22nd November 2013: Love Amplified: Portsmouth with Adam Beyer

It was always going to be very different to going out in London, but clubbing in Portsmouth was a bit of a culture shock. To begin with, it took me back to my days of being 15 years old and clubbing in Zeus in Chelmsford - only worse. Thankfully though, it got much better so bear with this review…

First we drove to Portsmouth: A great taz down the pitch dark A3, post rush hour, with Techno blaring and my mate Hilda regaling me with her tales of Drumcode Total at Berghain last month got the evening off to a flying start. Had I not been accompanied by the worlds biggest Drumcode fan, I may never have made the trip in the first place but, this woman was on a mission and I was the one to get her there.

We parked at our mate’s house, downed a vodka and walked to Envy. The event page had warned that everyone would need ID and yet Hilda came with none. It took a lot of pleading to get us in which was a bit annoying seeing as none of our group would pass for under 25 and IDs were not being scanned or recorded, so it seemed a bit harsh to be so thoroughly questioned just to get through the door. But then we were in: No pat-down. No bag search. Whatsoever. So if you are under 18 you can’t get in. But if you are over 25 with a knife or your own vodka or a coat full of drugs, it appears that is OK?! I should perhaps state for the record that we had none of these things, I’m #justsaying.

We entered the club at 11:35pm and were smacked straight in the face by a wall of sound. I complain in London about things being too quiet quite a lot. Well this time I was totally abused between the ears. I could not think. I couldn’t even shout loud enough to be heard. The same guy who put this rig together also provided one for our mates wedding this summer. I am told he uttered the words “it may be too big for the job” earlier in the day. Well yes. Yes it was. But it looked great and it sounded immense. Glasses rattled on tables. The floor shook within 3 ft of a speaker. Nice.

The place was packed and the fun began.

11:45pm: As we queued for the cloakroom we saw a guy, all of 5ft 3, being held against a wall by way of a forearm to the neck by a security guard, as 4 other security guards stood by “just in case”. I can’t say what the guy in question had done but this heavy-handed treatment seemed totally out of order to me. I was not in Kansas anymore and things work differently in other places, so I gave it all the benefit of the doubt.

Having gotten our drinks (The bar bill outside the M25 is a joyus thing) we played it safe and stood behind the rig as the dance floor was in the center of the room. Here we could just about chat.

11:57pm A topless guy runs past me. Stops. Turns and holds his hands out, palms upturned and gives the bouncer behind me a “come on then” gesture. I step aside as a bouncer bounds past me like a bowling ball. Topless man is grabbed with his arms behind his back and is taken out of the nearest double doors faster than you can say “get yer coat love you’ve pulled.” I wonder if he ever got his t-shirt back.

12.07am as I return from the loo, I see two police in full high vis uniform walking through the middle of the dance floor with security. Is this normal? Should I be worried? Is something dangerous going on? I have no idea, it seems they are just out for a stroll.

I was trying to imagine what it must be like in the adjoining venue next door – “Liquid” – which offers drinks packages that can only spell a weekend long hangover for anyone who takes them up. It must have been carnage in there!

Venues in Portsmouth do not close late. They usually shut at 2am. This place has a 3am license. When you don’t have to stay up all night and you start drinking straight after work, this chaotic, unclassy, rabble of drunkards is the result. Welcome to Portsmouth. I’m sure it’s much the same at Tiger Tiger on a Friday night but I can’t handle huge crowds of drunk people – it’s maybe why I hang out in nightclubs and not bars. That, and the music is usually better.

Yes, I had not forgotten, this review is about a techno night. I just hadn’t actually really been concentrating on the music as I dodged fights and the slightly inebriated.

I missed Chris Vaux warm up set and had entered the building whilst Jon Gurd was playing. The dance

Jon Gurd

floor was packed and from up behind the rig I took stock of the venue. The central dance floor was surrounded by booths and seating. You could be as engaged with the tunes whilst you sat down with a drink as you could on the dance floor. I liked this – clubbing is a social thing so being able to take five and chat is a good thing. The dance floor, I noticed, was made up of 80% men. At first I could see only one girl – and she was only noticeable as she was front center with a glow stick. Jon Gurd’s set was fine. Actually, it was better than that. The crowd were loving it. It may not have been my kind of techno but this was not my usual crowd and he delivered exactly what they wanted so kudos for a great job.

Reset Robot was the penultimate DJ of the evening. By this time the crowd was thinning significantly. The dance floor itself was heaving but the heavy drinkers were mostly leaving/being ejected from the building. I was a little dubious as to exactly how many people would be left by the time Adam Beyer hit the decks. I’d guess that the dance floor could hold 150 people max.

Reset Robot’s set, in my opinion, was on this occasion quite beige over alI. It was light, safe, fun, good party music. As the crowd allowed, the tunes would get more intense and the beats tougher but even then, a safe housey vibe underpinned the whole set. This is no bad thing if you want a house night, but it was too safe for my liking so far as techno goes. But what do I know? Everyone on the dance floor was truly having a fine old time and it’s at about this point that I started having fun. Security had left with all the heavy drinkers and what was left behind after their clear up operation was a spacious venue, with an epic rig and a dance floor full of people just loving the music. 

There was not a shuffler in sight. EVERYONE had their hands in the air. EVERYONE was smiley. Everyone was very merrily drunk but in a good way. I was surrounded by sunglasses and backwards baseball caps (one was even trimmed in LEDs) and I felt like I was about 15 at an old school rave. Good times all round.

The luxurious carpets, the flocked wallpaper and the booths are a tad more luxury in a club that I am used to these days. The toilets… well… there were at least 15 cubicles in there and only ever 4 girls wanting to use them. It was a purpose built venue rather than one being used as a club because there was no where else to put a club. Warehouses may be cool, they may be a nod to the days of illegal parties, but lets face it, they are cold, uncomfortable and dirty. This was quite lovely in comparison. They say a change is as good as a holiday after all.

