Jump to content
  • Can you help us?

    If you have some serious passion for your local scene, and are interested in helping us build Australia's newest electronic music community, hit on the Apply Now button below to become an Ozclubbers contributor!

    Apply Now


  • Sign in to follow this  

    Sensation Australia is a Shamesation!


    What was billed as ‘Celebrate Life’ was as far removed from truth as it could be. The Amsterdam version of Sensation White that I recollect was by far a superior product to what was dished up to Australian fans this November weekend. The Sensation Australia socials claimed the most spectacular event ever staged in an open air venue. The outrageously tiered tickets that went into the tens of thousands range for a Diamond Experience to a $5k White ticket and other VVIP tiers were a tragic let down for the thousands of dance fans who attended. I’ll agree that in the NL it is an indoor venue but one would think that a company who stages experiences would also avail themselves of information about other countries and what would be appropriate. As Australia is at the beginning of Summer there are certain requirements that are necessary. The mere fact that there was 1 free water station for 30k+ people which I couldn’t find probably as it was swamped with people trying to use it, stands testament to the poor organization. Speaking at length to different people even the entry to the venue kept changing, somehow what was stated on their site as to what they put people through was a joke. Some refused entry for non white clothes others were not, some told to cloak ‘All’ bags for $10 and yet I was allowed as was my friend and a few hours later backpacks were spotted inside which clearly on website were prohibited items. Photo ID was asked for yet oversea’s people were asked for passports, how many of us carry passports everywhere and it was Not advertised as necessary on the site.

    I had a VIP Celebration ticket ($250 face value) and the rundown on their site was a ticket with a VIP viewing area (it turned out to be the stadium football seating in the hot sun and impossible to stay there) Four drink vouchers and a food voucher for finger food and nibbles. This is where it gets interesting. When I arrived I was told the drink tickets were being printed as they had run out and to wait, someone was bringing them over to the entrance hall. I and several dozen people waited almost 30 minutes or longer to find out the tickets themselves were as a business card would be and ‘not’ printed out on site at all. (FIRST LIE). When inquiring why we got 3 instead of four like advertised and where was the food voucher, the reply was ‘Oh there are no food vouchers, you’ll need to take that up with the ticket seller’ (Ticketbooth are Sensation’s own ticketseller)

    After this delay and finding our ‘viewing’ in the hot midday sun, I ventured a look towards the stage to realize this VIP area was actually behind the front of stage and with all speakers pointed directly towards the opposite end where the “Diamond VVIP” platform was, the sound was distorted to the point you could not distinguish anything except for a reverberating bassline. The DJ’s themselves obviously are not worth protecting from a cancer loving Aussie sun and were provided not one bit of shade and I felt for Fedde Le Grand, Oliver Heldens, Gareth Emery and Don Diablo. All who had to perform in a hot Sydney stadium with temps reaching 90f and humidity at 80% not to mention after being behind the DJ I could see no fans to aid their comfort. Given those conditions I felt the hour sets they all played were under extreme duress and they did it flawlessly as professional artists. Side note is Gareth Emery’s set was song for song a set he played days earlier in NYC (1001songtracks is gold)

    As I made my way down to find my VIP bar and food venues I became aware that none were policed and all GA were mingling so why did I pay $250 and they paid $140+? I will keep pondering that one for quite awhile! Let’s now move on to the front of stage experience, available according to Sensation’s page, to VIP’s…well DUH it was available to Everyone! That is until they shut it down at 7pm before Deadmau5 and refused everyone entry despite a lot of patrons streaming out the exit. (Yes I said ‘exit’ there was one in and one out of that area)

    I ended up settling in a far shadier seat in GA to view Deadmau5 and lost my mind when I saw he had bought his Cube for the show. It was the definite highlight of an otherwise horrible experience. It’s a shame that the majority of Australian dance crowds cannot fully immerse themselves into what was one of the highlights of my life. The Cube is a massive structure worth according to a tongue in cheek Mau5 in the vicinity of $USD275,000 and he has two of them.

