• Allison Lovejoy @11:40

http://www.facebook.com/l/1299c;www.myspace.com/allisonlovejoy

• Brother’s Horse @11:00

http://www.facebook.com/l/1299c;www.myspace.com/brothershorse

• FUZZBUCKET @ 10:20

http://www.facebook.com/l/1299c;www.myspace.com/lunareclipserecords

• ed @ 9:40

• Atomic Lucy @ 9:00

http://www.facebook.com/l/1299c;www.myspace.com/atomiclucy

A FUNDRAISER FOR THE
HAIGHT-ASHBURY STREET FAIR

~ a haight-ashbury street fair production

2010 BATTLE OF THE BANDS
~ & CRASH–UP DERBY CONTEST ~

At The
PARADISE LOUNGE
1501 Folsom Street
11th Street @ Folsom Street

http://www.paradisesf.com/

6 Nights of some of the Bay Area’s BEST musical acts in town
Battling to perform at the
33rd Annual Haight-Ashbury Street Fair

• 5 Bay Area Bands will Battle each night

• $7.00 dollars @ the door
(All proceeds go to Haight-Ashbury Street Fair)
Doors open at 8:00 pm / Shows start at 9:00 pm

~ Our MC host for these events is Rory O’Connor ~

All shows are on Thursday Nights

• DATES:
March 18th
April 1st, 15th, & 29th, & May 13th

The Audience will applaud in the winner each night

• FINAL SHOW: May 27th
This show will be the five winners from the 5 heats

• Two winners will be voted in from the audience & will play at the 2010 Haight-Ashbury Street Fair

Bringin’ you those dirty fonky beats you love…

MANCUB – Space Cowboys
DING DONG – BrassTax

and of course your GBASS DJs…

Raydeus – GuerillaBASS / Stirty
Chendo – GuerillaBASS / Sonic Valium
Everett Wayne – GuerillaBASS

See you Thursday!!
FREE before 11 and $5 after

Start Time:
Thursday, March 25, 2010 at 9:00pm
End Time:
Friday, March 26, 2010 at 2:00am
Location:
UnderGround SF
Street:
424 Haight St
City/Town:
San Francisco, CA

2010 BATTLE OF THE BANDS
~ & CRASH–UP DERBY CONTEST

Battle 1 of 5 – March 18th with:
Tokyo Raid
Pan Demon
Bitch Be Cool
Housecoat Project
Red Penny One

~ At The Paradise Lounge
11th Street @ Folsom Street

http://www.paradisesf.com/

6 Nights of some of the Bay Area’s BEST musical acts in town
Battling to perform at the33rd Annual Haight-Ashbury Street Fair

• 5 Bay Area Bands will Battle each night

• $7.00 dollars @ the door (All proceeds go to Haight-Ashbury Street Fair)
Doors open at 8:00 pm / Shows start at 9:00 pm

~ Our MC host for these events is Rori O’Connor

~ All shows are on Thursday Nights

There will be a Crash-Up Derby Contest at the end of every show, so get ready! •

DATES: March 18th, April 1st, 15th, & 29th, & May 13th
The Audience will applaud in the winner each night

• FINAL SHOW: May 27th This show will be the five winners from the 5 heats
• Two winners will be voted in from the audience & will play at the 2010 Haight-Ashbury Street Fair

~ MUSICAL PERFORMANCES BY ~

~ March 18th
Tokyo Raid
Pan Demon
Bitch Be Cool
Housecoat Project
Red Penny One

~ April 1st
Allison Lovejoy and The Grave Brother’s Deluxe
Brother’s Horse
Fuzzbucket
ed
Atomic Lucy

~ April 15th
Apache Thunderbolt
Outlier
Zodiac Death Valley
Damage The Dream
Greg Dale & Sotto Voce

~ April 29th
Sugar Butt Tiger
Bare Wires
Girl Band
MC Meathook & The Vital Organs
SF Rockstar

~ May 13th
Jugtown Pirates
The Tell-Tale Heartbreakers
Project Pimento
Franco Nero
The Swamees

FINAL SHOW ON MAY 27TH

Regional competitions start April 6 and will be hosted by Bjorn Turoque & judged by 2008 World Champion Hot Lixx Hulahan. Tickets on sale this weekend.

If history has taught us anything, it is this: the spirit of US Air Guitar is indomitable.

