PM me if you're interested in tickets for this event
LAST MINUTE TICKETS @ $70!!!



- 36 hour party (doors open Friday @ 10:00pm)
- LAST MINUTE TICKETS = $70!!!
- in and out privileges
- corporate rate available @ The Metropolitan Hotel, simply ask for the Boa rate for NYE and you'll pay 175.00

The line up for the main room is now finalized:

9:00 PM - 11:00 PM - Matt Coleridge
11:00 PM - 6:00 AM - Demi www.deepersubstance.com
6:00 AM - 2:00 PM - David Morales www.defmix.com
2:00 PM - 4:00 PM - Kenny Glasgow
4:00 PM - 6:00 PM - Saeed Younan www.saeedyounan.com
6:00 PM - 8:00 PM - Cevin Fisher www.artistbookings.com
8:00 PM - 10:00 PM - Sean Miller www.djseanmiller.com
10:00 PM - 4:00 AM - Tom Stephan www.superchumbo.com
4:00 AM - Close ??? - Chus & Ceballos www.stereo-productions.com

David Morales (8 HOURS)

With his 1999 Grammy for Remixer of the Year, plus his influential Def Mix label, his constant touring, and his new residency at Montreal's Stereo club, Morales is using his high profile to preach the gospel of house music to dancefloor churches around the globe. "I come from a different era of music," says the 37-year-old. "I'm there to educate people. I try to blend yesterday with tomorrow so the new kids can understand it." For Morales, the Grammy represents industry recognition of his life's work. Having remixed heavy hitters such as Mariah Carey, Aretha Franklin, and Jocelyn Brown, David Morales has a résumé that reads like a Who's Who of the diva circuit, just look at the calalogue!! When Morales checks into the recording studio or DJ booth, he doesn't spend time blueprinting. "When we go into the studio, we don't have a plan," he says. "We have a live session, like playing records in a club. Theory goes out the window. Production is about heart and soul. My ear knows what makes people dance." In the studio, Morales relies heavily on a Korg Z1, E-mu Orbit and Planet Phatt, and Roland JV-2080. "My 2080 is maxed out," he reports. "It's loaded. I have the Pop card, the World card, the Techno card, the Piano card. . . . I can't help myself!" But live musicians also play an important part in Morales's high-powered remixes. "No matter how good the keyboard sounds, the essence of a flute sound is all about the breath." When it comes to drum machines, Morales finds that "different machines have different feels. Some have a cheesier, rougher edge. I can sample the same sound into the Akai MPC60, S950, or S3000, or into the [E-mu] SP-1200, and they'll have different feels." That's why he keeps a stable of beatboxes and percussion modules onhand -- which also includes an E-mu Procussion and a classic Roland TR-909. "What I use depends on what I'm looking for sound- and feel-wise. If I'm making a commercial remix, for example, the 909 may be too dark for the track." DJ gigs during the early days of house music at New York's Better Days and Brooklyn's Ozone Bar were essential building blocks in Morales's remix career. "In 1985 we used to remix records live on the spot using three turntables, a homemade trigger, and a little Roland TR-505 drum machine," he recalls. He hopes his residency at Stereo will ignite the old-school spirit of his youth, spent in legendary rooms like the Loft and Paradise Garage in New York. "I want to create something special. Stereo is a pure dance club. What they're selling is music." Morales himself requested the residency, seduced by the club's monster sound system. "This one touches you deep inside. A club's system is made to be worked. I can wreck the place like a train coming through; I can take the bass and pick you off the ground and drop you without you even knowing!" Morales has come a long way from his humble beginnings as a bedroom DJ. "My mother cracks up," he says. "She remembers when I was at home with two turntables, trying to make noise. And now, even though the money is ridiculous, at the end of the day nobody can take away what I love to do. If I wasn't famous, I'd still be a bedroom DJ."


Tom Stephan (8 HOURS)