    The  visuals were probably far superior to anything Sensation provided as backdrop and the tech geek that is Deadmau5 shone bright. He admitted he forgot to play ‘I Remember’ but hearing new tunes such as Monophobia and Seed towards the end of the set, I wasn’t complaining and it probably was the only 90 minutes I didn’t complain for the entire day!

    There were two confetti cannons which I saw only once released, the promise of artistic performers and a stage holding abstract structures of modern art that Sensation flashed up on their snapchat earlier, turned out to be 10 fancy dressed performers with light up hula hoops and flags that looped the stadium once an hour and one couldn’t blame them as they had no tent or even a fan at rear where they could change or recover from the heat. The amount of patrons streaming out of the ground after Deadmau5 set and before the highlight headliners of Showtek and Dimitri Vegas and Like Mike was immense.

    Each person I spoke with had a story of disappointment and anger over the lack of organization and the broken promises of their advertised ticket add ons. I got one free item, a pair of glow in the dark gloves worth maybe $3 that were handed out after 9.30pm for what appeared to be part of the ‘experience’ or as one guy put it, ‘fans are now the performers as there are none!’

    While the soundsystem was sub par the light show was even worse, the lasers were weak and we counted about 15 which did little in a large open stadium. The screens and visuals aside from Deadmau5 amazing cube were like watching someone using a Window’s media display for school. Two dry ice displays basically looked like someone was super vaping now and again and did little to lift the experience.

    I hoped it would improve but alas I was wrong. Amid a few fireworks, the plug was pulled on Dimitri Vegas and Like Mike mid song! (a blessing to me) but to others  they booed loud and long, I gather Sensation saved a lot of money on fireworks having only used a few! The Festival was over on dot of 11pm and that was it. Turned out that trying to exit the venue wasn’t that easy either. Where most staff told crowd the exit was the entrance, when you arrived there the other staff said go to the left and use that exit to leave. We did and were firmly told that No we were wrong and to go back to the entrance. By this stage it had become comical and also highly annoying.

    All I can say is Shame Sensation Shame! You treated the Australian dance public with disrespect and falsely advertised an experience that definitely you did not deliver. You refused questions on your facebook site and removed a lot of comments where it was said the venue was unpaid and more stories from disgruntled patrons. Brenda Munsterman from Sensation had attempted one reply to a fan on their socials but the replies to questions were turned off and later the comments from upset fans were removed although I did save them for this very reason. Staff were in most cases willing to talk off the record with people about unpaid accounts even to the venue itself.

    I have reached out to the parent company in Amsterdam to comment on this comical yet sad disaster for the final year of Sensation and discover it was sold to a USA company, I’m almost hoping the third party is responsible for this in the form of DanceNationAust, which I also have reached out to for comment,  because I’d always been a fan of the concept in Europe. Obviously once the brand was sold Sensation wiped their hands of it and the USA company is about to ruin the concept completely. I’m not holding out hope of any replies so in parting I’ll leave you with a quote from Deadmau5 during his show which sums it up.

    “At least I know what sound levels are”

    I now know why he looked so downcast. Forewarned is forearmed and if they think the Australian public will forget this fiasco, they’re dead wrong. My suggestion to them is simple. Don’t come back.

    As of 30th Nov 2017 I received this from Sensation via email:

    Dear Chez,

    Thank you for contacting us… First of all, we want to sincerely apologize for the fact that Sensation did not meet your expectations this time.

    At Sensation, we work with local partners in each hosting city, for most parts we are dependent on their professional execution of the event. We advise, and aim to intervene in issues we foresee, but in some cases (and this happened a lot in Sydney), our advice is not taken on board. Unfortunately, we were not able to intervene in all aspects of the event and we are very disappointed to see how this damaged your experience of our brand.

    Concerning the VIP areas, we are very disappointed to see that Dance Nation Australia was not able to provide our visitors with the experience they offered and advertised with. The licensing partner is responsible for the delivery of logistics and experience of the different ticket tiers. We advise our partners on how we do things in different countries and how to optimize the event experience, but again here, our advice was not followed.

