Category: Le coin musique

Boomtown 2016 : The Speakers Corner / Il reste encore des tickets Coach pour le festival !


BoomTown Fair the countdown is on!

New stage announcement – The Speakers Corner

and standard tickets sold out!


Matterley Estate – Winchester

11th – 14th August 2016

Tickets on sale now via:


BoomTown Fair has sold out of all standard festival tickets and the only tickets remaining are coach + festival ticket packages. The festival, which received a licence to up the capacity to 60,000 in June, is gearing up for the eighth instalment of the high octane, fully immersive, story lead spectacular.



In true BoomTown style, announcements are still being made about yet another new stage! The Speakers Corner, with talks across a vast range of topics and guest speakers including Game of Thrones star Maisie Williams, Tourette’s Hero Jess Thom and Queen of Bristol bass Eva Lazarus. Conversations will be highlighting everyday issues around race, sexuality, gender and diversity, alongside worldwide politics, such as the refugee crisis, personal awareness and education.


Continuing the awareness raising through education and action, BoomTown have also partnered with the White Ribbon Campaign to support their Safe Music guide. The guide aims to raise awareness among promoters, venue managers and festival organisers of gender-based violence and harassment at music events and to highlight that it is everybody’s issue by encouraging both men and women to step up when needed.


We are really excited that BoomTown is one of the first festivals to invite us to run an awareness raising event for their festival-goers. Festivals who work with the White Ribbon Campaign are sending a clear message that they take women’s safety seriously and would never keep silent or shy away from tackling it. We hope other festivals will follow BoomTown’s lead.”

Dave Boardman, author of the White Ribbon Campaign’s Safe Music guide


The Campaign will be holding a launch event at the festival and will offer advice and support to festival attendees.


With less than a week to go, excitement is building in the city of Boom…  The all new Sector 6 stage is swiftly heading towards completion and has already surpassed expectations, reaching higher than the imagination had fathomed! The Lion’s Den, the biggest reggae stage in the UK, is being built in Trenchtown, ready for reggae legends Damian ‘JR Gong’ MarleyMadness and Fat Freddy’s Drop. Over to Hilltop  Parov StelarLeftfieldAsian Dub Foundation and Fun Lovin Criminals will be dazzling on The Town Centre.  Electric Swing CircusThe Carny Villians and The Big Swing Sound bring magnificence to Mayfair while The Invisible Circus and Bohemian Betyars ride The Jolly Dodger Pirate Ship…
Descending into night, Bang Hai Palace is all set to breath bass over DSTRKT 5 as Stanton Warriors, Zed Bias and Critical Sounds scorch the skyline.Submotion Orchestra, Swindle and Foreign Beggars bring the party to life at Poco Loco while house and techno technicians Derrick May, Simian Mobile Disco and MJ Cole flood the streets of Barrio Loco. Just outside, the plot thickens at The Bassline Plaza where a new character is introduced in Barrio Loco’s immersive storyline.


Hundreds of actors are ready to bring the city’s incredible backdrop to life, details that elevate each district and make the theatrics that await around every corner, even more real; where anyone and everyone’s inner character can come to life.


BoomTown takes please at the Matterley Estate, nr. Winchester, Hampshire from 11th – 14th August. Limited coach and festival packages are still available here.


Interview : Boomtown / So Solid Crew



Sector 6, a stage set to rival that of Bang Hai Palace, has been created for Boomtown
2016. The industrial masterpiece will act as the official base of the Revolution, hosting a
strong line‐up of bass heavy spectacles.
Who could be more fitting therefore, then So Solid Crew? Musical revolutionaries of their
generation, they’re often mentioned as pioneers in the UK Garage and Grime scene.
Coming back with a bang this year, expect some old school classics from the original
underground garage crew.