If in January Steve Jobs had unveiled Air Guitar, would it have been any less innovative? If one day the Supreme Court unexpectedly judges a case using the following criteria: technical ability, stage presence, and airness, would the rest of us be any worse off? If the last episode of X-Files revealed that Air Guitar was the answer, would you not believe?

With zealous pride we announce the 2010 US Air Guitar tour, now 30% awesomer. Scale back? Heck no. The road awaits, and this year we re hittin it like Tiger Woods. After sell-out regional competitions across the United States last summer, including two nights at DC s 9:30 Club and consecutive nights at San Francisco s Independent, US Air Guitar has expanded its tour by two additional months, stretching coast to coast in April and then playing a couple of shows of biblical proportion in May and June. Inspired by mega-churches and God Himself, a month after the first tour, air guitarists will confess their sins at a colossal Vegas show. Then in June, US Air Guitar headlines the historic Fillmore Auditorium made famous by The Grateful Dead, Jimi Hendrix, and now, uh, us. Finally, after extracting the greatest professional air guitarists from 17 regional shows and sending them each to New York City for the National Championships, our US winner will book passage to Oulu, Finland, and represent the stars and stripes against 30 other countries at the Air Guitar World Championships. Last year the competition was tight, with two Americans tying for second and a Frenchman named Gunther Love taking the crown. But this year America has an imaginary axe to grind.

US AIR GUITAR CHAMPIONSHIPS
2010 TOUR DATES
Tickets On Sale Friday February 12 – Check Club Sites For Exact On-Sale Dates And To Purchase Tickets.
Check USAirGuitar.com To Purchase Tickets as they go on sale and To Sign Up To Compete.

April 6 || Harper s Ferry || Boston, MA
April 8 || Johnny Brenda s || Philadelphia, PA
April 9 || Brooklyn Bowl || Brooklyn, NY
April 10 || 9:30 Club || Washington, DC
April 12 || House of Blues || Houston, TX
April 13 || Highball || Austin, TX
April 15 || Metro || Chicago, IL
April 16 || Cactus Club || Milwaukee, WI
April 17 || Varsity Theater || Minneapolis, MN
April 19 || Fox Theater || Boulder, CO
April 20 || Bluebird Theater || Denver, CO
April 22 || Dante s || Portland, OR
April 23 || Casbah || San Diego, CA
April 24 || Troubadour || Los Angeles, CA

May 28 || Hard Rock Café || Las Vegas, NV

June 5 || The Fillmore || San Francisco, CA

US AIR GUITAR / WORLD AIR GUITAR CHAMPIONSHIPS COMPETITION OVERVIEW

Each US Regional will consist of two rounds. In Round 1, each competitor performs to a song of their own choosing. In Round 2, the top competitors from Round 1 perform to a surprise compulsory song. In each round, contestants perform for one minute of a song and are judged on a combination of technical merit, stage presence, and airness.” All guitars must be invisible. In each city, the jury is a panel of independent judges that are hand picked by US Air Guitar. The results of the jury cannot be protested.

One winner from each city will be flown to a-yet-to-be-disclosed city in early August to compete in the US Air Guitar Finals for the crown of US Air Guitar Champion. The 2009 US Champ will then be sent to Oulu, Finland later that month to represent the USA in the World Championships, where he or she will compete against national champions from all around the world.

Founded in 2003, US Air Guitar is the official Air Guitar Association of the United States and is responsible for operating the US Air Guitar Championships, official Regional events, and specialized championships. US Air Guitar is devoted to taking our nation’s unofficial pastime out of the bedroom and putting it up on the world stage. US Air Guitar is an official member of the World Air Guitar Association. Entering its seventh year in the US and its fourteenth year worldwide, official national championships currently are held in 24 countries around the globe including the USA, Australia, Austria, Brazil, Canada, Czech Republic, Estonia, Finland, France, Germany, Greece, Italy, Japan, Kenya, Mexico, New Zealand, Norway, Romania, Russia, Slovakia, Switzerland, United Kingdom, and South Africa, with more countries participating every year. The 2009 Air Guitar World Championships will take place this August 19 – 21 in Oulu, Finland.

A NOTE FROM THE FOUNDERS OF US AIR GUITAR

Photo Credit: Miriam Doan

First the good news. Bowing to pressure from the networks and the military-industrial complex, we’ve moved the start of the 2010 season up to April. That means we’ve a mercifully brief offseason of dull Bowls and ho-hum Olympiads to muddle through before the real excitement kicks off.