    As a resolution, Dance Nation Australia is offering partial refunds on a case-by-case basis to Celebration ticket holders who missed out on some of the VIP inclusions advertised. Can you please fill in this form (https://goo.gl/forms/nzVtkxByGuoDbcwN2), their customer service team will be in touch during the week.

    Thank you for your understanding and again, and again our apologies.
    Please get in touch with Dance Nation Australia for a more elaborate response.

    Best regards,
    Team Sensation

    The post Sensation Australia is a Shamesation! appeared first on By The Wavs.

    Source: By The Wavs

    Sign in to follow this  

    User Feedback

    Recommended Comments

    There are no comments to display.

    Create an account or sign in to comment

    You need to be a member in order to leave a comment

    Create an account

    Sign up for a new account in our community. It's easy!

    Register a new account

    Sign in

    Already have an account? Sign in here.

    Sign In Now

  • We source our news and reviews from a number of sources.  From our local volunteer contributors (writers and reviewers) around Australia, to syndicated news sources including Your EDM, Dancing Astronaut, MixMag, By The Wavs, MNML, No Dough Music, Techno Kittens, Drum and Bass News, BBC, Junkee, and Trance Family.  Where the article has been sourced via syndication, you will find a link at the bottom of the article to the original source.

    Our local volunteer contributors are creative people who are passionate about the dance music and club scene in Australia and want to share their passion with others.  If you feel you fit into this category, we would love to hear from you!  Send us an application to become a contributor (writer / reviewer) by visiting https://ozclubbers.com.au/application

Add Your Event for FREE
Invite A Friend

  • Similar Content

      By GALLEON
      In the lead up to their Australian tour and the release of their new album, Cut The Strings, Ozclubbers' @GALLEON chats with Booka Shade about their music, the album, and just life in general!

