forward to the most?
We’ve done a few festivals in Canada over the last couple of years, but it’s been a little while since we’ve done a club show there. It’s always a pleasure playing over there, Drum & Bass in strong & some hardcore Junglist’s over there, always goes off. Really looking forward to it, see you all soon.
Extremely sad to hear about the passing of my very dear friend Don Berns.
I met Don in the early 90’s when I pitched him on playing our upcoming Mayhem event in a dark corner of Factory Nightclub. I looked up to him then, as I did throughout my career, as a leader and visionary within the Toronto entertainment world. His early Nitrous raves were my introduction to the scene and everything I did from that point forward can be traced back to those early days.
Through the 90’s, Don and I became good friends, helping each other’s career through our various endevours and eventually becoming business partners on a number of co-produced events as well as hosting a monthly club night at Industry called Ascension. When Industry closed its doors we moved on to party cruises on Lake Ontario which we ran in summers through the 2000’s. Don continued to play all my events, including every WEMF ever held, until his retirement of the Dr.Trance brand and his move into acting.
I never lost touch with Don and continued to speak with him on a regular basis until his untimely passing. The electronic music scene has lost a true legend and mentor today.