Vitalic

PositivAgency & 100% Pure Electronic present:

► Andrew Fletcher ►▲▲ Depeche Mode

► Vitalic Official set

▪ Dany Rodriguez (electro set)
▪ ATTARI
▪ Bernard Dobbeleer


▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔
♢E-ticket here - Pre- vente ici:
https://partyflock.nl/order_ticket/305377

♢ Our (early bird ticket) are sold out. You can now buy your( first wave ticket)

♢ Nos tickets early birds sont vendus vous pouvez maintenant obtenir votre ticket (first wave) https://partyflock.nl/order_ticket/305377

♢ Available also @ Mediamarkt Liège center & Herstal, all Night & Day shops and Milk Concept Store
♢ Disponible aussi au Mediamarkt Liège & Herstal, tous les magasins Night&Day et Milk Concept Store Liège

▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔

Andrew Fletcher DEPECHE MODE biography:

Andrew John Fletcher, called "Fletch", "Andy" or "An" - as Martin calls him sometimes - (I will use "Fletch" to avoid confusion between him and Alan because of the same first letter), was born on 6 July 1961 in Nottingham.
Fletch's father, John (who passed away in 2009), worked as an engineer, and his mother, Joy, was a housewife. His sisters Karen and Susan were born in 1964 and 1966 respectively, and his brother Simon in 1976. (I was unable to find exact birth dates, only articles that mention their ages.) Some sources mention that Karen died of stomach cancer in 1986, but there aren't any quotations from Fletch about it, only some speculations and rumours about Fletch's depression, linked to the manic-depressive psychosis of his father and the early death of his sister. Official confirmation can't be found, so no further speculation will be made.

In the early days of the band British journalists were so fixated by the connection between DM and Basildon - as if it was some kind of wonder that a band could be founded in this city - that they also doggedly assumed that every band member had been born there. In fact, none of them was born in Basildon. In Fletch's case, the birth place was Nottingham.
"We moved down to Basildon in Essex when I was two years old,"[1] Fletch said in one of many "who is who and where are you from?"-articles of the early days. "It was a job for a house. If you could get a job, you could get a house.[2] My parents were among the first to move to Basildon when it was still a very new town in the early 1960s.[3] But in the '70s it started to go wrong - the town expanded quickly, there were no jobs left. When I was growing up we had fields, football, cricket, countryside - but then it all went wrong economically.[4] As the factories closed down and unemployment grew in the '70s it became a violent town."[5]
So Basildon went the way many British cities did in the 1970s. These were the grass-roots of the punk movement that would fundamentally change the social, fashion and musical landscape. Maybe DM would have never got so popular if they hadn't been born on the punk movement. After punk you could get away with almost everything. It sprouted the strange musical flowers of New Wave, Post Punk and New Romantic.

But back to Fletch. Although he was critical about his hometown, he felt completely connected to Basildon, and it took a long time before he left it. Being a member of the church, he was strongly involved in the social life of the town. "I became involved in the church by accident when I was eight. Dad suggested I join the Boys' Brigade so I could play football."
He was a member of the Boys' Brigade until he was 17 or 18 years old and went to church almost every day. Later he got more critical about it and was no longer a practising Christian, "but it remains in the blood,"[6] he said.
He did, however, take religion seriously for a long time. "Me and Vince Clarke were into the preaching side - trying to convert non-believers. Vince was number three in the local hierarchy, although he's a total atheist now."[7]
Fletch went to Nicholas Comprehensive and was in the same form class as Alison Moyet and Martin.[8] He got to know Martin when he made him come to the Boys' Brigade too. He thought he might have converted Martin, but he had to realise that Martin was just interested in the singing and the atmosphere, albeit Martin must have been influenced strongly by this experience. Many of his lyrics have a religious background.

