The hand that rocks the club, rules the club.
It’s all about the music for Icee Hot’s Shawn Reynaldo, Ryan Merry (Ghosts on Tape), Will Fewell (Rollie Fingers) and Bryant Rutledge (Low Limit of Lazer Sword) — and with that comes rules.
“No party photographers, no guest list, no set times, no requests, no crying and no hula hoops,” states the Icee Hot Facebook page.
Increasingly popular party Icee Hot is a monthly gathering of like-minded music fiends — an audience more concerned with the lineup than being a part of a scene.
“We just want to prioritize music,” Merry says, “and that’s why we’ve banned party photography, because it adds an element that is nonmusic-related and we just want people to not worry about how they look. Go ahead and look stupid, as long as you’re dancing and vibing out to the music — that’s what our focus is.”
Also important: Offering low-cost tickets to keep events and featured acts accessible.
“We keep the door prices way cheaper than just about everyone,” Reynaldo says. Most times, for just $5, revelers can catch artists from the United Kingdom and beyond.
Now in its third year, Icee Hot is both revolutionary and evolutionary. In 2009, Reynaldo, when hosting Cumbia club Tormenta Tropical, noticed a void in San Francisco’s underground music arena.
“I had this increasing volume of music that did not fit in with Tormenta Tropical,” Reynaldo says, “and I felt that there wasn’t any party devoted to it.”
U.K. funky — a style derived from grime and dubstep, influenced by Caribbean rhythms, soca and U.K. garage music — fractured, essentially going from house music with warm, tropical drum sounds to that of heavier bass music. It was the odd-music out in The City, according to Reynaldo and Merry.
“At that time for me, I was just really dissatisfied with clubbing options,” Merry says, “which was either super-hard electro house or dubstep.”
Out of that exasperation, an Icee idea was conceived.
Icee Hot celebrated its two-year anniversary in January and continues to strive against stagnancy. No longer promoting mostly U.K. bass music, the gentlemen have widened their perspective.
“Now it’s expanded into just s--- we like: techno, classic house, weirdo bass music, witch house, experimental nondance stuff like Oneohtrix Point One or Balam Acab,” Merry says.
Saturday’s Icee Hot headliner at Public Works is Doc Daneeka.
Doc Daneeka’s recently released album “They!Live” — with producer Benjamin Damage on Modeselektor’s 50 Weapons label — has garnered rave reviews.
Also on the bill is DJ Sliink, an emerging artist out of the Jersey club scene gaining attention for his tracks and remixes. Jersey club — an offshoot of Baltimore club — finds predominantly black youths reworking hip-hop and R&B songs.
Icee Hot strikes a balance when placing veteran acts alongside music’s newcomers, making a point to book artists who have never played in S.F.
“The combination of sounds and lineups might not make sense to anyone else,” Reynaldo says. “We make it work.”
IF YOU GO
Doc Daneeka + DJ Sliink
Presented by Icee Hot
Where: Public Works Odd Job Loft, 161 Erie St., San Francisco
When: 10 p.m. Saturday
Tickets: $5 before 10:30 p.m., $10 after
Where: 161 Erie St., San Francisco
Info: Call (415) 932-0955 or visit www. publicsf.com
The heads behind Public Works believe in “givin’ the people what they want,” a mission statement of sorts that helps spur the eclectic venue to embrace events of all varieties. A community hangout by day and a dance club by night, Public Works fosters creativity by working with nonprofits and providing a home to The City’s underground music scene. With studio space that doubles as a gallery, Public Works strives to hit every facet of art and adventure.