(A young staffer, who I’m told is well-versed in the ways of social media, buttonholed me in the hall just the other day and termed this “very cool”).

Of course for the talent (whose union battled the schedule change tooth and nail), this means an abridged training period. But the growing chatter among the circuit allays any possible concerns — songs are being selected, costumes fitted and routines perfected, even as I write.

So it is with customary honor and extraordinary excitement that we announce this, your 2010 US Air Guitar Championships!

Sincerely, The Office of the Co-Commissionership

***

US Air Guitar official website:
www.USAirGuitar.com

www.twitter.com/USAirGuitar
www.facebook.com/USAirGuitar

World Air Guitar Championships Official Website: www.AirGuitarWorldChampionships.com

US Air Guitar s hit documentary on DVD now
Air Guitar Nation

With the release of In This Light and on This Evening on January 19, fans will find the dark and brooding English band trading in fuzzy electric guitar riffs for spaced-out synthesizers and keyboard melodies.

The songs on their third album, are evocative and strange, as the band continues to refine their sound. The title track begins with a slow and gloomy synth rhythm overlaid with singer Tom Smith’s signature forlorn lyrical style.

The rest of the album continues in much the same fashion, with the band slowing things down a bit, while revisiting the traditional ’80s synth-pop sound, only turned on it’s head in outer space.

However, old school fans shouldn’t be disappointed as the band’s unique sound can still be heard through fierce kick-drums and pounding bass riffs. “No one understands how you found your god,” Smith croons. “You don’t know love like you used to,” he smirks on the album’s fourth track.

Be sure to catch the Editors this Monday, February 8, as they headline the Warfield along with Antlers and The Dig.

Check out The Beat’s coverage of the Editors 2007 live show at the Fillmore here.

abrody(at)haightbeat.com

21+
$5

However, many true musicians, including those with classical training, have been crafting profoundly surreal melodies with primarily digital components since the Reagan administration. Through the 1990s, electronica composers continued to develop and incorporate into their music myriad “impossible instruments,” synthetic sonic synergies extending beyond the scope of physical instruments. As opposed to songs pieced together from intro-level digital samples—and that are therefore stilted-to-flat-out bad—quality music, electronic or otherwise, starts from an inspired melody, even a pretty loop, the modern equivalent to a rock or pop “hook.” In the case of music featuring “impossible instruments,” the song is then advanced from that melodic starting point by an essentially infinite array of custom aural options. The unlimited melds, as beautiful as the artist’s mind can exhale them, cannot then be lumped together as mere “techno,” relegated to “club only” status, and/or wholly dismissed. Those who commit such fallacies are, like the Dylan-unplugged purists before them, on the wrong side of musical history.

For those of you just joining this conversation, your rewarding homework is to obtain and appreciate Hybrid’s 1999 Wide Angle, one of electronica’s first great works of lasting beauty. Of course, you could reach further back, maybe to BT’s 1997 ESCM, or some early Aphex Twin (Richard D. James). Daft Punk of course merits a mention. But for a sharp snapshot of an electronica all grown up, feel free to skip right to Wide Angle. As you listen to the album(s), open up not only to the instrumentation, but also to the cyclical song structure. Linear progressions are not the only way to convey narratives, and there is much comfort to be found in the illusion of infinite continuity.

For those who are caught up, let’s talk 2000s: Jungle/drum n’ bass yielded dancefloors to dubstep, which better captures today’s urban swagger and sway; stuttering glitch bumped tired squelch; womp and wobble went wild as low-frequency production advances empowered basslines to double as melodies. For an ear-peak at these new trends, listen to Mimosa’s Flux for Life, his most recent EP, which bleeds each of these frontiers.

The next 10 years should bring a complete departure from stereo mixing in favor of 5.1 to 9.1 surround sound blends, adding dimensions of space and movement to more and more music. A notable omission from this top 10 list is BT’s 2006 This Binary Universe, which, following up on his Dolby-optimized score to the 2003 movie Monster, may have been the first electronic LP crafted specifically for surround sound. Yes, BT, the lovely Universe renewed our faith in your integrity, and whet our appetite for your upcoming release, These Hopeful Machines. However, Mr. Transeau, Brian: a significant accomplishment does not necessarily a glorious album make, nor, as your promotional materials suggest, an “entirely new genre” form. Also, please stop putting your face on album covers.