The last 15 minutes of Reset Robot’s set picked up dramatically, revving the engines for Mr. Beyer. A tough funky vibe played out and I felt he was finally playing what he wanted to be playing. The crowd level had stayed steady and the dance floor was full, even if the rest of the place was virtually empty as Reset Robot ended to rapturous applause and Adam Beyer started his set.

The dance floor was an absolute joy to be on! More girls had surfaced, there were a few Drumcode T-shirts in the crowd and the whole place held a really friendly vibe, with no attitude and some serious fun and dancing happening. This is the kind of atmosphere I wish for in London clubs but barely ever find as everyone is rammed in, has no space and are all too cool to really let loose and let those limbs get a work out (not everyone of course, but the majority at most techno nights). Whilst Hilda lives for the front of the dance floor I am usually found at the back, but I made an exception for this night and I loved it.

Adam Beyer delivered a set par excellence; as per usual. I am a big fan. Whether it’s a house set with

his Mrs or an earth shattering and rare trip into the dark side of techno at Berghain, Beyer’s knack for reading a crowd and delivering just what they want to hear is uncanny. Love him or hate him you have to admit that the man has skills. One of my friends is a big dance music fan but hates techno. He just doesn’t get it at all but he saw Beyer (at Gashouder at ADE) and said that his set was one of the best sets across any genre that he has ever seen.

I see many people making comments on Facebook when we are off to a Drumcode party or to see Adam play. So many of them dissing him for the fact his style has weakened, or that he is selling out by playing party techno to the masses. But where else do you go in your career if not upwards and outwards? Why is it a bad thing to appeal to more people and further yourself in life? It’s possible to get too precious about staying underground and earning fuck all. Take some notes… If you want pounding industrial arse kicking death marches, go see Speedy J. If you want some soundscapes and bleeps and squeaks and thunderous bass to stroke your beard to then go see Diamond Version. If you want to be guaranteed a night where you dance your tush off and feel good and smile and enjoy a party with a great bunch of people - you should go to Drumcode night. The reason that Beyer and Drumcode have such a big following is that it has been worked for. Beyer has learned what people want and with his carefully selected label of artists he delivers great parties, and great sets. 

Admittedly this was not an all out techno onslaught of a set but that is not what the crowd desired. The tough and edgy side of things we like in London is an acquired taste that we are lucky enough to be subjected to a lot. But if you don’t know what’s coming, a set like that could just as easily put you off a genre as make you love it. Go hard or go home was not the theme of this event. This was a party rather than a club night; A celebration. 

Sadly now that everything was going well the party came to an early end. The extended 4am license appears to have been a bit of a myth. I think we only got left until 3:30am to avoid a clash with next door emptying out at 3am. As the applause erupted for Beyer’s set, we exited asap to avoid any “crowds vs bouncer” action outside and headed towards a comfy sofa for a cup of tea good nights sleep.

19th Sept '13: Diamond Version & Ninos Du Brasil @ Village Underground / 20th Sept '13: ELM Calls Berlin with Margaret Dygas + Sammy Dee @ Crucifix Lane

Mid week techno is a rare occurrence, but who could resist a live show from Diamond Version? We hauled our arses to Village Underground on a school night, knowing that the night finished at 2am and arriving early at 9:30pm hoping that the main act would be on in time to grab last tubes.

The venue was laid out slightly differently to usual, with the archway from the reception to the bar room blocked and the bar brought forward to make the bar area half its usual size. The event was a preview for Italian festival Club2Club sponsored by Alfa Romeo who (by way of a sign up process at a desk)  were offering the chance to win a set of headphones - what the hell that has to do with their brand I have no idea. Seems a very tenuous link in as much as the car is Italian and the festival is in Italy. Not sure how many techno lovers really equate to Alpha Romeo sales?! There were banners across the ceiling for the festival as well as constant promo images on the large stage screens. The line up for the festival in November includes Moderat, Fourtet, Fuckbuttons, Jon Hopkins and a lot more. Worth a look if you happen to be in Torino at the time.

In the main room a stage had been constructed, brought forward a lot to make the main space much smaller

than usual - this was not going to be a huge capacity audience it would seem. The stage had been set up with 2 huge screens and projectors but the warm up DJ was positioned down on floor level against the far side wall whic was a bit strange. He was playing a nice selection of electro. Towards 10pm the tunage got far more experimental and stark and edgy art-house horror filmy. We were stood right at the front for a rare change. I turned around to survey the sparse crowd and there was a higher percentage of big bushy beards than usual, and a generally older crowd than is out at the weekends.

At 10pm Ninos Du Brasil took to the stage. At first, a lone DJ played experimental tribal beats. He was soon joined by 3 live drummers sporting tinsel hats who accompanied the DJ then over powered him with drum rolls, shouting "hum ha hum ha" like an aggressive Noel Fielding sketch. It was Techno meets Mighty Boosh complete with jungle animal sounds. I felt like Balloo might come out wearing coconuts and a grass skirt doing big fish little fish cardboard box at any moment.

Ninos Du Brasil

The next track suddenly transported me to the middle of Mardi Gras. The energy of Ninos Du Brasil was awesome. I could feel the atmosphere of a street festival, imagine the colours, see the booty shaking. However, when I turned around, the audience is mostly still, nodding slightly. I was also not outwardly dancing, in fact very few people were moving at all. Inside I was doing the samba. We must all be dead inside not to have been going bananas. Or maybe we just very English and in Shoreditch on a Thursday. This track flowed into a more jazzy vibe combined with very minimal techno - like Lucy meets Buena Vista Social Club. I loved it, loved them. I 100% recommend you see them if you have the chance. Ninos Du Brasil are something a bit different and a lot of fun.

After this stream of energetic brilliance the set got on an oriental Zen tip with deep plodding bass drum and tinkering chimes. This track went on for a verrrrrry long time and didn't really go anywhere. It was quite meditative edging on dull. Thankfully after that brief reflective interlude the guys regained their upbeat & percussive feel and a few more people in the crowd were now warmed up and dancing. We had a group of girls in front of us dressed up for a Saturday night and dancing around a pile of coats and handbags - something I've not seen in a long time! Ninos ended their show with an unexpected grungy metal tip.

