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About this concert
Finale
8 Heures / 2 Scènes
09.11.24 - 23:00 > 07:00
DOCK DES SUDS
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PAS DE BILLETTERIE SUR PLACE
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Une dernière SAUVAGE, une ultime danse pour Animals Industry au Dock des Suds… Cela fait 3 ans que nous partageons ensemble le plus grand format jamais créé par le crew, une véritable sauvagerie sur 2 scènes et 8 heures de fête !
Mais il est temps pour nous de tourner la page et de vous emmener vers l’avenir de notre collectif, avec de nouveaux formats exclusifs, solaires et ultra-rave !
En attendant de vous faire découvrir la suite de cette aventure, retrouvons-nous le 09 NOVEMBRE pour secouer une dernière fois ce lieu de légende lors de la SAUVAGE FINALE.
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LINE UP
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STAGE 01 // LA CAGE
DJ QUECHUA
23:00 - 00:30
JIOULY B2B QAHÖG
00:30 - 02:00
BLAME THE MONO
02:00 - 04:00
JEAN TERECHKOVA
04:00 - 05:30
CL17 CREW
05:30 - 07:00
STAGE 02 // LA JUNGLE
ANN MYSOCHKA
23:00 - 00:30
APG
00:30 - 02:00
NVST B2B ZOHAR
02:00 - 04:00
KEUJ
04:00 - 05:30
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INFORMATIONS
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VESTIAIRE 2€ : Cash/CB
CONSOMMATIONS AU BAR
Deux options pour consommer au bar :
- Acheter en caisse des jetons qui vous serviront ensuite à payer vos consommations
- Ou payer directement en CB au comptoir
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La liberté d’être, de vivre, de faire de chacun.e d’entre vous est au cœur du projet Animals Industry… LA NUIT, c’est un instant qui nous appartient, que nous partageons ensemble avec une énergie qui lui est propre, L’énergie d’une légion déterminée qui vibre en rythme durant des heures et sans interruptions.
Alors la nuit, sur le trajet, sur le dancefloor, on veille sur ses voisin.e.s, on protège à sa manière le monde de la nuit et la liberté de chacun.e !
Pour une soirée plus safe, nous avons mis en place plusieurs actions :
BRIGADE DE L'AMOUR
> Lutte contre les violences sexistes, sexuelles, et tout type de discrimination
> Disponible à n'importe quel moment dans l'espace SAFER !
> Maraudes toute la soirée NON STOP
SAFER & CHILL ZONE
> Espace repos
> Située en intérieur
> Prise en charge immédiate du public
> Ouverte toute la soirée
> Point de ralliement de la BRIGADE
Stand RDR
> Sensibilisation
> Prévention des risques
> Informations
> Prise en charge
> Réassurance
> Distribution de bouchons d'oreilles, préservatifs, produits hygiéniques roule ta paille, etc...
Love sur vous.
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ITINÉRAIRES
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DOCK DES SUDS
12 Rue Urbain V, 13002 Marseille
Entrée par le Boulevard de Paris
-
EN MÉTRO OU EN TRAMWAY
Métro Ligne 2 — Arrêt Désirée Clary
Tramway T2 / T3 — Arrêt Terminus Arenc Le Silo
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EN VOITURE
Par autoroute A55 : sortie N°4
Par autoroute A7: sortie N°3
Par autoroute A50 : par les tunnels Prado-Carénage, Vieux-Port, La Major : sortie « Les Ports »
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LES POTOS
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De la Techno à Marseille
Massilia Techno Milita Radio
Le Chapiteau marseille
Radio Loubard
Safer
Shotgun
DOCK des suds
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Zohar Biography
1. from: http://www.themilkfactory.co.uk/music/zohar.htm
Erran Baron Cohen’s life changed one night, at the Astoria, in London, when he heard Paid In Full, by Eric B & Rakim, and remixed by Coldcut. As he recognised the voice of legendary Israeli singer Ofra Haza, the song was for him a complete revelation. Already familiar with the traditional Jewish melodies contributing to his family’s heritage, he had, a few years earlier, discovered the beats of the burgeoning hip-hop culture, and was now contemplating the idea of merging both genres; Zohar was born. In 1997, as he was about half way through recording his first album, he met Andrew Kremer. The new friends realised how similar their interests were, and Kremer became the second permanent member of Zohar.