      We warmly welcome you both Arno & Walter back to Australia for your run of dates in March. You have frequented our shores regularly in the last 10 years. What is it that keeps bringing you back down under?
      Ever since we first came in 2007, we have found an enthusiastic and loyal fanbase who not only cherishes the classic tracks, but also embraces more recent songs such as LOVE INC .
      We played some of the biggest festivals such as big day out, future fest etc, but also enjoy the headline club shows, like Melbourne last weekend and the ones coming up in Brisbane, Auckland and Adelaide (during fringe festival) .
      As the new album is only coming out in a couple of weeks, we play a lot of unreleased album songs in Australia, and it´s great to see the reaction of the crowd.
      Your previous live shows have never disappointed and always left the listener wanting more. Can you let us in on a few secrets as to what we might experience this time around?
      I guess it´s not really a secret when I say that we simply LOVE performing on a stage. that´s what we are really good at (together with producing music I hope) .
      And on this tour, also because the sound of the album is more ´back to the club´, our setup is very condensed , we have all channels for synthesizers, effects, drums under control on stage, we can react quickly and can interact more spontaneously , which gives the set great energy .
      With your last album Galvany Street, you took a different approach to your previous albums, which included the use of more hardware and  featured various collaborations. Does Cut The Strings have any similarities to Galvany Street or have you gone back to a predominantly club approach?
      After our 2013 album EVE we had the feeling that we had said everything in terms of bass lines and riffs. we had the feeling we would only repeat ourselves if we continued in our ´usual´ way, and as artists, we definitely always want to progress, evolve, not repeat.
      Which sounds risky, because we have a career we could perhaps simply continue for years and years.
      But that would be too easy …. :-)
      So on GALVANY STREET, we made an unusual step and produced an album outside of the techno box, no techno 4/4 beats , no ´booka synth riffs´ , a lot of vocals, even pop song writing.
      Most of the vocal tracks are together with Craig Walker, former member of the UK band ARCHIVE. btw he´s got a new project coming up called THEM THERE.
      We also collaborated with Fritz Hilpert from KRAFTWERK on a Dolby atmos mix of the entire album which was released as Blu-ray disc and is part of the Box Set we released.
      We needed this time out to recharge our club batteries and indeed, we found new inspiration for club music !
      And now, with this new enthusiasm for the club, comes CUT THE STRINGS .
      After the galvany street the only guideline we had was that we wanna go back to more clubbier music and that we don‘t wanna work so crazy long on tracks as we did in the past.it should be more spontaneous and open minded.
      You have worked with Troels Abrahamsen (vocalist on Kolsch 'All That Matters') on your latest single and title track, Cut The Strings. How did you get to know Troels?
      We actually contacted him years ago, shortly after ´all that matters´, and recorded a first version of what would later become CUT THE STRINGS.
      But then the GALVANY STREET project came in between and we put the song aside for a while, and picked up work in the autumn of last year.
      One of the novelties of the album CUT THE STRINGS is that we worked much more spontaneous and finished the production process quicker.
      On previous albums we easily worked for 2, even 3 years on an album. Again, that´s something we wanted to change in 2018.
      With your latest live show, do you individually have specific functions within the show or do you collaborate on all aspects?
      The work spaces are clearly defined since we first started: Walter plays keyboards, vocoder, sequences, Arno plays the drums and whenever we play longer sets, he does a DJ part in the middle of the set.
      When writing Cut The Strings, did you find any tried and tested production techniques useful?
      We used some instruments that we didn‘t use for a long time ,  for example an old EMS vocoder which we bought from Ian Stanley a former member of the 80‘s group tears for fears.
      You can hear it on tyrell and of course EMS love.this little box has a very special sound.
      How much do you find your methods of producing music evolve with the vast amount of software and plugins available?
      Even if it is so easy nowadays to do a good sound with all the plug inns which are out there ,we‘re always looking for new sounds with a character which can help to improve the trademark sound of Booka Shade.
      Not easy but it‘s worth it.
      It‘s all about challenging yourself and not be stuck in a formula.
      How do you both remain resilient and at the top of your game while touring given the long hours and continual amount of work needing to be done to make your performances so memorable?
      We have a pretty good time management, considering we both have families and a lot of obligations aside of music. also, we live a rather healthy lifestyle lately, and it´s incredible how much you can get done in a day and how much more energy you can have even with little sleep.
      Looking into your back catalogue, you both have an extensive history as producers under various aliases and in several groups stretching back to the better part of 30 years. Would you ever consider reviving any of the older projects you both worked on together (for example Superstring)?
      Ha ha, you´re digging deep …… well not everything was gold , but having said that, most of the rights from the 90´s should have long fallen back to us, so you never know…. go listen to old demos and releases every now and then and then look for sounds and sequences on old hard drives. you can imagine, there are dozens of old computers and hard drives ...
      In the last few years you have set up Blaufield Music. Tell us a little about your label and its functions.
      We had founded the label Get Physical together with our friends M.A.N.D.Y. , DJ T. and Peter Hayo in the early 2000´s and left in 2008, so we needed a new outlet for our music. and every now and then we release songs from friends of ours, for example fellow berliner CHI THANH, who has produced a magnificent remix for Body Language btw).
      Could be that after the summer we´ll release a project of friends of ours from Melbourne.
      Within the music industry, you as individuals and collectively as Booka Shade are known for having a great reputation and being highly professional while always remaining humble. Are these qualities you would recommend any DJ, producer or musician should withhold in order to maintain longevity in the scene?
      Absolutely. most people who have been successful over a longer period of time (not just two summers) are very professional, work hard and stay grounded.
      Who would you say has inspired you the most musically over the last 30 years?
      Depeche mode, The Cure, New Order, Sven Vath
      Do you have any tips as to who is about to blow up in the next couple of years?
      ARTBAT from Ukraine are having a good run atm, look out for them.
      Finally, feel free to tell us a fun fact that we wouldn't know about Booka Shade.
      We love gardening in our free time.

