2월12일(토) 갓스키친 서울투어 2탄 - 테크노의 여왕 미스츄레스 바바라 내한 @ 클럽 오투

[kaboom]

2005’ World Tour in Seoul

Godskitchen은 전 세계 클럽 Scene을 이끌고 있는 영국이 자랑하는 대표적인 클럽 파티 월드투어로서 지난 2004 투어에 내한한 Armin van Buuren를 비롯하여 Paul Oakenfold, Judge Jules 그리고 Sasha등과 같은 일렉트로니카의 최고 슈퍼스타들이 레지던스로 활약하고 있습니다.
금번 Godskitchen 2005 Seoul에는 테크노의 여전사로 전 세계적으로부터 폭발적인 인기를 얻고 있는 Misstress Barbara가 내한합니다.
지난 1회 투어와는 달리 클럽에서 보다 더 가까이 클러버들과 호흡하는 파티 컨셉으로 진행될 이 번 이벤트는 홍대에 Godskitchen이 최초로 상륙하여 클러빙 컬쳐의 진면목을 보여드릴 것 입니다.

Godskitchen in Seoul is back after a huge success tour back in November last year with Armin Van Buuren.
This time, Godskitchen will bring a popular female dj, Misstress Barbara, who has gained her popularity throughout the world.
In order to feel the atmosphere closer with the clubbers, the Godskitchen tour will be held in Hong Dae for the first time.
You wouldn't want to miss this chance! you will experience the powerful atmosphere with Misstress Barbara upclose!

본 파티는 19세 미만 관람 불가입니다.

Ticket Info :

DOOR ONLY
현장 판매만 가능 합니다

20,000 won

▶**Music

Misstress Barbara

★for download ... right click below list ... save as

Live ...

[ Relentless Beats vol.2 ]

Single ...

[ Silk Cut.mp3 ]

[ Optical Way ]

[ Dammelo ]

[ After Taste.mp3 ]

▶**Artist Bio

▶▶▶Misstress Barbara (aka Barbara Brown.CAN)

★ Misstress Barbara (MTL.CAN)

: Queen of Techno

스스로 Drummy funky techno라고 명명한 자신 고유의 사운드 스타일을 가지고 있는 테크노 여 전사 Misstress Barbara는 데뷔 초반 하드 하우스와 하드 테크노를 기반으로 하는 사운드 플레이어로 시작하여 오늘날 까지도 거의 독보적인 세계 최 정상급 테크노 여성 디제이다. 많은 이 들이 그녀를 캐나다 인으로 많이 생각들 하고 있지만 원래 마피아로 유명한 이탈리아 시실리아 섬에서 1975년에 출생하여 8세 때 캐나다 퀘벡 주 몬트리올로 이주하면서 줄곧 그 곳에서 성장하였다. 12세 때 같은 나이또래의 소녀들과는 달리 Barbara는 드럼과 같은 ‘터프’ 한 타악기에 관심을 보이며 드러밍에 많은 시간을 투자하고 여러 밴드의 드러머로 활동하기도 한다. 특히 그녀는 80년대 절정을 이루고 있었던 하드 스타일의 고전적인 록과 펑크 등 “하드”한 사운드에 열광하게 되는데 훗날 그녀의 사운드 구축에 많은 영향을 주게 된다.

1995년 그녀는 자신의 분신과도 같은 악기인 드럼 세트를 턴테이블과 믹서로 바꾸게 되는 일생일대의 음악적 변신을 하게 된다. 96년 처음으로 보수를 받고 플레이를 시작하는데 천부적인 재능을 지닌 그녀는 캐나다 최고의 아티스트로 등극하는 데는 그리 많은 시간이 필요로 하지 않는다. 전광석화처럼 순식간에 캐나다를 평정한 그녀는 곧 영국을 날아가게 되는데 윤곽이 뚜렷하고 날카로운 그녀만의 개성 넘치며 파워 풀 한 테크노 사운드는 곧 칼 콕스를 비롯하여 여러 관련 음악 산업종사자들로부터 큰 주목을 받게 된다. 단지 여성 테크노 디제이라는 희소성 때문이 아니고 정식으로 실력을 인정 받은 그녀는 영국에서도 역시 단숨에 큰 인기를 얻게 된다. 그녀는 영국에서의 성공 이후 유럽은 물론 아시아 남미 등 전 세계로부터 출연요청이 쇄도하게 되는 월드 클래스 아티스트로 급부상 하며 각국의 전설적인 클럽에서 게스트 플레이어로 이름을 날리게 되는데 뉴욕의 Twilo와 Tunnel, 파리의 Rex 런던의 Velvet Underground, 디트로이트의 Motor, 몬트리얼의 Le Sona, 토론토의 Industry, 브라질의 Aloca 등과 같은 슈퍼 클럽들을 열거 할 수가 있다.