Fletch: "It wasn't until I was 14 that I started to take music seriously, through church. It was there that I picked up a guitar for the first time."[9]
Later from this the pre-Depeche-Mode-bands were formed. "Vince and I had a group when we were 16 called No Romance in China which tried to be like The Cure. We were into their Imaginary Boys LP. Vince used to attempt to sing like Robert Smith. At that time we were going to a club called Van Gogh where Martin was playing in a guitar duo called Norman and the Worms. Alison's group The Vandals were also regulars. It was a good scene. Martin, Vince and I teamed together and started rehearsing in Woodlands Youth Club. The earliest Depeche songs like Photographic were written there."
Blasphemous Rumours wasn't written at the time, but Martin found the motives for this song at the local church.
"There was a prayer list of people who were sick in some way and you'd pray for the person on top of that list until they died," Fletch said. "When Martin first played me Blasphemous Rumours I was quite offended. I can see why people would dislike it."[10]
In 1979 Fletch did A-levels at politics and wanted to study but instead, he began job training at the Sun Life insurance company. He never disclosed why he decided against university.
"People at work didn't take my group seriously until Dreaming of Me got into the charts followed by New Life. I was doing Top of the Pops or playing in, say, Leeds, and then working the next day. It got very awkward."[11]
In fact, 30 years later he would still be some kind of pension quotations clerk. "My whole life is dealing with numbers," he said in 1993, "I don't find it very stimulating making music. I'm a useless musician. When I played bass, I never had any ambitions to be a great bass player, and when I took up keyboards, I never had any ambitions to be a great keyboard player. With the band, I still find the whole job challenging and rewarding, the fact of creating something and releasing it, the marketing, the promotion side of things. That's quite interesting, selling our products."[12]
His role led to some tensions within the band - especially around SOFAD, and it divides fans into three groups. One group can't imagine DM without him and also sees him as a musician, the second group can't imagine DM without him, but does not see him as a musician as such, and the third group asks what the man is good for since the band has had a professional management.

Despite all the debauchery of the band in the last 30 years Fletch remained down to earth. "My private life away from music is simple and ordinary. If I go out I do things like play snooker or football or hang out with friends. I go to see Chelsea when I can. I'm very patriotic, very pro-British. I know some people think that's wrong, but I can't help it."[13]
This quotation dates from 1985, but I think Fletch hasn't changed much basically. He still likes football, politics and getting get up early in the morning to watch the sunrise.
Today Fletch is married to Grainne and lives in London. Daughter Megan was born in 1991, son Joseph in 1994.

Note: Although the band members sometimes tell something about their families and children and although some family members have their own Twitter accounts and public Facebook sites I won't go into the private lives of the band members as long as it doesn't have any relation to the history of the band itself.


►►► VITALIC ► BIOGRAPHY
▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔▔
Vitalic's third album Rave Age does not mess around. The French producer has made a beast of a record that takes the laser-guided disco for which he's known to an altogether wilder but no less euphoric place. This is a savage and carefree statement from a dancefloor visionary who's spent the last decade redefining electronic music in his own particular fashion and has decided, as only he can, to keep things simple.

"With this album I really wanted to play the songs live," says Pascal Arbez-Nicolas from his home in Dijon. "The music on my last album Flashmob was relaxed and it was difficult to work the tracks into the live set. This time I was really thinking about the show. I was not thinking about the press or hipsters. I make my stuff and the point is to make some funny stuff and to play it live - voila."

This sounds like fighting talk from Pascal, but having made his name with two exquisitely poised sets of romantic disco and searing techno, 2005's OK Cowboy and 2009's Flashmob, Rave Age finds the 36-year-old letting his hair down, so to speak, and composing tracks that came to him quickly, naturally, under no pressure. Written with the Mediterranean in mind in his home studio during the first half of 2012 and then mixed in Paris, Rave Age contains some of Pascal's most direct and powerful tracks: “Stamina”, “No More Sleep” and “Lucky Star” are rubberised rave numbers primed for the club. The irresistible energy that whizzes through Rave Age can in part be attributed to Pascal's DJing, which he took up in 2009. "I've learnt what is effective when you play and what entertains me when I play," he says. "This album is what I want to play when I DJ."