Alessio Natalizia

The DJ started up again for a short time with some Kompakt style house tracks whilst the stage hands cleared the Ninos kit and set up a bank of thigh high screens front of stage. I had no idea until afterwards that the DJ was in fact Alessio Natalizia|, half of Kompakt duo Walls who was (according to Resident Advisor) presenting a "a retrospective collection focused on the Italian electronic and new wave underground scene of the ’80s."

It became apparent from the stage set up that Diamond Version would not be performing with Japanese artist Atsuhiro Ito. He was not billed on the line up but DSL was really hoping he may make a guest appearance as this clip shows, their work together is pretty amazing.

Mute records Diamond Version is a collaboration between Byetone and Alva Noto. I saw Alva Noto deliver a live set at Berghain last year and still remember feeling like I was listening to musical fireworks. I was looking forward to this performance very much. The duo started with ear crunching white noise, massive pounding stomach churning bass and a strobe light facing directly at us. My senses were assaulted. My head hurt, my brain ached, and yet it was brilliant. The sound quality was great. I was being physically affected by the depth of the subs and yet could still talk to DSL without shouting even though my ears were tickling. It felt way too loud but clearly was not.

As my ears adjusted I looked up and enjoyed the visual stream of projections perfectly timed to the music, lighting the screens up in patches of colour like heat sensors.

My favourite track of the show showed racing cars on the visuals and was an onslaught of crisp clean engine revs. I my head I was making "neeeeoooowwwwws" like a 6 year old pretending to drive throughout. Call me a child but I like cars and I like techno - fuse the two together and I am likely to pretend I am car racing whilst I am listening.

The hour long performance was short but very sweet; blending distortion, beats and excellent video. I had a great time and just wish I had the balls to dance like a loom even when no one else will. There is nothing worse than a banging set and a dead crowd. Stupid thing is this that whilst they all stood about stroking their beards I expect they all felt exactly the same as me.

The following night we trotted off to Crucifix Lane for a night of Berlin influences with ELM. We arrived at 12:30am to a half full main room, which reached its maximum influx of people by 1:30am to see it maybe two thirds full. The tunes being played were mediocre uninspiring tech house. Nice enough but not grabbing anyone's attention, especially with the sound level pretty low. The main room was smaller than usual as the DJ set up had been brought forward and the ceiling draped at the front with a parachute which looked a bit naff if in my opinion but, made the small crowd feel more intimate. The volume of people chatting was annoyingly equal to the music and I felt really old. 95% of the crowd were in their early 20s.

We ended up sat down chatting on some stools. Joking we are old, I suddenly realise that when I was 20 and people in their 30s were out with us moaning how much better it was back in the day, I thought they should be at home and leave us young'uns to it. And now that is me - but I am sat down because actually,  we have been out a lot in life and we have seen and heard it all and need a certain level of quality and entertainment to get us dancing. We are not easily impressed these days. This party does have a nice vibe, good energy, a friendly crowd and my head and foot have been nodding along the whole time but its not ground breaking. It's fine. That is all.

We had come to see Sammy Dee and Margaret Dygas so I thought I'd best check the set times online. At this point I discover that Sammy Dee was on 2 til 4 then Margaret til close. However, the venue had been granted an extended license til 8am at the last minute so that would now change. I was quite mortified we would have to stay all night if we wanted to hear Dygas, although admittedly the tunes are building pace and were now a little  louder and contained more passion and character.

A quick 3am cigarette break in the packed fenced off corridor on the pavement outside was short lived for once. Due to local residents you have to be quiet so every 2mins a loud shhhhh spread down from the bouncers for us all to shut up. It was like being in a school assembly. Going back indoors we were greeted by full on feel good banging house tracks. No vocals being played but the general sound reminded me of old Cassius tracks.

Sammy Dee was on about 3am in the end I think. The house is deeper and more varied in his set. We get to hear Latin rhythms, tech house some tracks with a 90s soulful beat that reminded me of the Brand New Heavies. I had fun during this set and in a conscious effort to get ourselves moving, we went to the front to get involved. After half an hour of it I was getting a bit bored and a few clashy vocal mixes of chanting and shouting and pianos made the set a bit messy in places. There seems to be something wrong with one of the decks that a needle change didn't fix. We were losing the will to live by 5am and sat down. The night was just not good enough to dance to again. Tracks picked up with an acid house vibe but I was beginning to think Dygas just wan't going to be playing! Sammy Dee's set slowed in pace to get deeper and more fluid but the mixes and levels had not been fab - he kept bringing tracks in as if he didn't know the level was up and taking it out again quickly as it is out of time. I wonder if the monitor levels were right? All the DJs have had some issues and I have to assume that there is an issue with the sound set up.

By now the club is less than half full, peak time was 2 til 4. Why on earth would you play the headliner last Margaret Dygas - please dear God make this have been worth waiting for.
on an 8am finish? Finally there were signs of a DJ change at 6am as tiny lady takes to the decks much to everyone's happiness. Welcome

It was a shaky start. The high end was very prominent but the bass was really muffled and fuzzy. Something somewhere in a speaker had blown and that is just not fixable. Margaret's mixes are not flawless. They are just a smidge off time here and there and downright clunky on occasion - a fact only made more noticeable by the uneven sound levels. It took her half an hour to get into her stride and sort the levels out, then it was a good solid innings played to a room now only a third full at best. We danced about to some nice smooth, well paced techno that reminded me a bit of Hawtin's Ibiza Boiler Room Set. The set built well and a heaving dance floor would probably have been going nuts - but all that was left at 7am were space cadets and others too tired by now to give it some. Just as I am thinking this, another clunky mix hits my ears and the levels go all over the show again. It's a shame as the tune selection is fantastic but speakers are popping and I admit defeat, use the horribly lit and grim toilets and depart.