당시 까지만 해도 학업과 DJ를 병행하던 그녀는 커뮤니케이션 관련분야 에서 영화학으로 학위를 받으며 퀘벡 대학교를 졸업하게 되면서부터 바로 풀 타임으로 음악 활동에 전념 할 수 있게 된다. (Babara는 또한 경비행기를 직접 운항할 수 있는 조종사 면허도 가지고 있기도 한 특이한 이력을 지닌 여성 아티스트이다.) 그녀는 곧 바로 스튜디오를 만들고 본격적으로 트랙작업에도 착수한다. 변화가 심한 Jazz와 반복적 그루브의 라틴 음악을 어려서 많은 영향을 받은 클래식 하드 록과 펑크적인 사운드와 접목시키면서 그녀만의 사운드 세계를 만들어 나가게 된다. 1999년 자신의 독립 레이블인 Relentless (www.relentlessmusic.com) 레코드를 설립하면서 "Endless Passion"와 "Cry & Dry"를 각각 발표한다. 그녀는 이어서 또 다른 하우스 프로젝트 레이블인 "Barbara Brown"을 역시 런칭 한다. 2000년 "For All There Is Left"와 동시에 그녀의 첫 믹스 컴필레이션 앨범을 발표하고 2001년에는 대표적인 테크노 명 레이블인 Moonshine을 통해 "Relentless Beats"를 세상에 선 보이면서 명실상부 한 DJ겸 프로듀서로 그녀의 이름을 세상에 각인시킨다. 02 프로덕션의 2005년 오피셜 파티일정 그 첫 스타트를 끊게 될 그녀는 자신이 세운 Energia Productions 라는 독립 프로덕션 컴퍼니를 운영하기도 하는데 현재 여기를 통해 앨범제작과 리 믹스는 물론 영화와 비디오 게임 OST 그리고 월드투어 등 그녀의 음악적 역량을 전 방위적으로 펼치면서 현재 맹 활약을 보여주고 있다.

For more info about Misstress Barbara :
www.misstressbarbara.ca

The meaning behind the name
My name is Misstress Barbara. And before you say anything, no, it isn’t a typing mistake. People don’t really understand the ‘stress’ part of it but I’ll try and explain it. I’m a really hyperactive personality and I’m always very stressed. It’s in my nature. I’m also very serious about everything. I’m always stressing that things should be done properly and when they aren’t; I really, really get annoyed.

From Canada, outta Italy
Okay, let’s go to my story. Although I was brought up in Canada, I was born in the shadow of Mount Etna in Sicily and I’m a Sagittarius, a fire sign – maybe that explains why I’m quite a fiery person!

While I have a passion for DJing, I also love to fly aeroplanes. I was 17 when I got my glider license and 18 when I got my single-engine license [for safety, it’s best to go flying every couple of months but that’s impossible with my life! So every time I go I have to do like a million checks then convince the instructors that I’m okay to fly. It’s really great fun].

I got into music before the plane stuff happened. Here in Canada, I was in the Air Cadets between the ages of 12 and 19. It was here I really developed the serious side I was talking about before. Once I start something I keep going until it’s finished. It’s in my nature also. When I was 16 I had made it up through all the ranks to the top level.