      Album Pre-order:  https://sweatitout.lnk.to/CutTheStrings
      Booka Shade – Australian Tour Dates
      Friday 9th March: Pitch Music & Arts Festival, Mafeking Victoria
      Saturday 10th March: Days Like This, Victoria Park, Sydney
      Sunday 11th March: Prince Bandroom, Melbourne
      Friday 16th March: The Met, Brisbane
      Saturday 17th March: Powerstation, Auckland NZ
      Sunday 18th March: Royal Croquet Club, Adelaide Fringe Festival    
    • Ozclubbers.com.au
      By Ozclubbers.com.au
      It took a while, but Headhunterz finally has 'a new place where the magic happens'. His studio is actually finished and he is proud to show his social media. He even calls it a dream that has become reality. And we can imagine that, because mister Heady is pretty much planning in the brand new Music From Within Studio.
      Right from the moment Headhunterz returned to hardstyle, the Veenendaler threw the door of his old studio behind him. There had to be a new one, in which he could raise Hard With Style to a higher level besides his own productions. This place is now finally realized after a months-long renovation. Headhunterz explained a bit of the veil here, but one of the companies that actually built the studio shows much more. According to the website of one of the builders, the company has "installed an extension in January that allows podcast recordings with multiple participants". View the footage from Headhunterz 'studio here, here, here and here.
      The new Headhunterz studio is finally ready
      Now that the new musical breeding ground is finished, we can secretly look forward to new enjoyment for Headhunterz's ear. In addition to the new mini-album, which will be released this year, he said earlier that he wants to bring his Hard With Style podcast to a 2.0 version. The studio would offer a solution. The last broadcast of HWS was thus even suspended to 2 February. Headhunterz apologized for this, but said that the delay for a good cause is: "It will all make sense very soon."

      The post Dit is de nieuwe studio van Headhunterz is visible on Hard News.
      Source: Hard News
    • sonicc
      By sonicc
      Hey I'm that essential mix poster guy im probably doing it wrong but don't know this site.
    • OzClubbers
      By OzClubbers
      Décalé. celebrates the launch of their labeland first release : Nar’Chiveol – Esperance Music Wir with a bit of a mini-tour starting Thursday, 7 December in Amsterdam Oost’s intimate Oosterbar
      Join a special combination of artists – Gilb’R (VERSATILE / Amsterdam) and Tako (Music From Memory , RedlightRecords Amsterdam) will close the night with a 3h back to back, while Master Phil b2b Alan Briand kick things off.
      Décalé. is a newly formed label that focuses on reissuing worldwide “french speaking” music from the 80s & 90s across multiple genres: Synth-Pop , West Indies , New Beat , Occitan Folk , Afrobeat, alonsgide a healthy dose of the weird and wonderful

