NYE feat. Eric Prydz
Sunday, December 31, 2017 at Echostage
Doors open at 8:00 PM
They say that fortune favours the brave. For Eric Prydz, a bold musical agenda and an unrivalled ability to combine commercial success (3 x Top 2 UK hit singles) with underground notoriety (fastest selling release ever on cult download store Beatport), has allowed him to achieve worldwide recognition with his integrity intact. The softly spoken Swede rarely does interviews, never appears in his music videos, and avoids 'artist tweets his breakfast' self-promotion. His refusal to play the media circus stems from the fallout ignited by 'that' video. His first No.1, 'Call On Me', was accompanied by a music promo that he didn't clear, much less approve of. He shied away from the publicity and ensuing success (the Steve Winwood-sampling track he'd made "just for his friends" clocked up over 4 million sales), and retreated into his studio to continue making the dark, brooding electronica he was becoming known for. But, every so often, and always at the time of his choosing, he's emerged with a hit record – three of them and counting. Following his debut for Ministry Of Sound's label, Data, he was the only artist ever to be given the go ahead to sample Pink Floyd. Prydz released the Grammy nominated 'Proper Education', a reworking of Floyd's 'Another Brick In The Wall' that reached No.2 in the UK charts. This time Eric took charge of the music video; the resulting promo and its accompanying environmental theme was hailed by Greenpeace, used as part of their own marketing campaign. He followed this in 2008 with 'Pjanoo'. After becoming Beatport's fastest selling release, the instrumental track was championed by Zane Lowe and Pete Tong, given 4 separate Radio 1 'Record of the Week' accolades and was playlisted by the station seven weeks upfront of its release; it hit No.2 that summer. His next move was typical of his personality. While most artists would have been frogmarched into producing an album and encouraged to run the promotional gauntlet, Eric simply played a handful of gigs, and then went back to his studio to tend to his two record labels, Pryda and Mouseville. It's Pryda and Mouseville that have allowed Prydz to remain something of an enigma while being a household name. Both labels are held in the highest regard by an adoring underground scene, though their releases are made available with scarcely any promotion. Musically, they've become genre-defining stables in their own right, and are two of the most successful and influential dance labels in the world (acknowledged by Beatport as being among their biggest grossing imprints). On Pryda, and under the same alias, Prydz explores his house influences with a plethora of tracks that have become huge club tunes around the globe. Songs like "Aftermath", "Armed", "Muranyi" and "Melo", layer harmonies, melodies and hooks over his unmistakable basslines. His Mouseville imprint has seen Prydz produce under the alias Cirez D, releasing harder and more upfront techno tracks to great acclaim. "On Off", the biggest selling EP from the label epitomises the Mouseville ethos with its succinct nod to the Swedish underground. Eric also created Pryda Friends as an outlet for tracks created by his friends. This has created a number of collaborations, including the inimitable "1983" with Paulo Mojo and "123" with fellow Swedish producer, Axwell. Since his arrival, Eric Prydz has inadvertently broken into uncharted territory for dance music. Festivals, events and venues across the planet have rocked to his performances, safe in the knowledge that they're witnessing something special. In 2011 Eric launched his innovative new show concept , 'EPIC', at London's O2 Academy Brixton to a sell out audience. This special performance featured exclusive cutting edge production, 3D holographic video projection and lighting systems. Coupled with Eric's rousing music it is a ground breaking audio and visual feast.
NYE 2018 f/ DJ Drama
Sunday, December 31, 2017 at Soundcheck
Doors open at 9:00 PM
NYE AT SOUNDCHECK Celebrate the NYE at the beautiful Soundcheck hosted by DJ DRAMA playing LIVE! DRESSCODE No athletic wear, sweatpants, ball caps, tee-shirts or ripped jeans.
NYE AT STYV || A BEAUTEOUS BALL
Sunday, December 31, 2017 at St. Yves
Doors open at 9:00 PM
This NYE, Courvoisier Cognac and Effen Vodka invite you to bring in the New Year at our beautiful venue. The Beauteous Ball is a high-end night out in Washington's Dupont Circle. A night of wonder and glam fill our two rooms as we toast champagne at mid-night and celebrate life. There will be Hors d'oeuvres offered from 9pm-11pm, a complimentary champagne toast at midnight, party favors and roaming photographers present. DRESSCODE This is a high-end affair. We ask the women wear evening wear dresses or gowns and men come in blazers. Suits are encouraged. Jeans are ok if worn with a collared shirt and/or blazer.
