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Jul 12, 2014
UnionElectronic and Ink Promotions present
Wolfgang Gartner
with guests

I have to make something that's never been made before; have to make the best thing that I've ever done in my life - otherwise it gets stagnant or worse," says producer/DJ Wolfgang Gartner. Whether or not his progressively more maximilist take on electro-house is your bag or not, you have to respect his exponentially steep rise through the electro-house ranks. And Lord knows, you've heard it -- or about it: flipping Beethoven's 5th for the 4 am crowd; eight #1 tracks on Beatport; remix/collabs with Britney Spears, Timbaland and Black Eyed Peas; festival-highlight performances at Coachella '10 and Electric Daisy Carnival's '10 and '11.

Where Joey Youngman, the one-time party kid from San Luis Obispo, CA and another-time househead old soul, has been electro-house's dark (work) horse, Weekend in America, his debut full-length for Ultra Music, is Wolfgang Gartner becoming dance music's one-man parallel universe, outpacing electro-house and outdoing himself.

"One of my mantras is that I have a responsibility to advance the genre. If I'm capable of doing something I've never done before, I feel like I have to use that ability, because there are not many people who do - or can. I have to push myself real real hard to do it. That's something that's really surfaced with this record," he admits. Gartner's work ethic is mythical amongst even his most storied contemporaries: Make music all week. Play it out all weekend. His DJ sets - and this speaks to a combination of prolificness, personal taste and a proven track record - are almost entirely made up of edits of his own work. Then again, when you spend 20 hours a day working on music...

"Maybe it's like an insecurity and not being satisfied listening to it over and over, but I'm constantly asking myself 'Could it be better?' It could take me three hours to add this little milisecond sound that nobody but me will ever know is there, but I do it," Gartner says of his somehow self-effacing self-confidence. "I get into tweaker mode; I'm just sitting there tweaking for ten hours straight on this sound or that track and putting everything together and coming up with something else."

Take "Forever," the menacingly not-what-you'd-expect collab on Weekend In America. It's a track that, with its ominous chord progression and middla-nowhere "RIP" shout-out to DJ AM from will, is as unlikely as it is, literally, amazing. "That's just me sitting with my keyboard and pounding out chord progressions for three days and coming up with a hundred or so and some of them are good and a few of them are great, until finally I get to that one where I can say, 'This is something I can spend three weeks making into something,'" says Gartner.

He attributes this spike in his equal parts obsessive-compulsive/obsessive-creative disorder in part to his recent move from Austin, TX to Los Angeles. "I had one friend in Austin - who I met for breakfast once every six weeks. I woke, up, went to Starbucks, made music, drove to the airport, flew out, and flew home. My studio was in the master bedroom. With my house in California, it's in a guest room - I decided I want to make the master bedroom for sleeping."

There are no love songs on Weekend In America, but there is a new love: hip-hop. "Still My Lady" features Omarion, Dipset's Jim Jones and Cam'ron trade verses on "Circus Freaks," and Eve brings it on "Get 'Em" as highlights on the album.

"Rap music is actually all I listen to when I can just listen to music, like in my car. I spend so much time listening to dance music, rap is something I can just enjoy," Wolfgang Gartner explains. "I'm not trying to do all these collaborations with rappers to be trendy," he adds. "I reached out to each of them to make sure they were down and understood where I was coming from. I honestly like hip-hop almost as much as I like dance music, so it's a perfect combination."

It should come as no surprse then that the track that opens Weekend In America is "Get 'Em" featuring Eve. Gartner explains: "I was in New York playing Pacha so I actually went into the studio and worked with her on the track, looping it, trying stuff out," he says. "She came up with, 'Party round the world/All my fly people no nasty girls/Jet planes baby that's me/Come on people now sing along with me.' We knew that was the hook. It sounds like something Sugarhill Gang would have done, like it knows it's this classic-sounding hook."

The addition of rappers is all part of the progression of Weekend In America, he says: "It's getting progressively harder to make music without hearing vocals and vocal melodies on it - that's what comes naturally to me."

Of course, "naturally" is an evolving word in the Wolfgang Gartner lexicon. As "Menage A Trois" proves, you don't need a vocalist to hear voices. Another of Gartner's mantras is that he's making music for the future, and "Menage A Trois" sounds straight outta 2016: fully articulated synth lines trading verses in their own freaked-frequencies like MCs spitting in some as-yet undecipherable tongue. "The thing that makes that track for me is how conceptually different it is for me," Gartner offers. "It's literally just a bunch of random pieces from all over the place and some Fender Rhodes piano and this bass tone and then this vocal snippet that sounds like it's saying 'Menage A Trois.'"