      7 December | Décalé. Apocalypse Tour w/ Gilb’r b2b Tako | Tickets | Oosterbar
      The post Celebrate The Launch Of Obscure Imprint Décalé. At Oosterbar To Kick This Weekend Off appeared first on Deep House Amsterdam.
      Source: Deep House Amsterdam
    • OzClubbers
      By OzClubbers
      Factory 93 has once again completely transformed a stereotypical Los Angeles venue into an underground oasis for music lovers in the heart of Hollywood. Saturday the quickly growing Insomniac brand specifically for House and Techno music aficionados took over the Hollywood Palladium, one of the oldest and most well known performances venues in Los Angeles. This venue, which opened in 1940, has featured artists like: the Tommy Dorsey band featuring Frank Sinatra, who performed the night the venue first opened its doors; iconic rock artists including The Who and Led Zeppelin; more recent pop artists like Justin Timberlake; and, this past weekend it played host to house music legends Solomun and his +1 Hot Since 82. Only a huge brand like Insomniac could pull an event like this off while also completely changing a well known concert venue into a living and breathing nightclub atmosphere where the social environment is as important as the music.
      From its forays at EDC to the collaboration with Exchange LA, a nightclub housed in the former stock market downtown, to the warehouse renovation in order to give Factory 93 a home in Los Angeles: the Insomniac brand has always understood the concept of the social requirements of electronic music. We go out to see certain artists and to dance, that is a givien; however, we go out to see and experience each other too. Initially I was slightly disappointed such a huge event as a Solomun+1 show would be happening at the Palladium, no matter how iconic it is. This venue is a concert venue and organized for fans to watch a show. Yes, dance music artists have played there before, but the set up does not encourage the interactive dancing and social atmosphere which a nightclub inherently has.
      However, upon walking in I immediately realized that for a Factory 93 event one will never get simply what they expect. The production team had completely reoriented the space and transformed the giant venue into a oblong nightclub. They built their own stage on the far left side rather than use the stage to the front of the entrance. It was fully equipped with lasers and led panels completed by a disco ball covering the crowd in prismatic glitter. They put in extra bars along where the stage normally sits which enhanced the nightclub atmosphere and reduced wait times to grab a drink. The entire venue was a bar and the entire bar was the dance floor.
      Hot Since 82 came on and enticed the crowd into a dance. However, the atmosphere created allowed for the chatting one can expect at the beginning of the night out in any city. As his set continued the white noise began to dissipate as his tone became a little deeper leading in perfectly to Solomun himself. The sets merged together seamlessly. I had not seen Solomun in action before and it was truly mesmerizing. The Factory 93 team had perfectly designed the visuals to enhance his music without being too distracting. The lasers hit at just the right moments and certain drops brought a flood of light allowing the smiles from across the room to be shared by all. Fans dancers waved brought a touch of a breeze to us all as we sweat together and danced the night away. They ended with a b2b set which tapered off every so slightly from the depth Solomun had brought us into and allowed us to make our way out and back into reality again.
      The only odd thing about the whole setup was that the VIP area was directly above the stage. People who had paid more money for a table or VIP access had no view of the DJs or stage itself. They did, however, have access to an exclusive bar and bathroom without a line. Also, there was no reason they couldn’t go downstairs and merge with the rest of the crowd. I can see how some people may have been put off; but, the venue was more of a nightclub than a concert venue. I think it may have forced more interaction than would have been the case on a normal night in Hollywood. Hollywood is a city where people love to feel exclusive. The show brought out an interesting mix of the Hollywood norm of bandage dresses and heels alongside bros wearing Factory 93 snapbacks and girls in glitter and combat boots. It was an amalgamation on Hollywood and the dance music community and Factory 93 created the perfect space for mixing without overemphasizing exclusivity. The change put everyone on more equal footing and the rearrangement made the dance floor large enough to accommodate a large crown without overcrowding.