Sunday, December 31, 2017 at 9:30 Club
Doors open at 9:00 PM
Hot Thoughts, Spoon’s 9th album, is the bravest, most sonically inventive work of their career, though keep in mind, Britt Daniel has already overseen a number of other reincarnations. With all due respect to earlier efforts that have made the band both critically acclaimed and a commercial contender, preconceptions about Spoon are about to be obliterated. That’s not to say Hot Thoughts doesn’t have a requisite supply of infectious earworms — WE DIDN'T SAY THIS WAS A DIFFERENT BAND (though this is the first Spoon album with no acoustic guitar) — but there’s a lyrical bent that’s as carnal as it’s crafty, and a newfound sense of sonic exploration that results in the genre-smasher Spoon have flirted with in the past but not fully consummated. The ten songs on Hot Thoughts run the gamut from the kaleidoscopic opening title track (as tone-setting as say, “Dirty Mind” for the album it commences) through the gargantuan stomp of “Do I Have To Talk You Into It” and ubiquitous wiry hooks of “Can I Sit Next To You" to the bittersweetness of “I Ain’t The One” and the deadpan swing of “Tear It Down” — less the telling of an apocalyptic vision and more what Daniel describes as a song about “empathy for strangers.” Ample recognition should be tossed in the direction of Dave Fridmann, whose wizard-level ingenuity has brought a diabolical sheen to the band’s swagger (there may be many great ways to occupy one’s time in Cassadaga, New York, but we do know that holing up at Fridmann’s studio to make a masterpiece is one of them). Without question, the prior works of Daniel, drummer Jim Eno, bassist Rob Pope and no-longer-a-secret weapon Alex Fischel have scaled some lofty heights (from 1996 debut LP Telephono, 1998’s A Series Of Sneaks, 2001’s Girls Can Tell, 2002’s Kill The Moonlight, 2005’s recently reissued in deluxe 10th anniversary grandeur Gimme Fiction, through the trifecta of U.S. Top 10 albums that was Ga Ga Ga Ga Ga (2007), Transference (2010) and They Want My Soul (2014), you’re talking about a winning streak that’s nothing short of Mayweather-esque), but Hot Thoughts is a daring, futuristic chapter in the Spoon story. Daniel’s spot in the pantheon of rock's genius songwriters was established long ago—but with the crackling, incandescent, multi-dimensional backdrop conjured on Hot Thoughts, the lines between accessible and experimental become non-factors for once and all. It’s pop as high art, delivered with total confidence and focus.
Sunday, December 31, 2017 at The Anthem
Doors open at 9:00 PM
When they met in the mid-1990s, Thievery Corporation’s Eric Hilton and Rob Garza instantly bonded over their shared passion for bossa nova. Dedicating their 1996 debut 'Sounds from the Thievery Hi-Fi' to bossa nova pioneer Antonio Carlos Jobim, the Washington, D.C.-based duo have spent nearly two decades creating boundary-warping, complexly crafted electronic music partly inspired by bossa nova’s intricate rhythms and lush textures. Now, with their seventh studio album 'Saudade,' Thievery Corporation present their first release devoted entirely to the Brazilian-born genre that first connected them. “We always try to progress into something different and stretch our musical chops, and taking a whole album to dive into this one sound seemed like a really great way to do that,” says Hilton. Adds Garza: “It’s a bit of a departure for us, but at the same time these are our roots, this is what brought us together. It’s us coming full circle from electronic music back to something organic before we move on to our next chapter.” Released on their own label ESL Music, 'Saudade' borrows its title from a Portuguese word meaning “a longing for something or someone that is lost, a contented melancholy, or, simply, the presence of absence.” “Saudade is the essence or feeling of true bossa nova,” explains Hilton, who names “those warm, soulful, melancholic vocals” as one of the elements of bossa nova that’s most alluring to him. Drawing influence from classic Brazilian performers like Antonio Carlos Jobim, Gal Costa, and Luis Bonfá—along with Serge Gainsbourg, Ennio Morricone, and more modern artists like electro-samba pioneer Isabelle Antena—Saudade achieves its delicate yet deeply sensuous sound with the help of more than a dozen guest musicians. With each track sung by one of five female vocalists (including longtime Thievery cohort LouLou Ghelichkhani, newcomer Elin Melgarejo, Nouvelle Vague singer Karina Zeviani, Argentine chanteuse Natalia Clavier, and former Bitter:Sweet singer/songwriter Shana Halligan), the endlessly mesmerizing album also features such guests as