So Solid Crew Interview

1. First of all, thank you so much for speaking to us. Who have we managed to pin down from
the crew today?
Hey this is Lisa Maffia.
Hi, this is Harvey, how you doing?
Megaman here
And Swiss is here


2. What have you been up to?
Megaman: We’ve been up to quite a lot, taking care of our individual brands outside of
music. We’ve got a lot of new music out, fun tunes for the masses and even though we’ve
never been to a Boomtown before, looking at the whole set up of what is like, we want to
put together something that’s gonna give the stage presence something a little bit extra.
Lisa Maffia: I can’t wait to choose an outfit! (laughs) From what I’ve seen there, I need to
go to town!
Harvey: I looked Boomtown footage online and it is unbelievable. I saw people jumping
around with painted faces, just having a good time so it definitely fits So Solid’s energy of
having a crazy night and enjoying yourself.
3. Boomtown’s known for being an immersive, theatrical and engaging experience that leaves
punters with lasting memories and keeps them coming back. So for people that haven’t
seen you before, what should they expect from your show and you guys as a crew?
Mega: They should expect all the So solid hits basically; from 21 Seconds to All Over, They
Don’t Know, Oh No… Just some great garage, old skl, mid skl, mash up the place classics
‐we’re going to deliver on UKG. The energy will be electric.
4. Garage and grime has had a massive explosion in the last couple of years and you guys were
pretty instrumental in bringing that underground sound to the masses, much like Boomtown
tries to do. What influences have you had and what do you think has been the catalyst for
making grime and garage more commercially viable?
Harvey: In our time a lot of our influences were Reggae, R&B influences in the early 90s,
the stuff that was around then. If you’re looking at the new generation there’s a lot of
people out there doing their thing; Skepta, Chip, Bugzy Malone…. It’s a good look!
Swiss: I think the reason it’s come back and the first catalyst of that sort of sound was
when garage became a bit more edgy, a bit more underground and the sound got rougher.
We didn’t name it grime, we were just making music. Whoever started to salute and say Oh
No was the first pin point, when grime began, then that’s cool.
I think So Solid had an impact because a lot of people are paying homage in their music
today. A lot of people are in All Star Grime are showing their fans who they were inspired
by and that’s what we appreciate. We’ve taken a certain elements of their grime style and
showed appreciation in our new cuts too.
Mega: I also think one of the big catalysts was when the Americans started showing a bit of
love. It’s sad really but sometimes it takes people across the pond to show us love before
our own country will see the glory of what we do.
The thing that I like about it though, is that every time you hear a sound from any sort of
country you want to find out the source. You want to find out who inspired that and how
that came about and whenever you dig deep, we’re one of the names that you affiliate that
beginning with so we’re honoured to still be in the business and do what we do. We’re still
here to deliver a good sound and music and hopefully we’re got another 20 years.. 20 years
you’d say? (laughs)
Lisa Maffia: Yeah, about 20 years? (laughs)
You need to be doing it till you’re in your zimmerframes. Solid cane skank business
(all laugh)
Mega: The difference now and then is that there’s a lot of festivals that we missed out on
doing so we’re happy now that we’re able to grace the stage in the way we wanted to do
15 years ago and we’re going to really give people what they missed out on.


Have you guys looked at the line up at all? Is there anyone you’re looking forward to seeing?

Mega: You know what, Boomtown’s got a serious line up! You see so many festivals that put
on the same old generic acts ‐ people you’d expect who are on TV ‐ Boomtown’s a festival
with a difference! I know this festival is one to be reckoned with ‐ the artists are seriously

I’m really looking forward to listening to some new music and seeing how audiences reactto genres we might not be that in touch with and be a part of the good vibes.

Boomtown 2016 : Interview / Roni Size



Sector 6, a stage set to rival that of Bang Hai Palace, has been created for Boomtown
2016. The industrial masterpiece will act as the official base of the Revolution, hosting a
strong line‐up of bass heavy spectacles.
As a long time master of bass, Roni Size is a perfect fit for this new project. After a huge
year of live touring with his Reprazent band, he has returned to the decks with partner in
crime, DJ Krust after 12 years.
These underground legends will be delivering a show drawn from the roots of Jungle & DnB
‐ old classics, unreleased studio cuts and originals remastered, with original Full Cycle
frontman, Dynamite MC.