Onethreeseven follows Zohar’s first album, Elokainu, which, if released on a small scale, back in 1999, became an underground favourite in London clubs such as China White, Momo or Megatropolis. Benefiting of a wider release, Onethreeseven is likely to reach a much wider audience. Zohar offer here an array of contemporary beats and ancient forms of singing. Incorporating Jewish Cantors, Arab Meuzzins, Byzantine chants and operatic voices, Baron Cohen and Kremer work on the singularity of vocal techniques and their spiritual or religious meaning. For the connoisseurs, this album refers to, and features, some of the biggest names in the Middle East, including Pierre Pinchik on the beautiful opening track, Ehad, Oum Kalthoum (Angel), Bimi Mint Abba (Harmony) or Zavaha Ben on the title track. It is not necessary to know anything about any of these cultures to enjoy this album though, as the power of the vocal performances and the precise production prove to convey the deeply emotional significance of this record brilliantly. Zohar mix the complex Middle Eastern musical instrumentations with western influences, ranging from jazz or classical to hip-hop and drum’n’bass, and create some magnificent waves of chilled music, sometimes reminiscent of the peaceful ambiences of a Zero 7 or any of the Buddha Bar series. Highlights of this album include the stunning opener, Ehad, the magnificent Elokainu and The Merciful One, both tracks offering some of the most intense singing heard, as well as Angel and Maroc.
With Onethreeseven, Zohar transcend the notion of World music, allowing access to ancient forms of music by wrapping them up around contemporary structures. Although the contrast is strong, Zohar don’t disfigure nor destroy the intrinsic emotional or spiritual message of these traditional melodies.
2. A Japanese doujin artist who primarily arranges tracks from Chrono Trigger for solo piano.
Read MoreErran Baron Cohen’s life changed one night, at the Astoria, in London, when he heard Paid In Full, by Eric B & Rakim, and remixed by Coldcut. As he recognised the voice of legendary Israeli singer Ofra Haza, the song was for him a complete revelation. Already familiar with the traditional Jewish melodies contributing to his family’s heritage, he had, a few years earlier, discovered the beats of the burgeoning hip-hop culture, and was now contemplating the idea of merging both genres; Zohar was born. In 1997, as he was about half way through recording his first album, he met Andrew Kremer. The new friends realised how similar their interests were, and Kremer became the second permanent member of Zohar.
Onethreeseven follows Zohar’s first album, Elokainu, which, if released on a small scale, back in 1999, became an underground favourite in London clubs such as China White, Momo or Megatropolis. Benefiting of a wider release, Onethreeseven is likely to reach a much wider audience. Zohar offer here an array of contemporary beats and ancient forms of singing. Incorporating Jewish Cantors, Arab Meuzzins, Byzantine chants and operatic voices, Baron Cohen and Kremer work on the singularity of vocal techniques and their spiritual or religious meaning. For the connoisseurs, this album refers to, and features, some of the biggest names in the Middle East, including Pierre Pinchik on the beautiful opening track, Ehad, Oum Kalthoum (Angel), Bimi Mint Abba (Harmony) or Zavaha Ben on the title track. It is not necessary to know anything about any of these cultures to enjoy this album though, as the power of the vocal performances and the precise production prove to convey the deeply emotional significance of this record brilliantly. Zohar mix the complex Middle Eastern musical instrumentations with western influences, ranging from jazz or classical to hip-hop and drum’n’bass, and create some magnificent waves of chilled music, sometimes reminiscent of the peaceful ambiences of a Zero 7 or any of the Buddha Bar series. Highlights of this album include the stunning opener, Ehad, the magnificent Elokainu and The Merciful One, both tracks offering some of the most intense singing heard, as well as Angel and Maroc.
With Onethreeseven, Zohar transcend the notion of World music, allowing access to ancient forms of music by wrapping them up around contemporary structures. Although the contrast is strong, Zohar don’t disfigure nor destroy the intrinsic emotional or spiritual message of these traditional melodies.
2. A Japanese doujin artist who primarily arranges tracks from Chrono Trigger for solo piano.
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