That's the second time I've been to Crucifix Lane (the first was was Speedy J earlier his year) and both times the sound has been awful. Personally I'll need some convincing to bother going there again. Many of my mates love the place and I have not a clue why. It's a black painted brick arch like every other arch venue available in the city, with nasty loos and a crap sound system. The only stand out point is the lighting rig in the center of the ceiling, but when that is covered up by a parachute then it's really not anything special at all.

14th Sept '13: Machine feat. Ben Sims & Kirk Degiorgio with Special Guests RØDHÅD & ROD @ Corsica Studios

New girly dilema this week... What to wear when you have to go to a wedding in the afternoon and a techno night later on? I went to a wedding looking very trendy and a club looking pretty overdressed for me. I was in a dress anyhow. Turns out heels make it wedding wear and DM's make it clubbing attire. Crisis averted. During a hilarious"last  tube" ride across London to Corsica Studios, we encountered many a victim of too much booze - and the boyfriends having to carry them home. Entertainment for all the family. Better than watching Eastenders at least. Their nights were over and ours was just begun!

 We arrived about 1am I think and the place was pumping. We'd been listening to ROD a fair bit at home the previous 2 weeks and I was really looking forward to hearing him play. I'd also been told that RØDHÅD would be awesome and I've not seen Ben Sims play in ages so I was prepared for a most excellent evening. I was not disappointed. After the usual bar, coat check, natter we stepped into Room 2 and into the sounds of ROD.

Otherwise known as Benny Rodriguez, ROD is on the CLR label. He dances as he DJs his set this evening. He is fun to watch. Within minutes I was shoulders in, grin on: lost in happiness.

ROD

The genre crossed from bouncy to minimal but it all shared the same easy flow and feel. It's a big old umbrella the genre of techno. It doesn't marry up in my head how this set and an Adam Beyer set are both techno and yet so different. I guess that's why we need sub genre labels. DSL says its all "just techno" but to you, the person who is reading about it and was not there, it's not that easy. You want to know what style a set is and how it sounds. I get lost in all the sub genre names so forgive me but I may well just make up my own, in which case ROD is now "Bounce'n' Grin."

The usual Room 2 slamming, nose tickling bass accompanied Latin riffs and a banging dancefloor. The room

did empty a little and I realised that signalled the start of RØDHÅD in Room One. We were having too much fun with ROD so we stayed and thought we would pop into Room One in a bit. Hilda, Jammy and the rest of the techno possy were all in there awaiting the deliverance of a much anticipate set - but I had no clue who I was missing out on and was happy to live in the moment and get down to some ROD loving. In tandem with the shrinking audience, the energy waned slightly for all of five minutes so I decided to stick my head in room one and it sounded quite brilliant in there, but as RØDHÅD was on for 4hrs there was plenty of time! I did notice however that it was not quite 4am yet - 5mins to go - so those lush warm melodic beautiful layers and thudding passive bass can only have actually been resident and Machine co-founder Kirk DeGeorgio.

Corsica was a hotbed of trendy young things this evening. It's interesting, to me, to watch how a younger clubbing generation react to techno. Some clearly do not get it. Some love it. It will be interesting when things get to the point where new DJs come through who were not even born when techno emerged, and when our old faves retire. Will that be the point when the genre goes the way of Drum'n'Bass and gets more mainstream, morphs into something new and spawns 56 separate commercial sub genres that all share the one sound sample? Then a fair few of it's producers jump ship to the next up and coming underground genre (SO many ex D'n'B prodcers in technoland these days!).

Techno has so much variety and longevity I hope it develops and stays as interesting for the next 20 years as it did the first. There are changes of course - virtually no-one just DJs anymore. Everyone is a producer. Maybe more live sets will set the genre apart and keep it fresh. The scene needs new fans as well as music to keep the club scene going so its nice to see so many people out. In stark contrast to many of the bigger clubs and events on the calendar, Corsica always attracts a true fan based crowd.

Chris Liebing recently described ROD's style on his CLR Podcast as "soulful techno." Soul would in most musical cases indicate a James Brown type of vibe and a certain sound but I think he just means that ROD's sets have depth of emotion. When listening to a Liebing set for example, I just zone out into some techno soldier trance. Standing there on ROD's dance floor I was smiley, bouncy & floaty in places, I was carried through an emotional spectrum.

 
The journey of the set is somewhat awesome organised chaos. Travelling all over the show in sub genre and style, but it works. There is acid and machine gunning brilliance, hand claps etc, old school, latin vibes, minimal, a tinge of funk etc. We left the room at 2:45am for a stinky horrid fag break but I welcomed the cold of outside. What with my lovely dress and my dislike of handbags I was keeping my phone in my boot - every time I bent down to take it out or put it away I got dizzy I was so hot. I got bored watching people smoke (it's never just the one cigarette and there was good music inside so why hang about???). I decided to do a recce of Room 1.

Room 1 for RØDHÅD was packed and sounded bland as I walked in. SLAMSLAMSLAMSLAMSLAMSLAMSLAM and nowt else so I went back to the garden and tried again in ten mins. With the stage used for dancing there was a deceptive amount of space available to dance in but to me, it sounded like so many sets I heard before. Paint by numbers Berghain dance floor Techno. Not that that is a bad thing but I was not here for that today. I didn't want the emotion drummed out of me, I wanted to FEEL, so I went back to ROD. I guess others felt the same at the time as Room 2 was rammed. I am admittedly judging RØDHÅD on short 5 min snippets so for a rounded view of the overall journey you'll need to read someone else's blog.

I went to the famously bass driven toilets and could hear RØDHÅD slamming it hard, but to me, it had no soul. Some nights I am in the mood to get nutted and stomp and soldier it up. Some nights I want some personality and pizzazz and fun. ROD is just where I was at. Sometimes hard is oppressive. March or else. Go hard or go home. In the loos everything shook with the duff duff duff and I heard a girl say... "That is my room every day. I love it." I could not do that every day. I prefer more bounce per ounce.