Tom Stephan's transatlantic, twisted sound is an inimitable, seamless blend of deep tribal beats and industrial funk, a journey into the darker side of electronica. He became enamoured with music at a young age, both through his own interest, and through having it "rammed down his throat" by his father, a musician. Growing up in Olean, upstate New York, he got into electronic music, listening to Nitzer Ebb and Depeche Mode. "I didn't like house music at first. I thought it was all like Black Box - pianos and screaming divas." Then a friend persuaded him to go to the Sound Factory, where he discovered the dirty house sounds of Junior Vasquez. He was converted that night. Determined to pick up the art of mixing, he practised on a friend's decks before investing in his own. He started taking his mix tapes down to Substation where promoter Wayne Shires was putting on nights. "I'd go there every Saturday, and probably every Tuesday too, because I loved the music, but Wayne didn't think my stuff was suitable for that crowd at the time. Then he started to put on parties at Ministry of Sound once a month. An American guy I hadn't really heard of called Tenaglia was coming over to play, so Wayne asked me to do the warm up set. I played 11 ‘til 1, but they don't open the main room at Ministry until the club's full. They finally opened it half an hour before Danny came on, and I tried to cram my entire set into 30 minutes, from my first record to the big finish..." Danny was over with Rob Di Stefano, owner of the legendary Tribal and then Twisted Records, and so started an enduring friendship that saw Tom signed to the newly revived Twisted label in 2001, with Revolution as the first release. Wayne Shires subsequently set up Crash, a gay club in Vauxhall reminiscent of the best New York's meat packing district had to offer, and took Tom with him as resident. Then Danny Newman, promoter of London's highly acclaimed club, Turnmills, was passed a copy of one of Tom's DJ mixes. Less than half way through the CDR Danny was convinced, and in August 2001, ChumboMundo was launched in Turnmills back room. For the first time in his life Tom had his own room. Packed to the rafters from the word go, ChumboMundo gave London's real househeads a home. It grew so big that Danny offered him his own night, and so hatched Roach, the infamous London night that ran every last Saturday of the month until Jan 2003, when Tom stopped the night to concentrate on his forthcoming artist album and his international gig commitments. In keeping with his love of making music, Superchumbo's The Revolution (released to an international fanfare in 2001) brought Tom to the forefront of the dance scene. The scramble to champion it saw Pete Tong declare The Revolution the best tune of the year, before signing it to London Records. In the meantime, Tom remixed Missy Elliot's track 'Get Yr Freak On', saying "I just think the song is genius, and she's amazing, so I did it just to play for myself." But Missy E loved it, and Tong played it back to back with The Revolution as number one and two in his Cool Cuts countdown. Further remixes for Kylie (Can't Get You Out Of My Head), Simon's 'Free At Last', and Basement Jaxx's 'Get Me Off' (cunningly entitled 'Supergetoff') followed. The latter remix impressed the Jaxx boys so much that they incorporated Tom's original into a reworked version for release as their next single. Add to this his Essential Mix for Radio One and suddenly everyone wanted a piece of the Superchumbo magic. The defining high of djing for Tom remains playing live. Weekends in London, Tokyo, or New York give him a uniquely international insight into global dance culture. His regular five-hour plus sets of industrial house bring a taste of his own experiences at the Sound Factory. "If I'm really into a DJ I sometimes find I'm afraid to leave the dancefloor for fear of what I might miss! I try to create the same sense of unity within my set, I want it to be like a gripping film that you can't stop watching. A longer set allows you to develop the story." The obvious extension of this was his highly acclaimed artist/mix album, ‘Leadhead – The Sound Of Superchumbo’, released on Twisted/Loaded, and his Kiss radio show that airs every Wednesday from 11pm-1am, on Kiss 100 FM. "That album summed up exactly what I do. The tracks were all mine, and I mixed it, so it's really representative of my sound." 2003’s ‘This Beat Is’ ( Twisted US) was released to huge critical and public acclaim (Billboard Club Chart Number One) , enjoying extremely lengthy stints in record boxes and stereos alike. A zeitgeist shattering slab of pure Superchumbo, the tracks spoken-word vocal became a regular chant across the world’s clubs. Tom’s spent the past 12 months in the studio, producing and writing for his debut artist album. To satiate the growing demand for anything Superchumbo, Tom emerged to present only his second ever mix album, ‘These Beats Are..’, as part of NRK’s highly acclaimed Nite:Life compilation series. The UK press were in no doubt that it had been more than worth the wait and heralded it as a perfect snapsnot of one of Tom’s live sets.



Boa Residents (with my review from their last appearence)

Demi (8 Hours)
I had previously been listening to Demi's set that was available for download, and was expecting to hear the same kind of sounds to start out the night. Slower tempo, groovy lounge house. My expectations were blown right the fuck out of the water. The guy shows so much enthusiasm behind the decks, his energy is felt by the crowd, and the place was just rocking right from the get go. Started out really jumping, banging house music, and had the crowd pumping their fists throughout the night. Lots of tracks that had the crowd just jumping to the beat, and everyone was on the same page lastnight. The vibe that was created lastnight through his music is something that will be tough to match. But i believe after lastnights performance, Demi now has a dedicated following that wouldnt miss his residency for the world. The last hour of his set was blistering, harder, chuggy, and just killing everyone that was left. I grabbed my leather from coat check at 8am, and planned on leaving. Wouldnt you know, an hour later - im still there, now dancing with my coat on and basically needed to be dragged away. Truly remarkable performance, and what a call on Boa's part for snagging this guy to call their own.



Sean Miller (8 Hours)
I entered the club at 1:30, and although it was early - the place was near empty. I ran into Carey & Rony and the rest of their crew, and Sean popped out of the booth to say a quick hello. I must admit, at first i was kind of worried that it might not fill up, but at around 3am it all the sudden started to fill up. The tempo in the early stages were typical Miller, a little more on the chill/house side, but that didnt last for long. As the crowd reacted, so did he, progressively building up his set to the signature sound we're all used to be now from him. "Echoes From Doruma" (dub?) - Chus & Cebellos was the track i feel started the night out, and if im not mistakened he followed this up with my personal favorite, his own production "Swells" - this set the crowd into a frenzy. That funky guitar and jazzy melody throughout that song is intoxicating, and no matter how many sets i hear this track in, i dont see it going stale EVER. Its that good. From 5:00am til close this is where a lot of his new bombs were dropped. Including his new remix of "Biruda" - Julio Torres, also the massive track "Esperanca" - Kult Of Krameria and another mix (?) of "Echoes From Doruma". There were so many huge tracks during this point in the night, its tough for me to put into words. A lot of Iberican influenced tracks, as well as quite a few of Sean's patented twisted electro tracks that he fits into his sets so well. One of best crowd reactions was from the remix from Scumfrog "So High" - Static Revenger. Everyone including the bouncers, owners, and promoters couldnt help but dance their asses off all night. Sean was so hyped the whole night, bouncing around the booth, batting the disco balls around every once in a while! It was also nice to see Carey get a chance to party all night and not have to worry about the business aspect of the club. Great turnout, a lot of new faces, and vibe unlike any other since Danny T on Canada Day. With the massive success of this night, i dont see why this cant be a monthly event. Great work Sean.

Chus & Ceballos (? Hours)

Resident Support
-Nevio
-Dave Sol
-Matt Coleridge

more TBA!!!

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Last edited by DigDeep on Dec-30-2004 at 03:52