Roni Size Interview

You had a massive year in 2015, can you tell me a bit about what you’ve been up to?
Well I think over the last three or four years I’ve really been pushing to get myself back
into that premier league table. We’ve got a release coming out on the 10th June on Full
Cycle and it’s been a really interesting moving forward because the audience and the
technology and the way everything is done has changed so much.
For the generation who know nothing about what Full Cycle, Reprazent and Roni Size is all
about, it would be good if they can maybe go and get to know a bit of history and look at
exactly what we’ve contributed to the scene over the years and start to engage in what
we’re doing moving forward.
Has the evolution in technology changed the way that you make music?
Nah. At the end of the day, musically, writing comes from the heart and the technology is
something which I embrace. I think, really, it’s more about trying to reposition yourself as
an artist.
Having a whole generation of 16~20 year olds who came into the dance music/drum and
bass scene in the late 2000s… They’ve only been in it for the last 10 years. So it’s a
re~education and it’s a challenge that we’ll meet head on.
Boomtown is known for showcasing a range of genres, especially underground bass
music. You’ve been pretty instrumental in the growth and the reach of live drum and
bass, what made you want to evolve that part of the sound?
I think when you perform as a live musician, you have the stage to yourself. You can put
up a live drummer, bass player… You can put a really dynamic show together which can
evolve and you can play on some major stages around the world.
The fact is that there are a lot of bands out there who have a live show, but they’re not
really live bands. Back in the day, we embraced trying to be 100% live band and now we’re
a live show! We want to go out there and show people that we don’t just stand behind two
sets of turntables and “put your hands in the air”… There’s a lot of substance to what we
What can the Boomtown residents expect from your show?
Well it’s a Full Cycle takeover so we’re going to be playing stuff from Full Cycle which is
mine and Krusts’ record label.
We just recently started it back up and are on our second release of this new venture. The
first part of the journey started back in 1993 and then we took a step back in about 2008
because we had other work commitments. Now, in 2015/16, the label is starting to reach
all the areas of drum and bass.
We’re going to come to Boomtown and spread the name so people know that Full Cycle is
a label they should get involved with. It’s going to be showcasing some new artists and
playing some classics which have made it what it is today.
The Bristol Sound is something that’s recognised worldwide, what do you think it is
about it that appeals to such a wide range of people?
Well drum and bass and jungle have been around for a good two decades now, so it’s not a
new music. There are a few new styles coming through but they’re all based around drum
and bass and jungle.
The Bristol sound, Full Cycle sound, is something which incorporates its’ own flavour from
the city. That is hip hop and reggae culture; soundsystem culture and that’s what people
have tapped into.
They’ve tapped into basslines and ragga vocals and it’s made it popular, people want to
replicate that sound. You’ll buy a brand new plug in and you’ll go to the lists and you’ll
see Bristol Bass or Bristol Drums or Bristol Sounds (laughs).
You can go through and see how it’s made an impact, not just through selling records but
through the Bristol sound itself.
Boomtown’s known for being an immersive, theatrical and engaging experience that
leaves punters with lasting memories. What are you looking forward to most?
It’ll be my first so I’m a Boomtown virgin! I’ve heard a lot about it though. Obviously
there’s going to be a Full Cycle takeover so I’m looking forward to that and I’ve heard it’s
a great party.
I like the fact that it’s my first year at Boomtown, I’m looking forward to being pleasantly

Boomtown 2016 : Interview de Kasra.


BT) So first of all, thank you so much for taking the time to do this! What brought you and Boomtown together?


K) Mine and the label’s history with Boomtown goes back to last year. I played alongside two other acts from the label Foreign Concept and Enei as  Critical Sound System, which is label back to back special and played on

the Bassline circus stage and it was incredible and then  we were asked do something back bigger and better at this year’s one.


BT) What made you want to come back to Boomtown?