If anything, this is Pascal's pop record, a notion first put to him by the album's mix engineer Stephane Alf' Briat, the well-known Paris technician behind key records by Phoenix, Air and Jackson and His Computer Band. "For my first album I used a fake voice from my synthesisers and on the second I just used one singer, Linda Lamb. This time it was different," says Pascal. "At some point in the studio the sound engineer told me: ’Hey, your stuff is almost pop because there is a voice in every song’. This wasn't conscious but I did want to change from the two other albums."

You need only hear his sparkling remixes for Bjork, Sexy Sushi, Heartbreak or Amadou & Mariam to appreciate Pascal's love for the possibilities of the pop song, and here, working with a selection of vocalists for the first time, he forges his own kind of effervescent power-pop. “Next I'm Ready” and the tremendous “Fade Away” feature the vocals of Joe Reeves, one-time singer for defunct British synth-punks Shit Disco, whose overlooked debut Pascal adored. In fact, Pascal was a little worried “Fade Away” might be too pop for Rave Age, even though he's very happy with it. "In the beginning “Fade Away” was called “Dolce Vita” and had this cheesy Jean Michel Jarre melody. I sent it to Joe who is really quick and wrote and sang the words in a few hours. I like the way he writes lyrics as well as his English accent."

Another swift worker turned out to be French singer France Picoulet, last heard as Owlle on Kitsune's recent Parisien II compilation, whose heartfelt delivery on bittersweet cyberballad “Under Your Sun” provides Rave Age with its purest moment of sentimental bliss. For other songs, Mickael Karkousse from Belgian electro outfit Goose sings the album's opening call-to-arms “Rave Kids Go”, and Sexy Sushi's Julia Lanöe laces the gnarly new-wave of “La Mort Sur le Dancefloor” with a typically playful vocal. This grungy track was one of the first Pascal wrote for Rave Age: as the album progressed, he notes, the songs became softer and slower. Even the title, Rave Age, has a hippy quality, he says.

It all seems a world away from 2001 when Vitalic's debut, the four-song Poney EP', came out. Arguably the finest techno 12-inch of the last decade, the record's instant and enduring appeal saw Pascal aligned with Daft Punk and Aphex Twin as a singular producer capable of shaping the future of electronic music. Over the following years, armed with the blistering euphoria of La Rock 01' and You Prefer Cocaine', he blazed through clubland like the Wagner of rave - the flying V - a fearless metal-disco warrior slaying scores of ravers across Europe with his searing live show.

So has he mellowed over the years? "Well, I think the music is more open now because I am more relaxed," he says. "There is some kind of Arabian stuff and a touch of la dolce vita because I live in southern countries. I spend a lot of time in Barcelona and Italy." The Rimini swirl of “Lucky Star”, for example, came about because Pascal wanted to produce a track that evoked the heat of the sun in the steamy Mediterranean summer, while “Vigipirate” and “The March of Skabah” are dark instrumentals that blend exotic rhythms with curdled hip-hop and nod to earlier productions such as “Valletta Fanfares”. At the end of the album Pascal includes a mood piece from the soundtrack he composed for Italian filmmaker David Manuli's latest picture The Legend of Kasper Hauser, which stars Vincent Gallo. "It's a crazy movie," says Pascal approvingly. "I really like the director, I think he is very special."

Most Vitalic fans will have caught Pascal's formidable V Mirror live show which toured the globe for two years. Flanked by two huge sheets of electronic mirrored panels, Pascal performed for countless thousands at festivals and huge venues around the world, travelling with a small team in a tour bus like a rock band. Bonding on the road proved a profound experience for Pascal. "Touring with a team is really unique," he says. "To share the experience of the tour bus, of the feeling you have before getting onstage and afterwards, is like multiplying all the sensations of playing live."
To stage Rave Age, Pascal plans to take things further by introducing a live drummer and a keyboard player to the mix, in addition to the screens. "I want the feeling of a group," he says.

When he isn't in the studio, Pascal spends a lot of time in the kitchen. "At some point I was thinking about opening a restaurant in Spain" he says with a straight face, "but at the moment I just can't help myself from making music and having plans and I am excited about making a really cool show for the next tour'

------------------------------------------


More infos very soon!
Stay tuned

Powered by - Positiva agency
Supported by 100%Pure Electronic