As for what else will arise in the 2010s, look for the non-genre of “world” music to dissipate, as the brick & mortar stores that are the main culprits of such shrug-lumping evaporate and increasingly knowledgeable online listeners eye musical origins like grape sources in wine. The long tail of music, which Pandora nowadays tends to curl up by nudging listeners back to songs with more metadata, will stretch further from the bell curve as broader catalogs of electronica are organized on the web (Beatport.com is leading the way so far). Puritan producers can no longer “underground” their music by confining it to vinyl, which, quite rightly, has resulted in a newfound emphasis on bringing music to the people rather than on perpetuating the mystique of and reliance on DJs. As for the future sounds themselves, yet-to-be-invented “impossible instruments,” those are as difficult to imagine as are new colors¬¬—ah, perhaps synesthesia research will spawn the next dimension of modern musical experience.

Enough gristle; time for the steak. Here are The Beat’s top 10 ‘tronic albums of the past decade. I spread these rankings around various types of emerging “electronica,” as each represented category has evolved and flourished over the last 10 years. Exhausted 4-4 trance and 1-2-1-2 house productions were immediately disqualified, as were, as a matter of arbitrary aesthetic preference, electronic albums with non-dance time signatures: from beat-less ambient to rock-structured Nine Inch Nails releases. “Sub-genre-ing” music is necessary and thoroughly enjoyable (please see techno.org/electronic-music-guide for a fun visual tour of electronic music’s branches), as it helps browsers find what they’re listening for while pissing off priggish purists who don’t want tunes “boxed-in” to any single description. So, with a wink of acknowledgment that classification is playfully inexact, and an elbow (in the ribs) to folks who take umbrage with such subdivision, here’s our list of albums that most advanced the art of electronic music, and further melded the umbrella genre with the broad canons of rock, hip-hop and pop.

Top Electronic Albums of the Decade
——————————————————
1) Shpongle: Tales of the Inexpressible (psychedelic) 2001

This album exemplifies the importance of reconsidering (or considering for the first time) musica electronica. It even made my analog-centric, flat-earth father open his aural eyes to the magic possibilities that arise when classically trained musicians meet modern sound engineering. Jazz flutist Raja Ram and visionary composer/knob wonk/guitarist Simon Posford team up on Tales, their second of four albums, to romp freely around the globe in this masterful tour de force.

The album begins with a Spanish-inspired track (which Sasha selected for his Involver album, thereby bringing Shpongle to the masses), and three songs later, you’re grooving to what sounds like a Rastafarian oak tree singing. Operatic scores populate the latter part of Tales: lush, epic melodies over rampant beats usher the listener from Turkey to East Asia, the auditory monsoon lifting in time for a serene boat ride home.

Shpongle’s technical wizardry was so far ahead of the field in 2001 that this album would still sound cutting edge were it produced today. No album, since, however, has so melodically merged such vocal grace, complex international rhythms, elegant synthetic and analog instrumentation, psychedelic power and technical prowess. May the 2010s foster many more sweeping synergistic amalgams of musical traditions.

2) Bassnectar: Mesmerizing the Ultra (“freakbeat”) 2005

The word “womp” has become so commonplace that a Bay Area DJ recently threatened to boycott any show using it in promotional materials. But the sub current of sound that the onomatopoeia refers to has been a real game-changer this decade, as producers began pumping up low-frequency throbs with meaty tonal quality. Rather than being limited to lows, mids and highs, digital music creators were now free to double-down on bass and carve-out mids almost entirely without sacrificing melody. The result was a heavy-hitting sound that could sparkle cleaner than anything before it. By 2003, Dubstep had grown out of this advance, as did new evolutions of growly breaks. Bassnectar, who’d been busy since the beginning of the decade concocting “freakbeats” from various ethnic elements, time signatures and anachronistic musical traditions, harnessed low-frequency innovations and ran with them.

Never forgetting his progressive politics, Bassnectar samples in Chomsky as naturally as he does hip-hop, sharp breaths and children’s’ laughter on the double-disk Ultra. And the top-ends glitter miles above the round-toned basslines often carrying the bulk of memorable melodies in this dubhop/wompbreak/freakbeat breakout release.