I played drums with the Cadets. Using the experience I’d had on the snare drum, I took up drumming in my spare time. I bought a big kit for my home. It was beautiful. I was playing the drums with friends in bands and doing a bit of teaching; back then I used to hate electronic music. I didn’t know about techno and house, I just knew about commercial dance music. I was a rocker: purple jeans, Dr Marten’s, leather jacket, you name it. Led Zeppelin were my favourites and in my CD collection were Guns & Roses and Iron Maiden.

I found house music
One night, when I was 17, I went to a friend’s birthday. She wanted to go to a disco so I went with a crowd of people. This club was really commercial and the DJ played rock, reggae, cheese then half an hour of the latest underground music. I was stood at the bar drinking my beer looking at my watch – I couldn’t wait to get out! But I was moving my knees. My friend came up to me and was like “Barbara, you really like house.” I was like, “What the hell is house?” He told me what it was. I was like “Okay, maybe I do” and he told me to go check out raves, parties and gay clubs because they play house there.

And I did. I started going out to these parties and I found out electronic music was different from the Rhythm Of The Night shit they played in that club. I started finding tracks like The Age Of Love and stuff and I just fell in love with them. By 1995 I couldn’t have fun unless I was trainspotting the DJ and seeing what he was doing. I wouldn’t even dance anymore. All week I would dream about going out to check the DJs and what they were playing.

Kicking off
My first decks were a pair of used Technics 1200s. One of my friends, Neerav, was a DJ round here and he showed me how to mix for just five minutes at his place one night – “Have fun,” he said and off he went. He came back hours later and was like, “I’m going to bed, if you want to practice more come back tomorrow”. I was like “I’m not coming back”. He asked me why, and I told him that I sucked but I really wanted to improve, so I would buy my own decks. He said he’d lend them to me but I refused. That’s my independent side. I like having my own things rather than lent stuff.

It was February 1996 when I finally got my turntables. I had to sell my drum kit to afford them. That was one of the biggest heartbreaks in my life, but I came to the conclusion that I wasn’t selling the drums to fund a hobby, I was selling them to kick off my career. After two weeks I offered my first mixtape to that guy Neerav. He didn’t want to hear it cos he didn’t want to tell me that it would probably suck. I went mad but when he invited me to jam with him acouple of weeks later, he was gob-smacked. He took me by my shoulders and looked at me in the eyes and said was, “You’re going to go fucking far”. My first gig came three months later. I didn’t practice that much. And I still don’t. I hate to play in front of a wall.

All around the world
And here we are today. I’m doing okay, you know? I get to play all these exotic places - like Brazil and Iceland. I also love playing in Spain, Italy and the UK. In fact, Europe is my favourite. I don’t normally get nervous before I go on but I might get a few shakes if I have a Red Bull beforehand. The biggest place I’ve played at was to 35,000 people in a stadium in Los Angeles but I prefer smaller parties so much, like Ultimate Base in London or Row in Barcelona because you’re so much more connected to the people and that’s what it’s all about.

Meet my sound
I play drummy, funky, pumping techno. Here’s why:

Drummy: With drummy I am trying to say “percussive” – but I say “drummy”, because it’s cuter.

Funky: Even though my music is hard there’s always a bassline that makes it really funky. It’s got soul to it.

Pumping: This is a good word to use instead of banging or hard. I don’t play hard techno. Sometimes I play a record that sounds normal on 0, but I pitch it up to +7 so it sounds not hard but pumping.

Techno: If you don’t understand this bit, then you simply must come and see me!

I did not start DJing because I was a producer. I started DJing because of my love of spinning vinyl. I produce for the liberty of playing my own music. In addition to my techno label Relentless, I have plans to start a house music label soon.

When I sit down in the studio these days, I seem to make more house music, which I release under the Barbara Brown name. Musically, when I make house tracks, I do stuff with my own voice – so far I have spoken on a few tracks. But I’m moving building myself a new house in a nice area of Montreal, which means I will have more time to be creative in all of my music; there’ll be a studio right there at home. It’s going to be a penthouse-style loft and there’ll be lots of activity outside – if I ever get lonely I will just have to open the window.

So that’s my story. I want people to know me for my energy. My company – Energia Productions, my label – Relentless, and me - Misstress Barbara

For more info about Misstress Barbara :
www.misstressbarbara.ca

▶Map

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