The last half hr of ROD's set Ben Sims joined him for some B2B. I remember hearing a track with either a

bassoon or clarinet riff. I've never heard that in techno before and it sounded great. Ben Sims was providing some tougher sounds now but the room kept an air of fun. Ben Sims kept raising the bar in terms of hardness with each track until we were all in a frenzy. As he played his last track we'd almost reached a level that was just too much ROD had to take it right back down to a dull roar in order to bring it in a bit and refunkify it all. And boy did he. He whipped us up and commandeered the final ten to fifteen mins and it was pure magic. I "Ashley Borged" about that dance floor. I (for want of a better phrase) lost my shit. Totally let go and fucking loved it. I am not one for applause and whooping (they are playing tunes, not delivering world peace after all) but I went mental at the end. I wanted to hug and kiss that man. Massive big love and respect. ROD you are awesomes. I may love you more than Hula Hoops. You are on a par with cats. And I love cats. A lot.

The final track ended and I needed a big fat break to recover and think on what just happened. Again I joined the smokers for some very unfresh air. Do we think if I complain enough they will eventually take a hint? I went to loo as they finished smoking and when I came back they sparked up again. Yuk. Stinks. So again I ventured alone into Room 1. RØDHÅD was still pounding 4/4 bass but was now more palatable and driving rather than oppressive. The dance floor was a little thinned out and everyone was shuffling happily apart from one guy on the stage with a fan full on voguing with boundless energy.

Ben Sims

I popped back in to see Ben Sims and ROD was on! I felt deprived I had missed 20mins! The B2B set had carried on past the end of his set and on into Ben Sims. The dance floor was writhing. Every build up brought people jumping in the air, both feet off the floor, and the energy was unparalleled on any dance floor I've seen in long time. It was a techno mosh pit. It was off the scale in there!!!

It was really interesting to see the contrast between ROD and Ben Sims. Ben was playing far tougher tracks then ROD would reply in contrast with something sassy and fun. Both DJs were in the booth grinning and dancing to each other's tunes and just having the best time together. The most exciting sounds were created when Ben Sims mixed into ROD's tracks. You felt tantalizingly close to something amazing but, once ROD's tune mixes out Sims track choices sounded dull in comparison. They worked really well back to back and it was really fabulous to see two very different styles merging and working together, and for each DJ to be reacting to each other and the crowd on the fly - rather than a pre-planned set. It's that kind of interaction that I find lacking a lot in many sets these days. To see some people behind the decks just oozing joy and enthusiasm and bouncing off the crowd was utterly the best night out I've had in ages.

Next blog will be in a week, reviews of Diamond Version and Margaret Dygas before we head off to celebrate my birthday at ADE. I cannot bloody wait.

29th Aug: Actress @ St Johns Sessions / 30th Aug: Plex @ The Waiting Rooms / 31st Aug Colony @ Corsica Studio

Welcome. You can follow adventures on twitter here and Soundcloud here but not on FB coz that is for the inner circle of initialled ones only. There is also a Google calendar on the top right of this blog detailing events worth taking a look at.

Well I was going to review Actress @ St. Johns Sessions but it's not even worth my time. The music was actually fine but the rest of it was poorly executed and I can't be bothered to discuss the most boring 2hrs of my life that I will never claw back.

And so swiftly we move on to Plex Basement Sessions, a small night with a secret line up held at The Waiting Room, Stoke Newington - a timber clad basement bar with cheery promoter and resident Luke Handsfree on the door. I keep missing Plex, much to my own detriment and disappointment. Twice I have planned to go and twice I have fallen asleep at home and missed it after a hard week at work. The last time we missed Rrose and I was mortified. So this time, we had mates over beforehand to ensure no sleepytimes and we drove there so when I got sleepy we could just zip home. That's how us grown ups roll.

We arrived to see that the line up was the Clairvoyants and Cristian Vogel. Me, the uneducated among us, had no idea who either of these names were, but I was assured that Vogel was going to be special and, from what I was hearing when I walked in, Clairvoyants are also rather good.

There was a delightful bounce in the airwaves when we hit the dance floor. It was the kind of techno you could take your non-techno loving mates to and they would love it and ask you "what's this?" and you'd say "techno" and they would look stunned. Lotts and NH were dancing about like crazy little animated Duracell bunnies at the front with the rest of us trying to keep up. The tunes got deeper and more banging and finished with a track full of carnival drums. And I was in a happy clappy cheery mood and off to the bar to await Vogel. 

PA had a quick word with Cristian Vogel before he went on and was told that the man would be treating is too a 20yr retrospective of all the tunes he loves from then to now. A journey through time and techno. Lovely. 

I found the tunes at the start a bit all over the show but NH said she loved it, that it was playful and she made gestures of squashing and squelching things with her hands as she danced. This made me think of how to explain the tunes... The music was like watching balloon modelling. Squeaks and twists and random big breaths and colourful things expanding and being twisted into fun stuff. It was exciting but it made no sense.

Barely noticeable but a frequent occurrence - it sounded like tunes did keep skipping a beat here and there. I imagine very old damaged vinyl if it's from 20 years ago! Tempos changed up and down with ease. It was all quite disjointed but not without focus, sounding to me like something robots would break dance too - superfast, frenetic and unpredictable. When everything did sound like it was about to train crash at full speed Vogel styled it out with ultra coolness like that was exactly what he was going for. Who knows, maybe he was.

Suddenly TIR, Lotts, NH and PA all vanished upstairs for smokes and air, most of them a bit put off by the very niche line in techno hitting our ears. Bearing in mind the crowd was small to start off with, we half emptied the dance floor in one fell swoop. My triple esspresso started wearing off and our ears next to the speakers were in danger of getting temporary tinnitus near the front and so we went to the back and I had a sit down. 1:30am and I was tired. Observing the dance floor, it really wasn't very busy. The advance tickets had all sold out so I was expecting it to be a heaving sweat box but there was only about 50 people in the room. It was by no means empty and the dance floor was still kinda busy. I expect that many people were taking a break after the Bank Holiday weekend before.