3) edIT: Certified Air Raid Material (breaks, glitch hop) 2007

“Glitch hop,” swept through electronic music in the second half of the decade, led in large part by the L.A.-based Glitch Mob. The larger genre of “glitch” dates back nearly 20 years, and until fairly recently referred to the incorporation of electronic malfunction sounds (skips, short circuits, hardware audibles) in music. Today, glitch is more generally characterized by truncated sounds, stair-stepped digital textures and/or stuttery beats, effects, samples etc., spliced together in rapid sequences. Rather than emulating analog attacks and decays, glitch embraces digital’s discrete nature by leveraging its binary on/off nature. Sounds don’t arrive and then fade; they abruptly pop into existence and end suddenly. When layered and staggered, glitches can allude to lo-fi hiss and pop, and/or be applied on a broader level to break-up breakbeats¬¬, for example. As redundant as that sounds, remember that “breaks” are essentially syncopations; rhythmic interruptions of/variations on metered beats. When those beats are themselves composed of glitches, a shredded sound emerges, analogous to the basal level of noise and distortion heard in metal¬¬—yet intended, precise and central to the music.

While Kraddy, Ooah (PantyRaid) and Boreta of the Glitch Mob can hold their own, edIT (born Edward Ma) is the true musical mastermind of the bunch. He demonstrates as much in Certified, tearing up tracks with jazzy synths, furious breaks and crushed textures to weld a unique sparking tonal brand.

4) Bluetech: Prima Materia/Elementary Particles (downtempo/psydub) 2003-2004

Psy/chill, ambient dub, downtempo: However a shopkeeper might categorize Bluetech’s sound if required to do so for inventory, there is no mistaking the composer when you hear a song of his. Alert, deep-throated baselines roll in waves beneath bright keyboard splashes deftly fingered by the classically trained pianist (born Evan Bartholomew). Synth organs surge on off beats, and even songs lacking classic reggae accents pulse with dub undercurrents. Throughout this double album (released separately but since packaged together), Bluetech’s customized instrumentation rings melodies from some forgotten ancient land.

5) Younger Brother: Last Days of Gravity (electronic psyrock) 2007

This album represents a major gear shift not only for the band (whose debut disc Flock of Bleeps is an epic psytrance masterpiece; highly recommended), but also for electronic music in general. Younger Brother elongated electronica’s reach into psychedelic rock with Gravity, easily the finest studio psyrock album of the decade. Infected Mushroom also made brave forays into electronic psyrock throughout the decade, but that band’s early full-on approach sounded much more like “metaltrance.” Indeed, Younger Brother is the closest living descendent of, and the heir apparent to, Pink Floyd, as Gravity melds existential depth, loosed guitars, disorienting effects and ambient vocals into potent serenades to far-out souls.

Pals remind me that Tool, Porcupine Tree, The Flaming Lips and Radiohead had already traversed the electronic psyrock trail from the rock side, and my festival-going friends hold up Sound Tribe Sector 9, The Disco Biscuits and String Cheese Incident as live “jamtronic” psyrock flag bearers. Points conceded. Grateful Dead and Phish faithful can start shouting “rabble, rabble” now, but let’s be clear. Musicians and audience members alike—peaking on the best acid they’ve had all week—can play and groove to innovative, complex, playfully heady rock without creating a new, confusing, assumption-altering experience. The threshold of psychedelia is an ever-retreating horizon that cannot be chased, even by tripping out to brilliantly fresh jams. It can only be approached from the other side, from an undiscovered territory. And that’s where Younger Brother kept at least two of its four feet planted while recording a psychedelic rock studio journey the heft of which hasn’t been felt since the days of Floyd. Of note here is that band mates Posford and Benji Vaughan (Prometheus) have recently married their digital precision with exciting analog improvisation by expanding their live act to include members of The Disco Biscuits—so be sure to see Younger Brother on tour in 2010 if possible.

6) Mimosa: Flux for Life and Hostilis (dubstep/glitch hop)** 2008-2009
** I lumped together two complimentary EPs; grab them both and shuffle the tracks together.

Mimosa (realname? Noah Dea!) cracks this list as much for what he’s recorded as for what he represents. He calls his style “crunkstep/dub hop,” and, like ill.gates, Tipper, Kush Arora and PantyRaid—to name some fellow all stars—Mimosa wields complex glitch, breakbeat and ultra high dynamic range techniques to conjure a modern urban sound. But what separates Mimosa from these other acts is melody. Melody is in many ways music itself, and, even in the most experimental genres, it always works. Mimosa manages to keep the “dub” in dubstep, the “hop” in glitch hop, the “beat” in breakbeat. While many of his peers can produce energizing and even moody albums from these elements, Mimosa’s songs surpass their components and to achieve insistent, mean and yet gorgeous synergies. Download both Flux for Life and Hostilis to gain a better understanding of where electronic music is heading this decade.