Random, yes, but Weekend In America is nothing if not inspired by Wolfgang Gartner's almost contradictory need to evoke his best live moments while pushing himself to top them - and then gig some more to create new moments to top: "Mantra number three for me is that when I'm writing I think about the last really amazing show that was f$%ing unbelievable for whatever reason - everything I make is designed for playing out. I get super tired of playing out every weekend, having one day at home. But I know I need to get out there - I have to do it for market research," he says.

As Weekend In America proves, it's often the tracks that are most obsessed over privately that make the biggest impact publicly. Take the Electric Daisy Carnival festival '11 favorite "Space Junk," caned as it was in several sets, which seems to take everything great and terrible over the last 15 years of dance music - vintage synths, hands-in-the-air trance flutter and dubstep's modulated stammer, and fits it in one track - often in a single measure, sometimes even a single bar. "That's the one that haunts me," Youngman admits. "That's the one I'm always trying to top." Ironically, it's also the one that contradicts another Wolfgang Gartner myth: that Youngman is himself a gearhead.

"I'm actually working on Windows XP with limited RAM, on Abelton and three vintage synths - one of which I don't even use anymore," he admits. "My computer's constantly freezing up and maxing out," he says. "But I'm more concerned with music than technology. I'm willing to write the entire breakdown of 'Space Junk' on an old keyboard with a busted arpeggiator that comes out so muddy that I have to deal with the hassle of spending a whole day editing it in 16th notes," he continues. "But the fact that it came out of a synth - and not a plug-in - makes it totally worth the day I spent."

Likewise "Illmerica," with its long, phantasmic synthesizer chord progression, belie the heart of a composer over the somehow soulful rhythm sections that chug and chew more than chop or churn- Youngman's past life as a Kerri Chandler-loving househead living on. That, he says, and his other past life: third grade piano virtuoso. "My parents made me take classical lessons," Gartner laughs. "I played in competitions at local colleges with a bunch of other ten year-olds and I think I won a couple of them. Now I couldn't play to save my life, but that foundation is there."

And therein might lay the greatest mantra/myth of the Wolfgang Gartner story and the greatest contradiction of Weekend in America: that it's just dance music. "I would think I would hate what's mainstream, but the truth of it is, the dance world makes sense to me," says Wolf. "I understand how and why it creates the response that it does with people." That said, as Weekend in America shows in its byzantine soul, kaleidoscopic command of frequencies and impossibly imaginative arrangements, Weekend in America the artist is answering to an altogether higher power and potential, one the Wolfgang Gartner massive has the good fortune of being able to get onto the floor and out of their heads to every weekend.

But for Wolfgang Gartner, the introverted empath spending thousands of hours in isolation making these tracks that will connect him to tens, even hundreds of thousands of people at a time, Weekend In America is party-rocking speaker-freq'-ing as self-realization. "I can imagine it and I know something amazing that's never been heard before is possible. Occasionally it's even something I can already hear in my head and that's why I have to make this music.
Jul 18, 2014
UnionElectronic, Ink Promotions and ( ( ( ( transMission ) ) ) ) present
with live performance by
Christian Burns OFFICIAL
plus Adam K
locals: Paul Alexander & Simon Future


Given his enviable resume and illustrious fifteen+ year career, it is difficult to imagine that platinum-selling artist, visionary producer, film composer and technologist BT may only now be beginning to create the best work of his career. An internationally-renowned recording artist himself, he is trusted by superstars such as Sting, Britney Spears, Sarah McLachlan, Tori Amos, Madonna, Seal and Peter Gabriel to produce modernist and memorable hits, with a bleeding-edge electronic flair. He has composed unforgettable scores for films The Fast and the Furious, Partysaurus Rex, Go, Stealth and Oscar-award winning Monster. With his latest two-hour, double-disk opus, These Hopeful Machines, BT definitively weaves both the technical prowess and compositional mastery that reminds us all why he’s the composer that all other composers and producers study. On his last full-length LP, This Binary Universe, he created an entirely new genre of evocative electro-acoustic music. As Keyboard Magazine wrote in their review of the album, “In a hundred years, it could well be studied as the first major work of the new millennium. It’s that good.” Throughout his illustrious career, BT has been able to seamlessly weave together complex, groundbreaking musical elements into compositions that resonate with listeners of all types without seeming academic and incomprehensible. BT joined the Armada music label in May 2012.