K) Well I was very lucky to play a lot of festivals last year and it was hands down one of the best ones we played, it was  the best one we played in the UK, it was an amazing atmosphere. There’s really an element of, if you play underground music and you go to festivals you can sometimes find yourself getting a bit lost because being underground, it’s niche and there’s only a certain amount of people how know what you do and who you are and it was definitely a crowd who new who we were and knew our music. I think we played to 4,000 people over 2 hours and we could take the set wherever we wanted to take it. Really deep stuff that you might not get away with at other festivals, and it was really good fun. We played from 4~6am which can be the best time or a really hard time to play and it worked out really well.


BT) Last year you played at the Bassline Circus and this year you’re playing at Bang Hai but you’ve been extended from a 4 hour takeover to a whole day takeover. How are you feeling about that?


K) Yeah it’s amazing! I mean I saw what the stage looked like last year and thought… I want to play on that (laughs) and then we get to asked to do it and thought, brilliant! And then we got to play the whole stage on the Saturday… Wow. It’s a real honour, it’s really exciting, all the guys are really hyped to be playing as well because they’ve seen all the videos of what it’s like and the Noisia guys played on there last year. We all know them and they said how good it was , so yeah it’s a big deal! There’s going to be a lot of Instagram pictures I’m sure!


BT) You mentioned Critical artists are excited to be playing; what can you tell me about who’s going to be there and what can be expected at the takeover?


K) Well I suppose it’s going to go across who’s playing starting from Klax and Hyroglifics who are two acts who are fairly new to the label. They will be playing B2B for the first chunk of the night and they play a combination of half time hip hop and grime influenced D&B and then the more traditional D&B. An exciting fusion of new sounds.


And then we’ve got Foreign Concept who’s had a few releases on the label now and he makes more straight forward rolling stuff, goes a bit deeper and a great DJ.


We’ve got Ivy Lab and Sam Binga  with Redders MCing who have a different take on the D&B format. They predominantly play half time hip hop influenced stuff. Quite a lot of vocals so that should be good and then it’s me…and I’m rubbish (laughs). I just play a bit of everything from the label because it’s my label.


And then taking it into the later stages of the night we have Enei, Emperor and Mefjus who will play a little bit harder than the rest of us. They’ll play a more tech influenced side of things but across the board .


Each of the acts from the label brings something exciting and different, their own interpretation of the music. That’s what i love, being able to do events, especially with a takeover like this, where we can  programme a whole night with a curvature of the music that makes sense that is made up of purely label acts. Also having the extra times means we get to bring the whole family and everyone get’s a chance to play such a special event.


BT) How is it different playing a festival and playing a night?


K) The main difference is normally we don’t do a whole takeover. It’ll

be a B2B or a solo set. There can definitely be different pressures when playing a festival, not knowing what to play or wether what you play is going to work well with the crowd but i think theres a balance to be struck. Never play anything you don’t like but also remember there’s a fine line between trying to educate people and also remembering that people are there to have fun. Thats what i think anyway! Festivals are really good places to play in front of people that have never heard you before but if you then go and play a ‘festival set’ because that’s what you think you should play then then you are in danger of creating a false illusion of what you are as a DJ.


Coming from the underground scene, you don’t always get a look in at festivals for the most part and that’s why Boomtown is really good because it pretty much focuses on, like a festival like Outlook, on the underground side of things. .


BT) Boomtown’s known for being quite immersive and theatrical and engaging, so what is your most memorable festival experience and why?


K) One of my favourites was when I played Exit festival last year, did the main stage with Mefjus and Enei. We did 4-6am, the last set of the festival. That was really something, a real honour. From a musical point, I saw Arcade Fire at Reading Festival in 02/03 in the NME tent when  when they released their first record, Funeral. It was like a rave, it was incredible.

Dour 2016 – Hard to be Nice, but easy to be nice …


Le reportage de Drumtabass va innover et ne se couvrira cette année, que les quinze heures de set de Salut C’est Cool…  Honte à moi qui n’en ait pas vu une minute, mais cette édition proposait nombre d’autres pépites.


