Music has been a part of my life for as long as I can remember. Started playing piano around age 4 and violin soon after. Saxophone came next because it was the coolest instrument I had ever heard! The first time I heard a Charlie Parker record in 6th grade I was hooked on jazz music; have been ever since. While attending Berklee College of Music in Boston I was able to experience and enjoy all kinds of crazy synthesized electronic music. After moving to California in the early-90's and being exposed to House music for the first time I knew my world would never be the same. I had to be involved with making the music that mimics the pulse of life. It was a very natural transition to DJ/Producer from jazz musician. Here is some of my stuff...enjoy. 

Enter Dino Velvet. A product of the Midwest rave scene in the 90s, Dino educated himself in House music with the sounds of Chicago. Attending and playing parties throughout Middle America, Dino continued to improve his skills behind the decks over the next few years.

In 2005, he packed his bags and headed west towards the House Music mecca that is San Francisco. His westward move proved to be a catalyst in his music career, as Dino quickly began promoting parties and establishing himself in San Francisco’s House scene. The year 2009 marked a huge turning point for Dino with gigs at SF’s oldest & most infamous dance club, The Endup. It was at The Endup, where Dino began to turn the heads of locals and headliners alike with his deep house sounds. Dino Velvet soon became an established and revered resident of one of the most popular monthly parties at the Endup, Sunday Mass.

2011 marked the end of Sunday Mass but new opportunities were right around the corner. The following year Dino teamed up with cohorts Leonard, Greg Yuen, and Joey Alaniz to bring San Francisco their own flavor of House music with a new party titled Common Ground. A monthly event held at SF's best new club Monarch, Common Ground quickly established itself as a key player amongst San Francisco's veteran House Music partygoers. Names like Jimpster, John Tejada, Shur-I-Kan, Ian Pooley, Ralph Lawson, Miles Maeda, Max Chapman, Session Victim, Steve Bug, Doc Martin, Charles Webster, Recloose, Gavin & Robbie Hardkiss, Alexi Delano, Fred Everything, Joyce Muniz, Mood II Swing, JT Donaldson, Lance Desardi and many more have found their way to Common Ground's dance floor since it’s inception and the party shows no signs of slowing down.

Aside from the sound of house music typically heard coming from Dino while djing, he also has a deep love for disco, drum and bass and techno. Be sure to check out his newest drum and bass series, Liquid Vibrations with Dino Velvet. And under his alias, Velluto, Dino continues to push his sound as a dj by blending deep, driving, and melodic techno that is sure to please any club or late night venue. 

Dino Velvet continues to make a name for himself with his brand of Deep House and Techno and it's clear he is poised to keep his dance floors moving for years to come.

For Bookings Contact: dinovelvet@commongroundsf.net

Dance music flows through his veins. Stomping feet and bangin' beats is what
 he lives for. BowLz started his musical career or should I say rhythmic lifestyle
 as a young boy. Playing trumpet and guitar, his first love for music was for 
underground punk rock. It seemed as if one listen and he was addicted to the
 raw beauty of power chords, spikes, and the enthusiasm that comes with the
 scene. The same goes for EDM. His first life changing experience with dance
 music was in 1998, at a show in Omaha, NE, titled "U-Know". Kimball Collins,
 DJ Icey, Deisel Boy, and fellow HouseHoldName member Plan 9(then known as
 Kaoss) stole his heart and mind forever. Since that night so many years ago,
 his primary focus has been electronic beats. BowLz bleeds EDM.

 Happy hardcore was his first mistress in a long line of the lovely ladies of the
 dancefloor, back when P.L.U.R. actually meant something. He began mixing in
 2006 under the wing of underground Midwest legend Poyo Jenkins and hasn't
 stopped to even take a breath. He then lusted for heavy breaks and dirty beats.
 Which eventually lead up to him finding his true love, Electro House! The new
 skool scene might be all about dirty dub step and trap hop but BowLzy is 
keeping it old skool. Don't get me wrong, he loves all EDM, but he plays what
 he likes, and does'nt follow trends. That is something I admire in the man. 
There is something special about house beats with the unmistakable crackle
 that comes with mixing wax.
 