He’s written for the likes of Tiësto, BT, Armin Van Buuren and Benny Benassi and is one of the most in demand lyricists and vocalists in dance music. As one third of multi-million selling Brit band BBMak he conquered the UK Top 40 and the US Billboard Top 100. Now, the spotlight is set to turn on Christian Burns once again as he prepares to release his long player ‘Simple Modern Answers’ on Armada Music.

The writing was on the wall for Christian to be involved in music in some form from an early age. Christian’s father was part of The Signs, a UK band paying their dues at the same time as The Beatles and signed to Decca Records. “I always remember the house being engulfed with music as a child”, Christian said. “Me and my dad built a makeshift studio at the bottom of our garden with a four-track tape machine. I was always in there. I was fascinated by the whole process of making music.”

It was a sonic love affair that was to reach dizzying heights early on, when Burns formed BBMak with fellow singer/songwriters Mark Barry and Stephen McNally. Their first single ‘Back Here’ soared to the top of the American radio charts, hit the #1 spot in Japan and scooped countless awards including ‘Song Of The Year’ from ASCAP and ‘Most Played Song Of The Year’ from PRS. Going on to sell over 3 million records worldwide, Christian took to touring the world, performed on national TV, gracing the covers of magazines and became a certified teenage pin-up and not least, a household name.

Post-BBMak era, Christian headed back to the studio, albeit now in LA rather than his dad’s back garden. It was here, on a random demo, that he heard the blend of rock and electronic for the very first time. “It was ‘Somebody Told Me’ by The Killers. I was completely hooked on the sound, the use of synthesizers in a rock song.” Experimenting with synths back in the UK, his early work with The Bleach Works collective caught the attention of arguably the world’s biggest electronic artist, Tiësto. The Dutch icon asked Christian if he could remix of one of his tracks but Christian declined and offered to write a song with Tiësto instead. “He sent me a backing track that instantly inspired me and in minutes I was able to write a song.” The track, ‘In The Dark’, became the lead single from Tiësto’s Grammy-nominated album ‘Elements of Life’, scored over 5 million hits on YouTube and saw Christian join Tiësto on a massive world tour, introducing him in one fell swoop to some of the planet’s finest dance producers.

From that moment on the collaborations and hits began to pour in. Working with electronic giant BT, Christian co-wrote and sang on three tracks from Grammy-nominated long player ‘These Hopeful Machines’ – ‘The Emergency’, ‘Forget Me’ and lead track ‘Suddenly’. Teaming up with Armin van Buuren on his ‘Mirage’ album, Christian wrote the #1 smash hit ‘This Light Between Us’, touring with the record-breaking five-time winner of DJ Mag’s Top 100 DJ Chart across 2010 and 2011 while still finding the time to write and perform ‘Love and Motion from Benny Benassi’s ‘Rock N Rave’ album.

Now Christian is ready to rewrite the dance music rulebook with his upcoming album ‘Simple Modern Answers’. Working with the cream of the electronic crop, the co-production credits read like a who’s who of EDM; from Armin, Paul van Dyk and BT to Ferry Corsten, Paul Oakenfold, Kryder, Marco V, Scumfrog, Maison & Dragen to Chicane, Conjure One, Michael Woods, Kryder, Jes Brieden, Alex M.O.R.P.H, Jean Claude Ades, Stefan Dabruck, Antillas and Paul Harris & Vern. With Christian Burns on the songbook and behind the microphone this stellar cast has been brought together to create a truly incredible piece of music. In an industry where vocalists and songwriters remain almost entirely in the background, for not the first time, the spotlight will be shining squarely in his direction.

For Toronto, Canada's Adam K, it's tremendous amounts of skill, creativity, hard work, and years of perfecting his craft that have catapulted him into the upper echelon of dance music.