      Solomun+1 was a huge success and I think perfectly highlights what Insomniac is seeking to do with the Factory 93 brand: bring together underground music lovers in safe spaces to share and experience music and culture. They never settle to simply use a venue the way it is but transform it to perfectly fit the artists and fans they bring into the space. It felt like I was in a new nightclub event though the Palladium has been around since the Golden Age of Hollywood. It shows Factory 93’s understanding of underground culture and I am excited for more collaborations with artists and venues to come in 2018.
      /*noinspection ALL*/ .dynamic_css { border: 0px solid #000000 !important; border-radius: 0px !important; -moz-border-radius: 0px !important; -webkit-border-radius: 0px !important; -khtml-border-radius: 0px !important; -o-border-radius: 0px !important; } p:empty { margin :0px !important; } .dynamic_css img { margin: 0 !important; padding: 0 !important; border: 0 !important; } .dynamic_css p { margin :0px !important; } .thumbnail_width8214 { width: 160px !important; height: 120px !important; box-sizing: border-box !important; } .images-in-row_8214 a, .widget-images-in-row_8214 a { border-bottom: none !important; } .images-in-row_8214 p, .widget-images-in-row_8214 p { margin :0px !important; } /*noinspection ALL*/ .imgLiquidFill { width: 160px !important; box-sizing: border-box !important; height: 120px !important; } .images-in-row_8214 { height: 270px !important; width: 850px !important; clear: both; } .images-in-row_8214 a { text-decoration:none !important; } .margin_thumbs { margin-right: 5px !important; margin-bottom: 5px !important; } .gallery-bank-filter-categories a { text-decoration: none !important; font-family: Verdana !important; font-size: 12px !important; } .gallery-bank-filter .gallery-bank-filter-categories a.act:first-child { background-color: #2a83ed !important; color: #ffffff !important; font-family: Verdana !important; font-size: 12px !important; } .gallery-bank-filter .gallery-bank-filter-categories a.act { background-color: #2a83ed !important; color: #ffffff !important; font-family: Verdana !important;; font-size: 12px !important; } .gallery-bank-filter .gallery-bank-filter-categories a.act:last-child { background-color: #2a83ed !important; color: #ffffff !important; font-family: Verdana !important; font-size: 12px !important; } .gallery-bank-filter-categories a:hover { color: #2a83ed !important; } /*noinspection ALL*/ .imgFilmstripFill { width: 90px; height: 75px; } ul#thumb_8214 { list-style: none !important; padding: 0 !important; margin: 10px 0 0 !important; display: inline-block; width: 610px !important; } div.img8214 img { width: 600px !important; box-sizing: border-box !important; } div.img8214 > div.filmstrip_description_black { width: 600px !important; bottom : 5px !important; margin-left : 0px !important; } div.img8214 > div.filmstrip_description_black > h5 { padding: 5px !important; margin: 5px !important; margin-left:0px !important; line-height: 1.5em !important; direction: inherit; text-align: center !important; font-family: Helvetica !important; color: #ffffff !important; font-size: 16px !important; } div.img8214 > div.filmstrip_description_black > p { padding: 10px 10px 0 10px !important; margin-left:0px !important; margin-bottom:0px !important; line-height: 1.5em !important; direction: inherit; text-align: center !important; font-family: Helvetica !important; color: #ffffff !important; font-size: 12px !important; } /*noinspection ALL*/ .opactiy_thumbs { opacity: 1 !important; -moz-opacity: 1 !important; -khtml-opacity: 1 !important; } /*noinspection ALL*/ .shutter-gb-img-wrap { margin-right: 5px !important; margin-bottom: 5px !important; } .overlay_text > h5 { margin-top:10px !important; padding: 0 10px 0 10px !important; line-height: 1.5em !important; direction: inherit !important; text-align: center !important; font-family: Helvetica !important; color: #ffffff !important; font-size: 16px !important; } .overlay_text > p { padding: 10px 10px 0 10px !important; line-height: 1.5em !important; direction: inherit !important; text-align: center !important; font-family: Helvetica !important; color: #ffffff !important; font-size: 12px !important; } .pp_pic_holder.pp_default { background-color: #ffffff; } div.pp_overlay { background-color: #000000 !important; opacity: 0.6 !important; -moz-opacity: 0.6 !important; filter: alpha(opacity=0.6); } .pp_description p { direction: inherit !important; color: #ffffff !important; text-align: left !important; font-family: Helvetica !important; font-size: 12px !important; } .pp_description h5 { direction: inherit !important; color: #ffffff !important; text-align: left !important; font-family: Helvetica !important; font-size: 16px !important; } .ppt { display: none !important; } div.pp_pic_holder { border: 5px solid #ffffff !important; border-radius: 5px !important; -moz-border-radius: 5px !important; -webkit-border-radius: 5px !important; -khtml-border-radius: 5px !important; -o-border-radius: 5px !important; } Photo Credit: Jake West for Insomniac
      The post Factory 93 Creates The Perfect Atmosphere For Solumun+1 In Los Angeles appeared first on Deep House Amsterdam.
      Source: Deep House Amsterdam

Important Information

By using this site, you agree to our Terms of Use. Privacy Policy, and Guidelines