DJ BowLz's first ever public appearance was playing DnB with Poyo at
 the many MidWest Metal shows In Sioux City, IA in 2006. That same year he
 wasalso blessed with a set on the playa at Dark Skies Music and Art Festival 
on the Nevada state line (an underground Burning Man with more love and less
 media). He said after the show, there is no better feeling than watching people
 shake it to beats that he threw down. Even if he reaches just one person, one
 heart, onemind. As long as he can make that one person fall for the beats like
 he did all those years ago, he has done what he set out to do. He's not out to
 get rich, He's out to spread the love, and since then, he's done nothing but. 
Playing many Bars and Clubs, he's shared the stage with EDM up and coming
 superstars such as Butch Clancy, Minnesota, Tony Markham, Plan9, and is 
looking to add many others to the list.
 
Not only is he a performer, he's a promoter/event coordinator which
 would impress even the most affluent in the field. His drive to help create and
 build the scene in his hometown has exploded. It started as, "Hey, lets throw a
 party", to DJ's from afar coming to enjoy the scene that he has helped create.
 His first endeavor was an outdoor festival in August of 2012 called "Bassin
 Backyard River Regatta". That was just the beginning. Since then, he's thrown
 show after show with big talent and great turnouts. As for the fans, they are 
thirsty for more and he's stocked up and ready to hydrate. 

He is the most recent addition to the HouseHoldName roster and is
 ready to get down for the masses. He is also planning on getting into the
 production side of things. The sky is the limit and hes aiming to take it! If you
 dig Electro, you too will soon consider DJ BowLz to be a HouseHold Name! 

I have been doing hip hop for about half my life,its still my mainstay,But i also do electronic music when im bored

Lend me your ear & I'll lend you my music. Midfresh affiliate & I like my eggs runny.

HOUSEHOLDNAME/ PRJKT BLKOUT ARTIST Ron Gotti AKA Ronnie G  --   DJ/ ARTIST/ REMIXER / SONGWRITER
      -first exposed to the underground music scene in the early 90s, he was instantly attracted to the heavy bass and driving dance rhythms of the house, techno, and jungle beats of the time.

  Then, in 1994 he began emceein for Drum & Bass deejays at parties all across the midwest, for the likes of Omaha's own PLAN 9 & Trigga Happy Cyko, DJ Starscream(Des Moines, IA), and KC's Tony Markham just to name a few. Makin "party tapes" for as long as one can remember for his friends & anyone that would buy one. "I finally got on a set of decks roughly around 96-97, but I started pursuing it seriously about 20 years ago or so." According to his piers, it was "natural progression" for him to start mixin records(as he was a hip-hop artist AND producer for a long time (https://myspace.com/djrongotti) 

    Since '94 til about 2008, he'd been all over the region playin his style of hip-hop music.. opening for and djin for acts as bone thugs n harmony, fat joe, lil flip, and goodie mob and playing a TON of both local and regional shows and festivals, such as 515 ALIVE, Kosmic Kingdom, Basswoods, Liquid Grooves and BBRR 1-4. He's also held a residency at several nightclubs and venues across the Midwest for several years now- FREAKIN FRIDAY(Omaha-415), SEISMIC ACTIVITY(Sioux City)...  " Ive decided to go back to MY roots(so to speak), and play THE DIRTIEST, NASTIEST, FUNKIEST, "GET YOUR ASS UP ON THE FLOOR AND DANCE" MUSIC I CAN FIND!! Mostly TECHNO and HOUSE... focusing all my energy towards building a frenzy on the dancefloor.. weavin in and out of different styles. CREATING MIND NUMBING BASS LINES AND SEARING,DRIVING GROOVES TO GET YOUR BODY MOVIN ---ENJOY!!

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

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