The set gradually got more cohesive and began to make sense and truck along in a nice direction through time and tunes. Not without its jarring mixes but all in Vogel style... Nothing was an accident. Moving into the era of 909s and synths Vogel hit the acid tracks at full on high BPMs. TIR popped back down from upstairs to tell me it was bad techno and he hates acid. Then he vanished. He and all the others all left with no goodbye! Bastards. Not so much as an air kiss. Humphf.

The dance floor thinned out a bit more. It was hard to get into any kind of groove and exhausting to keep up with the changes and pace. Although the overall pace gradually slowed, a few dancers were really going for it but many were just standing about undecided as the tracks got more intricate and atmospheric, sounding like a race of space age F1 engines. Then things turned to the kind of techno that I hate. That people who hate techno imagine it all sounds like. Almost hard house. Relentless drums at high speed  almost tripping 

Cristian Vogel

over themselves, with sweeping elongated mid range noises and the odd staccato synthy break. No charisma here. The kind of stuff best coped with on drugs - so you have the energy to keep up with it and the happiness to believe it sounds great.

Then fast thud thud thud thud thud thud thud thud with tinny high hats over the top. Proper mid 90s stuff. At that time I was at still at school and listening to Blur and Boyzone in my bedroom. And right at that moment all I wanted was peanut butter on toast and my PJs. At 2am the place suddenly filled up and dance floor was banging but I had switched off and needed my bed. 10 minute drive home. Amazeballs.

After a darn good nights sleep and a most excellent lasagna cooked by DSL came round 2 of the weekend. Colony Vs Scand at Corsica Studios. The last one of these I reviewed was a totally awesome night out and I was really looking forward to it - not least because our mate Simon Heartfield was on the line up with a live AV set. We arrived to no queue, polite security and a virtually empty club at 11:45pm. Simon was on at midnight. 

Now Simon may be a mate so you may see me as bias, but I don't know him that well at all. Trust me that if I can badmouth legends of techno on here, then I have no qualms telling my mates when they are crap. Let's face it - if I big them up for a bad job I am helping no one, least of all them. So I hope that you see that I really mean it when I say I was gutted for the techno community of London that they did not haul their arses out for this set as it was immense.

We've heard Simon play before and seen his AV sets but this was Simon Heartfield on an unusually angry day it seems! There was a march of bass drumming. Rhythms led by the lower end of octavial spectrum, which made for warm, tribal, strong, purposeful beats that got you marching, with lots of mid range riffs and very feint high end warm smooth rippling melody just on the fringes.

The visuals were interesting. I saw cabbages at one point, a london bus, hazard signage, led panels, binary

Simon Heartfield

code, buildings, machinery, numbers, more codes, it all felt like the music was telling a story and the visuals were a manila folder for a crime case being emptied out on the desk and pinned up on boards for us to string together all the clues. As each track became a new one we were getting ever closer to solving the case and the tension and energy built. I was on tenterhooks wondering who dunnit! That was the first half. I went for a loo break. It was a bit calmer and less angry when I got back, like whatever had happened had blown over and there was time for contemplation. The visuals slowed in pace too and I was more wobbling about on the spot than dancing to this bit.

15mins from the end the big purposeful march began again and pushed on and surged you forward. Kaboom. Home stretch. Mad dash to catch the culprit and solve the crime. A military operation. March! Bouncy bass lines, marching mid range this time with the odd vocal sample and a slightly more euphoric edge than at the start of the set. Layer built on layer upon layer til you felt like you were spinning, feeling totally focused but spinning in slow mo with the world blurring around you as you just... let... go. Music to get lost and immersed in. I loved it. It was like being in Inception rushing through story after story and then suddenly it ends and you just... wake up.

At this point The Wife (my bezzie mate who had come out with us) left for half an hour to go and eat. This brings me to an important whinge... Why is there no food in clubs? For those of us staying sober and eating our dinner at about 8pm, dancing is hungry work. And for those people drinking until they fall over, a plate of chips at 1am might save them. The psy trance nights I used to go to in my teens and early twenties always had hot drinks and some kind of hippie organic cake and snack stall. They were always packed and it is SO nice to have a tea and a munch then carry on dancing til the sun comes up. I can't think of one club in London that serves so much as a packet of crisps.

Venturing in to Scand's room 2 for Morphology live it was a definite breakbeat tip. The two of them were

Morphology Electronic

set up on a table in front of the DJ booth and the volume was pretty low for the earth shattering subs that we usually hear in there. It was weird being in there and hearing chatter and the walls not shaking.

The tunes were nice but a bit lackluster. The set kind of just pootled along with no real builds or breaks for ages. When a break did come, there was one the girl in front of me who totally went for it but she had more energy than the break required. Good to see some enthusiasm though as the tracks just glided onto the next thing. The production was nice & crisp. The room filled up a little more, with both people and smoke from the over exuberant smoke machine. Towards the end of the set things ramped up and we finally got some massive bass and the DJs looked like they were having a great time.

Szare was next up in Room 1. The crowd levels were low all over the club - again down to the big weekend before I expect. The place was a third full and needed a hefty injection of pizzazz. I went back into Room 2 Sync 24 & Innume. This wasn't grabbing me either but had more uplifting energy in its acid breaks than room 1. Al, DSL & RSK were stood about like the three stooges against the side wall looking shady. Personally I was in there not for the tunes but because it was mildly more party like and entertaining than room 1 with Szare. We went outside for chat and smokes, talking about beach holidays and how all holidays turn into rave ups for us lot. I am hankering after an actual beach and some quality cocktail and sunbathing time!

Oliver Ho

The only other set I was looking forward to was Raudive: aka Oliver Ho. Simon had tweeted earlier that his sound check had been amazing. I was excited.