Fueling his stellar live sets is over 15 years of experience in mastering sound design, audio engineering and producing. His keen ear for shaping sounds and knack for composing emotional hooks fuse together to create his trademark style. Adam's solo and collaborative projects have dominated the underground including landmark tracks such as "I Can Feel", "You're Not Alone", "Question", and "From The Speaker" which melded the minds of Adam, long-time friend Soha, and Toolroom frontman Mark Knight. Of course it was another collaboration with Soha that captivated the world with "Twilight". Named an Essential New Tune on the legendary BBC Radio 1, Pete Tong set the tone for one of the biggest records of 2008, which was confirmed by landing at #2 for the best-selling tracks overall on Beatport that year. More recently Adam's collab with international superstar Kaskade called "Raining" hit #1 on iTunes Dance for the US and Canada and was the top single off Kaskade's latest album "". Adam's music is a favourite of the world's top DJs seeing current releases such as "Complicated", "My Love" and "Wake Up" be a staple in sets from the likes of Tiesto, Kaskade, Above & Beyond, Gareth Emery, Markus Schulz, Mark Knight, Funkagenda, Rank1, Judge Jules, Matt Darey, Cosmic Gate, Robbie Rivera, Menno de Jong, and more.

Not just an original composition mastermind in the studio, it's Adam's mind for remixing, along with partner Soha, that has catapulted him into superstardom as the duo's remixes are some of the most pinnacle dance records of the past few years. Kaskade's "4AM", Benny Benassi's "Come Fly Away", Deep Swing's "In The Music", Heikki L & Ercola's "Deep At Night" and most notably the Adam K & Soha Remix of Reflekt's #1 UK Dance Chart tune "Need To Feel Loved" raised the duo to astronomical heights. Adam has reworked singles from dance icons Tiesto and Deadmau5, to mainstream chart-toppers Keri Hilson, Shiny Toy Guns, and Robyn, to one of the most legendary bands of all time in U2. It is his vision, passion, and technique that keep them in high-demand from international hit-makers and underground sensations alike.

Travelling around the globe, Adam's mastery in the studio translates directly into the art of DJing and he has rocked single-show crowds upwards of 10,000 for legendary promoters and venues such as Ministry of Sound, Godskitchen, Global Gathering, The Guvernment, and Privilege Ibiza. From festivals across Europe, North and South America, Adam's definitive sound blows up dance floors and pushes the hands to the rafters. Though primarily known for his melodic blend of progressive house, Adam's style is much more diverse, and showcases his love for all things house, tech to electro, deep to banging. It's this affection for many genres and his ability to manipulate a crowd into a frenzy that cements his status as one of the world's most memorable performers.

Not just a producer and DJ, Adam is also the founder and head of Hotbox Digital. The label has been a vehicle for Adam to break into the industry and has released a multitude of incredible tracks from some amazing talent including Soha, Addy, Dataworx, Macca, and JELO. For 2010, Adam has a renewed focus on Hotbox, and will be expanding the label's international reach both with fresh new original material and new signings from upcoming and established talent.

With collectively over 4 million plays on You Tube and support from the world's DJ elite, Adam has seen his music effect the lives of music lovers around the world. With the rise of Hotbox Digital and a full slate of touring, solo projects, collaborations, and remixes on the horizon, this is the year of Adam K.
Jul 26, 2014

Joker Entertainment Presents

Victor Manuelle

July 26, 2014

Doors Open at 9:00PM / Dress Code in Effect / 18+ ID Required

Tickets: Main Floor & Blacony - Advance $65, Door $75

INFO LINES 403-471-8058 / 403-560-8099


Aug 16, 2014
UnionElectronic and Transmission Entertainment
What So Not
with guests

What So Not are Sydney DJ/production duo Flume and Emoh Instead. Although they differ in size, facial hair and physique, both began their destined path to DJ notoriety as humble paper boys with a keen ear for jams. United by a love of surfing and the sweaty corridors and dancefloors of nightclubs, they set out to create a project inspired by the most universal of feelings: fun.

This is not to say that there’s not a serious intent going on with their music-making. They first flexed their muscle in 2011 with debut EP ‘7 Dollar Bill’, scoring approval from the likes of Switch and Sinden. Their most recent EP release ‘The Quack’ (out via local legends Sweat It Out and internationally via Skrillex’s label OWSLA) dropped harder than that time Tony Abbott crashed in on Flume’s wave (true story). It featured guest vocalists/heavyweights Action Bronson, D Mac & Blood Diamonds, clocked up over 450k Soundcloud plays and garnered the attention of fellow electronic heavyweights Diplo, Bauuer and Flosstradamus.

Of lead single ‘High You Are’, Emoh says:
‘’High You Are’ was an experiment. We wanted to take the concept of groove-based house and push it to the extreme. Something that could hold its own, against the biggest ‘EDM’ hit, without compromising the feel and soul. The power to make people move, not just fist pump.’