U.N.K.L.E. drummer Michael Lowery, Argentine singer/songwriter Federico Aubele, and master Brazilian percussionist Roberto Santos. Although Thievery Corporation stay true to traditional bossa nova’s elegant fusion of samba and jazz all throughout 'Saudade,' the album is rich with strange and wonderful flourishes that revel in the duo’s hyper-inventive tendencies. Opening with the dusky “Décollage,” 'Saudade' glides from the smoldering and string-drenched “Quem Me Leva” to the hushed and mysterious “Sola In Citta” (an Italian-sung nod to the legendary sound tracks of Ennio Morricone, featuring Wurlitzer electric piano by Enea Diotaiuti) to the sweetly ethereal “No More Disguise” (a dream-like piece laced with orchestral strings and bolero rhythms). With the instrumental title track serving as its gently stunning centerpiece, 'Saudade' also offers the sultry and spacey“Claridad” (a swaying Latin number propelled by analog organ beats) and the French lullaby of “Le Coeur” (featuring the sublime saxophone work of Frank Mitchell, Jr.). And on the final track “Depth of My Soul,” Halligan delivers a haunting vocal performance that merges with the song’s swirling symphonic soundscape to hypnotic effect. Over the years, Thievery Corporation have given nods to their bossa-nova influence on individual album tracks, slipping those quietly enchanting songs into recordings that reveal the duo’s careful studying of everything from Jamaican dub reggae to punk to vintage film soundtracks to psychedelic space rock. After coming up with sketches for several bossa-nova-style numbers while recording their last studio album (2011’s Culture of Fear), Garza and Hilton considered releasing an EP showcasing a handful of Brazilian-inspired songs. “The more we worked on those songs, the more we got into the vibe of that vintage, organic sound,” recalls Hilton. “Making an album fully dedicated to that sound felt like a good idea, especially at a time when the electronic dance music world is so saturated and there’s not much of a focus on musicianship.” Rather than feeling hemmed in by the unfamiliar approach of creating music solely in one style, Thievery Corporation found a great deal of freedom in writing and recording the songs that make up 'Saudade.' “In a way it was really liberating to do something out of our wheelhouse, to put ourselves in a totally different mindset and immerse ourselves in this one particular genre,” notes Garza. Intense musical exploration has always been essential to Thievery Corporation, a project hatched in 1995 when Hilton and Garza were introduced by a mutual friend at Washington, D.C.’s Eighteenth Street Lounge—a popular gathering spot for musicians that’s co-owned by Hilton. Soon after making their 1996 debut with two underground hit vinyl singles(“Shaolin Satellite” and “2001 Spliff Odyssey”) and 'Sounds from the Thievery Hi-Fi,' the duo became loosely associated with the trip-hop scene that had newly emerged in the UK. In 2000, they released 'Mirror Conspiracy,' which introduced live vocalists (including Bebel Gilberto and the late Pam Bricker) into the project’s mix. Following 2002’s 'The Richest Man in Babylon' and 2005’s 'The Cosmic Game' (featured politically minded collaborations with Perry Farrell, Flaming Lips frontman Wayne Coyne, and David Byrne), Thievery Corporation put out 2006’s 'Versions' (a compilation of their remixes of songs by such artists as Sarah McLachlan, Astrud Gilberto, Anoushka Shankar, and The Doors). By then, Garza and Hilton were itching to evolve past their reputation as ambassadors of the downtempo scene, and began to conjure up more subversive recordings that reflected their passion for social activism, as heard on both 2008’s 'Radio Retaliation' and 'Culture of Fear.' Now on 'Saudade,' Thievery Corporation are once again changing direction, trading the fiery energy of their last two albums for a wistful mood and summery spirit—a shift that both members found highly refreshing. “Even though we’re very socially conscious, it’s nice to take a break from the political theme and just concentrate creating some beautiful songs in the same vein as all these old records that we love,” says Garza. And as one ofthe most influential and respected names on the electronic/dance music scene, Thievery Corporation also discovered their own breed of rebellion and innovation in committing themselves to a time-worn genre on 'Saudade.'“We’re still chopping up beats, but this time we’re making them sound warm and vintage—which is not at all what’s happening in electronic music right,” says Hilton. “What we’re doing here is pretty traditional and timeless-sounding, and in that it’s completely contrarian.”