7) Infected Mushroom: Vicious Delicious (psymetal) 2007

Infected’s 2003 Converting Vegetarians double LP was an inconsistent package with genius heights. The prolific Israeli team of Erez Eisen and Amit Duvdevani assembled another album in 2009, Legend of the Black Shawarma, which some fans may also point to as their best work. But the group’s most polished, melodic, consistent, and accessible album is easily the 2007 Vicious Delicious. Cybernetic cats yowl at a moon bouncing by at 145 b.p.m. (mercifully slower than many of their previous releases), blunt Middle-Eastern sensibilities protrude from power chords and bottled fury, delicacy survives the jagged melee. Even if you’ve previously dismissed Infected Mushroom for their lack of discipline and/or aggression, give Delicious a listen. It’s infected with only the group’s finest strains.

Skream: Skreamism 1 and Skreamism 2: (dubstep)** 2006
** I lumped together two complimentary EPs; grab them both and shuffle the tracks together.

True, Skream! was Skream’s breakout disc, and a landmark for the blossoming dubstep genre. But the infrequently disputed king of dubstep (born Oliver Jones) doesn’t love that album anymore; he’s moved in a more musical direction since. It didn’t take him long to transition, as he launched his Skreamism series shortly after his debut LP—meaning folks who discovered dubstep thanks to Jones were delighted mere months later by a second evolution. The wompy, often “grime” MCed genre could also be pretty. Deeper, more emotional albums from an exploding talent base followed, and the underground dubstep scene gained the soul it needed to sway not only listeners’ bodies, but their minds, as well.

9) The Prodigy: Always Outnumbered, Never Outgunned (electrorock/breaks) 2004

This article is about highlighting elements of electronic music and the musicians who advance them to further the art. Therefore, as much as I wanted to feature a lesser known electro-breaks pioneer, such as Rennie Pilgrim, Adam Freeland or The Rogue Element, there was no denying The Prodigy’s 2004 album from its rightful place on this list. No LP better mashed electric rock with hard breaks; almost every track on Never Outgunned is built upon a nasty, memorable hook/loop, and the subdued, girlish vocals are eerily juxtaposed with the bangin’ tunes. While Fat of the Land was a truly revolutionary album (1997), Never Outgunned is also a key milestone in the evolution of electronica into a mature field of music worthy of serious attention.

10) Morphonix (now known as MorphATRIX): Off the Grid (downtempo breaks) 2007

This aptly named gem is a bit hard to find, but is well worth the search. Of the thousands of albums which have crossed my ears in the last 10 years, Off the Grid best captures the “nontradiction” of grit and elegance. The underpinnings of MorphATRIX’s tracks are growly breaks, while dreamy vocals glide above and soothe. The LP is so gracefully balanced that for months I wondered who the heck the artist was and why he/she hadn’t produced more albums. Much like Phutureprimitive’s Sub Conscious, the showcase of talent was too significant for me to understand how it could culminate in a one-and-done. Only upon writing this piece did I learn that the act is now called MorphATRIX, and that the composer (L. Hoffman) also writes under the name Chromatone. Go forth, and explore him with me. Hoffman’s technical mastery of slippery breaks and grinding industrial textures places him in select company—and his musicianship as revealed through diverse-yet-consistently-haunting melodious tunes leaves him in a lonely, elite domain. Plus, you have to love any album with samples from The Warriors: “Can you dig iiiiiiiiit?!”

Come celebrate Clarkie’s birthday December 12 with a night of big blingin at Shine. Featured DJs include Kramer, Clarkie, Matt Kramer and J-Rod.

Work off that thanksgiving feast with some chunky four on the floor with your favorite guerillaBASS hosts and special guests…

Felix the Dog (Aint_No_Disco,Slander)

Touch (Deep Groove Society) from Humboldt

P-DUB (guerillaBASS)

That’s right a party on Thanksgiving night. Why not!?!

Don’t miss this party!!

If your still in town for Thanksgiving, and looking for a place to get a drink, get your boogy on, and see one of San Francisco’s most fun DJ’s, Felix the Dog, along with one of Humboldt County’s premier DJ’s from Deep Groove Society, Touch.

The music will be top notch and sure to satisfy!