And so it did. People moved their bodies to What So Not’s frenetic DJ shows (spearheaded by Emoh Instead, on occasion joined by Flume) all across the country, firstly on the 2012 triple j House Party tour, then on their own run of 30+ headline dates throughout regional Australia, NZ and various corners of Asia. Their mad energy and burgeoning fanbase was on hi-vis at their frankly mental headline DJ slot at this year’s Splendour In The Grass.

What So Not’s schedule for 2014 is jam-packed. They gave away a new edit ‘Touched’ for free download through their soundcloud in November 2013, it was the first piece of music that Emoh and Flume ever worked on together as What So Not and has clocked approx. 1.5 million plays on soundcloud to date as well as being a Hype Machine global #1.

Their current single ‘Jaguar’ dropped 10 December through Sweat It Out in Australia and Skrillex’s OWSLA imprint for the rest of the world. Having clocked over 2 million plays on soundcloud and pushing 700k plays for the official video as well as topping the global Hype Machine chart again, Jaguar is easily WSN’s biggest single to date.

There’s also been plenty of touring for What So Not over the Aus/NZ summer with a slot on the national Stereosonic Festival in 2013 as well as high profile sets at Field Day, La De Da Festival in NZ and Shore Thing and Beach Life with Skrillex in Australia. The next Australian dates are on the national touring festival Groovin The Moo in April/May alongside Disclosure, Action Bronson and Wave Racer.

What So Not’s first USA shows took place on the infamous Holy Ship cruise in Jan 2014 with a North American tour supporting GTA scheduled for Mar/Apr 2014 as well as some exclusive sets at SXSW and Miami Music Week.


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Sep 12, 2014
Aqua Audio Presents FEED ME
Sept 12, 2014

Returning with his amplified Teeth show and plans to release a new 4 track EP on his label, Sotto Voce, this marks Feed Me’s first proper tour since his 17-date sold out “Teeth Tour” at the beginning of 2013.
Oct 4, 2014
Union Events presents
Amon Amarth
w/ Sabaton & Skeletonwitch
Flames Central
18+ No Minors
Sat Oct 4/14 Doors 8PM

Amon Amarth, the critically-acclaimed, Billboard-charting metal act, will be re-conquering North America this fall. This time around, the band will be bringing fellow Swedes, Sabaton, along for the ride. Additionally, Skeletonwitch will once again be opening the show, except in New York where fans will be treated to the first ever, and exclusive North American performance by extreme metal supergroup Vallenfyre*. In February of this year, fans in Los Angeles were treated to an exclusive appearance of the Viking ship stage set up.
Oct 22, 2014
The HiFi Club and Timbre Concerts Presents:
"Frequent Flyer Tour "
With Special Guests Wave Racer
Wednesday October 22nd, 2014
Flames Central
18+/No Minors Show
Doors 8:00pm, Show 9:00pm

On Sale Friday June 27th at 10am!
Tickets $40.00 (plus appl. s/c) advance available online

AMEX presale:
Wednesday June 25, 2014 10am to Thursday June 26th 10pm Local Time
Password not required
Ticket link: same as regular onsale ticket link

Canadian electro-funk duo, on tour to support their latest release "White Women".

More Info:

Upcoming Timbre Concerts Schedule:
Nov 22, 2014

Nick & Knight Tour 2014

Nov 22, 2014

Mega boy band singer-songwriters Nick Carter from Backstreet Boys and Jordan Knight from New Kids on the Block have a new album and tour together!
Debut Album Scheduled for September 2, 2014 Teases Fans with New Song “Just the Two of Us,” Available Today for Immediate Download with Album Pre-Order

Duo Will Kick Off National Headlining Tour Across Major Cities on September 15th in Nashville, TN; Tickets Available May 2nd for Pre-Sale (April 30, 2014) Mega boy band singer-songwriters Nick Carter from Backstreet Boys and Jordan Knight from New Kids on The Block announced today the release of a collaborative album titled ‘Nick & Knight.’ To help kick things off, fans will be able to get a sneak peak of ‘Nick & Knight’ with the immediate download of their new song titled ‘Just the Two of Us’ when they pre-order the album, available today.

Fans will also be able to purchase pre-sale & VIP tickets for their national headlining tour, which kicks off on September 15th in Nashville, TN on May 2nd at 10am with general tickets available on May 3rd.