He was good. Lots of different ideas and sounds and moved well from one to the other. Definite feel good energy. The girl from room 2 was in here. The one who had been dancing to the beat of her own drum and going mental at mediocre break downs earlier. Blue hair and blue all in one holographic outfit... Looked ready for taking to the stage at Cirque du Soleil. I was part gobsmacked and part mesmerised. She was full on body thrusting dancing at the drop of anything vaguely exciting. I was jealous of her enthusiasm. Wish I had a bit more. I was getting there. The set was moving me into a party mood and was overall highly enjoyable. DSL had his eyes shut shuffling about for ages. And that was how I felt, it sounded great and I just wanted to listen. Not dance really. Like a Boiler Room set in my living room - for appreciating but not participating.

Truss

The final DJ we saw was Truss. We went to get our coats and came back to full on machine gun techno. Quite often I can be found loving such sounds, but I need to a) build up to that and b) be surrounded by a crowd full of as much energy as the music. The room was empty, the crowd was hollow. And that is how I felt.

Overall I think this night just suffered from being the weekend after most people had been out two or three nights in a row and spent most of their wages already. And it's rare these days to find a DJ that caters their set to the crowd that is there and not what they pre-planned. More's the pity.

The Wife gave us a lovely lift home. I was starving. Time for more of DSL's lasagne!

Sat 24th August 2013 - The Hydra: Blueprint Feat. Underground Resistance, Jeff Mills, Robert Hood & James Ruskin at Electric Brixton

This blog comes to you direct from my hammock in the sunshine, fully rested at last from last weekends clubbing. One can recover from such things in minimal time if they are allowed to sleep. My cat has unfortunately taken it upon himself to howl at me several times a night all week and wake me up for food and play. Finally I got a solid 8hrs last night just in time to bring my A game for tonight's Colony at Corsica. That will be a blog for next week - This week we talk about the long awaited and much anticipated Hydra event on bank holiday weekend.

Following an afternoon of indoor picnics (the weather was awful!!!) and amusing repertee with friends old and new, we trundled off to Brixton ready for a fine old time. Meeting Hilda and TIR at the door to Brixton Electric I was pleasantly surprised to find no queue, no moodiness from the bouncers and a quick service at the bar. We had arrived relatively early and were off to a good start!

Samuel Kerridge

Simple red lights reminded me of Lost. No Lost this August bank holiday - a first for many years, but who needs Lost when there is a line up like this instead?! The first set was from  Samuel Kerridge whom I had never heard of but will more than happily hear again. All wrong for a first set but amazing none the less. I felt like I was on a giant cavernous alien spaceship listening to various mechanics creaking and moving about. The set progressed to more lively beats and into a lighter more Space Odyssey vibe. The tempo raised and haunting high pitched sounds droned in the background with sonar bleeps a plenty. DSL said it sounded a bit like Empty Set. It really was a storming set and would have been better placed later in the night but, there was no one else on the line up you could really expect to play first, so that was that.

Robert Hood

A totally different mood for the second set. The stage changed from red lights to blue, again reminding me of Lost with it's Red Room and Blue Room. Having seen Robert Hood play at 50 Weapons earlier this year I was hugely looking forward to this. He started hard and fast and keet it that way. Good old Detroit sounds, the odd nanoflash of disco synth, scattered soulful vocals and melody carefully hidden amid bass bass bass bass bass bass. However, I heard a track I knew well coming on. I always think it's Basement Jaxx every time I hear it, and it kept dropping in and out so I could almost have just been hearing things... but it kept coming. And then I knew what it was. Again. Just like at 50 Weapons, he dropped Bucketheads - The Bomb. Again it was fun and stupendous but I felt slightly disappointed that he was pulling the same party trick out the bag. That didn't deter me from jumping about.

Underground Resistance

Next up was the supposed highlight of the night: Timeline from Underground Resistance. All of us were keen to see "The baddest group of sonic electronic warriors in the world" do their thing and give us an education. There have mixed reviews all over the interwebs this week, a bevvy of arguments and opposing opinions but mine is as follows... Worst set of the night. Killed my mood. Massive disappointment. Let me expand:

We have a DJ, one guy on synths, Mike on keys, and a sax player. Initially it was enthralling, the sax player was amazing and we were treated to snippets of The Bells and were easing into a great live set. But after about 15mins I had had enough. You would think that such a stellar ensemble would have their own sound guy but no, they had an in-house tech who had been dealing with DJs up to now and was no good at changing things on the fly. Having flown in from a performance at Dekmantle, via a same day set at Electric Frog in Glasgow there cannot have been a sound check before the event. And it showed. A lot. All we could hear was the sax. He was out the front of the stage doing some call and response with Mike on a Keytar but Mike's sound was lost. The sax player was quite clearly very talented but was also VERY self indulgent and did not know when to stop. The set would have benefited greatly from him shutting the fuck up here and there so that we could hear the beat and actually dance. The more it went on the more exhausting it was and the more my patience wore thin. It was live improvisational jazz sax and nowt else.

Finally, he finally stopped and the beats and synths pushed forward and picked up, only to trail along doing not much for ages, with the occasional build up here and there but with the levels to low for us to hear it clearly so everything sounded monotonous. Often they all sound like they are playing totally different tracks. It wasn't hideous, I didn't mind it (my fave comment used on Masterchef when John doesn't like something but appreciates the effort). Everything bumbled along nicely enough, the room had a generally nice vibe, the dance floor gained some space whilst people took the chance to go to the bar and vanish off to other parties and there were many many smiley people soaking up their heroes. Then the musicians kind of petered out and vanished leaving just the DJ on stage alone playing similar stuff but with the right levels and correct smattering of sax. It was FANTASTIC. I zipped off to the loo and returned to see the full band back but this time the sax player was on a laptop. Again it all plodding along and I could just about make out good things being layered up but the mid levels were still too low all I could hear was bass and top end. All the interesting stuff was lost. Then I got a priceless text from TIR at the back of the room telling me that EVD was so bored that she was listening to PETDuo on her headphones. That was a little much I thought but then jazz is not really EVD's first love. 