Cliquez sur les noms de tracks et morceaux, surlignés en rouge pour écouter ou voir les vidéos.

camping dour 2016

Premiers sourires esquissés le mercredi matin : une foule de festivaliers zombies frappe lentement, sur les grilles retenant l’accès au camping.    « B, B, B », en accélérant la cadence. Le pauvre Rick wallon leur répète, avec un fort accent belge, qu’il faut d’abord remplir le A. Un camping A où les légionnaires suricates tiennent le pavé à l’herbe de bison, fou rire sous les gouttes, pour garder les tentes de leurs potes, jusqu’à parfois jeudi. « No way… ! »


Une scène UK au top de sa forme


lady leshuur


Lady Leshurr attaque et matraque son mic, brosse à dents à la main sur « Brush Your Teeth ». Première prestation un peu rapide, d’une série qui confirmera l’excellente forme de la Perfide Albion, côté grime et uk garage. Plus tard, Stormzy et Novelist retournent la Boombox. Un show dans la pure tradition des radio-sets fiévreux de Brixton, où ça se bouscule sur scène. « Shut up Shut up ! ».



Skepta pose son retard d’une demi-heure post-brexitien, mais est enfin à Dour. Et quel pied ! « That’s not me » fait agiter tous les index d’une masse de junglists impressionnée. Même si le toaster nigérian de Tottenham ne fait pas balayer la rolex, maîtrise scénique de malade, flow mitrailleur sur « Shutdown ». Grosse impression !

Soleil délicieusement orangé façon Miami sur la Balzaal et nouvelle config : dancefloor tourné vers le terril. C’est la technique qui parle pour D Bridge, devant une populace de t shirts Metalheadz qui acquiesce, l’inventivité pour Ivy Lab et le groove pour Dub Phizix, sur le strange « Buffalo Charge ». Première nomination pour le track Dour 2016 : le trap aigre-doux de « Sunday Crunk » qui comme les calamars, est mangé à toutes les sauces.

The Prodigy livrent une prestation sonore inégale. Hors des tranchées de la Last Arena, difficile d’entendre plus qu’un écho énervant d’ « Invaders Must Die ». High Contrast relève agréablement le niveau, avec fraîcheur et justesse.


La sensation sur la programmation drum’n’bass vient avec la reformation de Bad Company. Comme DJ Fresh vient d’annoncer la fin de sa carrière, on lui pardonne ces cheveux blancs peroxydés à la David Guetta. Un set d’adieu à apprécier à sa juste valeur donc. Fresh, Maldini, Vegas et D Bridge embrasent la fin de la nuit de classiques sombres comme « Planet Dust », qu’un albinos Men In Blond semble bien connaître. Raver novice comme fan de la première heure philosophent sur la qualité du show et plébiscitent les frissons dark de « Son of Nitrous ». Le Bask, dans un style moins frenchcore et plus dancefloor qu’à l’habitude, retient l’attention des votants éreintés.




Des agités, des furieux et des hommages qui font froid dans le dos…

Effluves d’herbe américaine, lyrics real street et black power agrémentent le concert du duo Mobb Deep. On comprend avec effroi que le « nice » sur le drapeau français des premiers rangs se lit plutôt « Nice ». C’est aussi ça le microcosme Dour, qui nous rappelle brutalement que la réalité dort pendant cinq jours, mise en veille pour les festivaliers. Les hommages pleuvent. Certains posent leurs gerbes, mais pas de bleuets : plutôt un mélange rhum/fricadelle. Biga Ranx séduit, dans des tons dub mellow, qui ramènent petit à petit le sourire.


drapeau dour

Les marseillais Dagoba fracassent, même si la voix de Shawter se fait encore souvent la malle, comme sur « The White Guy & The Black Ceremony ».  Les chouchous du public Do or Die excellent dans une nouvelle formation. Le tapage organisé des différentes voix fait mouche, derrière le punchy des guitares sur « The Meaning of Honor ».


Madball nous envoie un direct pleine joue. Freddy Cricien, bulldog campé sur ses pattes arrières, crache sa hargne au pit. Le gaillard n’est vraiment pas content et son chignon se décroche sous les coups de latte. Celui de notre pote Berlot tient.

Le concours d’ « air tekken » de la cage fait rage sur « Can’t stop, Won’t Stop » ou « Stand Up NY ». Fracture de la rétine au sens propre comme au figuré : un énervé aura quand même réussi à m’ôter une lentille de contact, d’un coup de poing. Avec les excuses du jury, Dour de lui en vouloir.


Mass Hysteria invente la réflexion jupilo-chimique sur la transe du diable de la « Furia ». A la sixième canette, on commence à se dire que Mouss prend de la bouteille, mais le frontman est toujours aussi énergique et sympathique. Un peu comme mater Groland après une journée difficile : on chantonne quand même le générique.


Constellations de mèches violettes et explosions d’amour dans les étoiles du ciel de Dour, sur les poses oasisiennes du chanteur d’Underworld. Une interprétation habitée de « Born Slippy »,  les beats syncopés de « Cowgirl» . Les festivaliers qui allaient à un autre concert, s’arrêtent. L’espace d’un instant, toute la plaine se souvient d’avoir vécu les 90’s. Magique !




Soleil de plomb, Ôte-toi de mon Dour…

Diogène n’était pas belge. Il habitait un tonneau et pas une tente. A Dour peu de cynisme, mais des sceptiques qui hurlent des insanités toute la nuit et glapissent « Ta g**** ! ». On aura tout tenté pour goûter au sommeil, mais quand ce n’était pas les clameurs de la nuit, le soleil de plomb aura achevé les velléités de grasse matinée.



Quelque peu engourdi, le public peine à s’accroupir puis jumpe, pour répondre aux invectives des Dope DOD. Un show tout neuf, inspiré, avec medley thèmes films d’horreur et rappeur au masque de clown, qui nous asperge au python à eau. Un portoricain nous fait goûter sa pompote de jäger redbull, entre deux coups de bass.


Le duo punkoïde Ho99o9 de hip hop : un black gringalet, manteau de piaf bleu mendoliesque, triture les amplis de ses gants de mollusques. Un autre hurle, dans un dialecte inconnu, devant des visuels malsains. Fourmis qui sortent d’un ventre de renard qui éclate, croûte qui saigne sous les grattements. Amis du bon goût, bonjour !



Dans la même touche, Seth Gueko jure sur « la chatte à Laurent Voulzy » et invite tous les barlous belges à Pattaya, après avoir loué leur avancée, en matière de maisons closes et roses. Maduk expérimente le moment de grande solitude, en envoyant un remix des « Pokemon », version d&b en anglais. Pour attraper un Roots Manuvix, peut-être ?

La nuit nous redonne du peps. Maceo Plex transforme la Balzaal en gros dancefloor dark techno. Phace nous livre un show froid, suave et mid-tempo. Parfaite intro pour les napolitaines prosciutto, sur le sentier des enceintes. Black Sun Empire et Neonlight hissent la bannière Blackout Music.  Beaucoup de gros hits comme le  Dead Limit- Noisia & The Upbeats mettent la fièvre chez les darkos.

Spor a du mal à rentrer dans le cercle. Qu’importe, Audio et le barbu Gridlok s’occupent du bouquet final.  Hive-Neo  remixé, Bullet Time de Bad Company, les visages, dont un au sourire dents cabossées, défilent sur les écrans dans un carnage épique.

baalzaal dour








Sur les conseils d’un obscur pizzaïolo, spécialisé dans la cuisson sans sommeil, on ne rate pas DJ EZ. Cuts de sauvageon, timing parfait, hits flavor… du high level.

Clap de fin et reprise des esprits sur The Pixies, écouté de la tente aux chandelles et les nappes réjouissantes teutonnes de Ben Klock.

Dour a fait beau, Dour a fait grand, parfois peut être un peu trop. Petite réserve sur la journée du dimanche, où les vrais noms manquaient dans la torpeur de la journée, pour ne revenir que tard. Mais Dour reste notre chouchou, oasis parallèle de concerts, dans un monde plein de sérieux.












 Report par Bosco –

Les photos et vidéos utilisées pour illustrer le reportage, ne sont pas ma propriété. Liens à venir


Focus : Boomtown 2016 / Line-up Main Inner City Dance Stages



Le line-up des scènes bass music, avec tous les dj’s et formations est enfin complet.

Entre le Sector 6 à damner (Chimpo, DJ Hazard, DJ Hype, Audio, DJ Q, Serum & Bladerunner, Miss Dynamite, Full Cycle, Dub Phizix…) , la Robotika, temple des musiques underground UK (Mala, Truth, Gorgon Sound,DJ Zinc, Om Unit, Slipmatt…), la musclée Scrap Yard (Angerfist,Counterstrike, Radium, Cooh, Vandal, The Outside Agency…) qui vous causera des ravages jusqu’au petit matin et le plus dancefloor Bang Haï Palace (Stanton Warriors, Mefjus, Ivy Lab, Kasra,Sam Binga, Zed Bias… ).

L’occasion de voir se succéder du rare et du costaud !

Une place spéciale cette année pour la Train Station du Wrong Side Of The Tracks, qui vous proposera du son dans la quasi-intégralité du festival.

scrapyard rave yard D5-Poster-Final

Un petit coup d’oeil également, vers la scène Transe/Tribe, hyper-bien fournie :

La groovy et dark, Forest Party : 



Comment se rendre au Boomtown 2016, quand on est un french junglist ?


Vous vous demandez comment vous joindre à la fête ? Ontours vous propose des départs, à des prix attractifs, dans plusieurs villes de France. Et il reste des tickets ! Foncez ! 

Juste à préparer ses plus beaux atours, son plus beau chapeau et à poser tes pieds dans le bus. C’est en plus l’occasion de rencontrer une équipe de furieux français et de se faire ses premiers souvenirs de festival.



La programmation complète :

Le plan du festival, de ses scènes et des Labos est en ligne ! :)

dour 20166

La mythique Last Arena se retrouvera cette année sur votre droite, à l’entrée du site. Pour le reste, toutes les grandes aires sont au rendez-vous et notamment encore la mystique Baalzaal outdoor ! :D

dour 20166

Le programme de l’édition 2016 de Dour, heure par heure, est en ligne !

dour 2016

Qui ? A quelle heure ? Sur quelle scène ? A quel concert puis-je revoir la petite blonde flammande du camping C ? Combien de chansons de Mass Hysteria je peux voir, avant d’obliquer vers Roots Manuva ? C’est ici…  ;)

dour 2016

Drumtabass te propose de télécharger le programme de chaque journée :

dour mercredi

dour jeudi

dour vendredi

dour samedi

dour dimanche


Focus sur … Fourward @ The Wire #2 – Aéronef de Lille – 3 juin


2007. Cette année-là, 4 potes se retrouvent dans la banlieue de Vienne en Autriche. Tous présentent la même anomalie génétique qui les rapproche tant : la Drum & Bass coule dans leur veines. Fourward est né.

Bad Co, Noisia, Ed Rush & Optical comptent parmi leurs influences respectives. Mais chacun apporte avec lui une myriade d’autres styles musicaux qui va faire la richesse et le succès du groupe. Ils se refuseront d’ailleurs toujours à se cantonner à une étiquette en particulier. Versatiles Fourward, qui parcourent toutes les facettes de la Drum & Bass avec une prédilection marquée pour la neurofunk et les synthés qui claquent.

Un conseil, allez jeter une oreille au fameux « Steady State » [AudioPorn Records, 2012], à l’intemporel remixe de « Alone », le morceau de The Upbeats [ft. Tasha Baxter, Vision Recordings, 2013] ou, plus récemment, au tranchant parfait de « The Storm » [Shogun Audio, 2016, ft. Linguistics].

Membre à part entière de la « Shogun Family » où ils officient aujourd’hui en signature exclusive, ils seront à Lille pour fêter avec vous a 100e sortie du label aux côtés de Icicle, Skittles et Hard Bass Dealers. On vous a dit que c’était à ne pas manquer ?

À écouter tout de suite :
« Reflections » [Jacob Plant, Fourward Remix]…/reflections-feat-example-fourward-…

Vendredi 03/06/2016 – L’Aéronef, Lille