The front venue had by this time turned into a sweatbox and we thought we would head outside for a cigarette. Once again I found myself outside on a roof terrace in the pissing rain so I could watch others smoke. It was preferable to staying inside and losing my sanity to sax though and I bumped into Ash and had a good old whinge with him about jazz improvisation. 

We went back into the main room and it was all ending to rapturous applause and then an encore. The encore was the clearest sound I heard since the first track. It was full of energy and a soulful riffs. The keytar level was higher so I could actually hear it. Too little too late though and I was just glad it was over. The crowd were going mental - clearly not everyone shared by opinion. And then there was a brain cleansing silence and the hum of general chit chat as the decks were reinstated for Ruskin.

The votes are in

During this short interlude we wandered to the back to catch up with the rest of the crew and I took a general opinion pole... EVD had her own party in her headphones. Hilda said the relentlessness of the sax actually made her feel a bit sick after a while. GLM said too much jazz and even gave me the jazz hands. The general consensus was that it had not been "the one" we were after. TIR called us heathens, he loves culture and appreciates the history and said we can't possibly have not enjoyed it if we were true techno fans. Well sorry mate but you were hearing what you wanted to hear. Everyone has a bad day, everyone misses a sound check and sometimes even your heroes are just under par. Respect for all they stand for and have brought to the world of Techno but that does not automatically make what just happened any good. You may not believe this but I actually used to manage a jazz band. I've spent a fair amount of time at various London jazz clubs and seen some of the best in the biz in the world of funk and soul. I feel qualified to have an opinion. The best bit was just seeing so many fans old and new gathered from all over the country to pledge their allegiance. I'm glad some of them felt it was worth the trip.

I have never been so pleased to see James Ruskin. The man had one hell of a task on his hands following

James Ruskin

that vibe and he handled it well. The strobes kicked in and so did some much needed tougher, funkier beats. Hands were in the air across the room, everyone shuffling about harder than before. I survey the room from the mezzanine and wonder when it was in club history that people stopped dancing. Was it something to do with a change in drugs? With not wanting to look stupid? With over crowded dance floors maybe? Once upon a time everyone used to bust some proper moves. Two feet came up of the floor, hips swirled and people showed some personality. They didn't just stare at the DJ and shuffle from side to side with their arms just randomly wafting about. Luckily at that precise second Ash appeared and my faith in clubbers returned as he was legs akimbo, arms punching the air, giving the floor a proper seeing to.

Ruskin continued to rock the old school house vibe and move on into his regular energetic pounding techno. Slowly my general enthusiasm and energy levels are returning and I too feel like dancing around. It's now 5am and we must make it through to Jeff Mills. 5hrs to go. It's weird how some nights go past in a flash, but having not been thrilled with all the music and not having sat down for 8 hrs by now, I was struggling. There are many times we've been clubbing for much longer stretches but those clubs had chairs for the odd rest! Determined to enjoy myself I soaked up the high tempo lights and their greens and purples alongside some great serene nature themed screen visuals.  

I spotted Jeff mills soaking it up from the sound booth. Acid synths and bassy vocals, fire cracker rhythms, loads of 303. Technotastic. TIR being his usual jammy self went to say hi to Jeff, who gave him a drinks voucher and had a nice chat. TIR can't drink but couldn't turn down a bevvy from Mr. Mills so we all helped him out with his havana rum on ice. YUM. 

Ruskin's set gets harder as it goes on. I am zapped. Tired. Hot. Sweaty. Need a shower. As the set ends I am just getting tetchy and irritable. Am on the verge of turning into moody troll and ruining everyone's vibe so I carried myself off to sort my contact lenses out and sit down for 5mins on the sofa in the loos.

The names Mills... Jeff Mills

Jeff Mills can famously be a bit hit and miss. Train crashing through some sets and total unadulterated genius through others. I was in no mood for any more let downs so ventured back out into the bar hoping for the kind of experience I had at The Lighthouse watching him play a live soundtrack to Space Odyssey 2001 being screened on the warehouse wall at Lost. I was not disappointed.

After a short experimental intro Jeff slammed away. Very much a danceable set. I was elated, I was relieved and after half pint of Pepsi I was raring to go. Metallic harpsichord downwards sliding scales cascaded over and over. Chugging bass and odd glockenspiel notes like heavy rain drops plopping on a puddle filled my ears. All I could see were mates dancing (to varying degrees depending on the elderliness of their knees).

Bets were put on as to when The Bells would drop. Following a course of dream sequence style riffs and a horrid sustained high pitched drone - like both flat and sharp piano keys being slammed down for fucking ages I was going mental. Too tired to bear it. But as with last the screech ended, doused by a floaty melodic flourish and new beat, which built up and carried me to awakness as The Bells came in 68mins into the set. EVD and GML had just said their Goodbyes but 30 seconds into the Bells they ran over to us. They had almost made it out the doors before hearing The Bells and rushing back in. Even better - The 909 came out in full effect for a little jam session. It gave me wings. Achy legs said Bye Bye. I LOVE LOVE LOVED IT.

I do like to watch this man at work. He is always so poised and focused. He's like a swan, gliding delicately across the water as its legs do mental flapping away underneath. From the chest up Mills is serene but his hands are a blur as he is busy tweaking and perfecting the set.

Sad to say that we didn't make it to the end. We left 30mins before it was all over. Beaten by tiredness and the wish to get ahead of the crowd for the cloakroom and tube.

A mixed bag over all with some definite highlights, bu the flow and set order was all wrong and UR's lack of sound check and over indulgent sax meant what should have been the best techno night ever, was merely an OK night out. 

Sat 10th August 2013: Black Atlantic x Marcel Dettman @ Village Underground

Before we begin... you can follow adventurer escapades on Twitter by clicking here, Soundcloud by clicking here and now, we have a Google calendar listing all the techno nights we know of worth going to in the UK and further afield. It's top right to this blog and will be updated as and when we know about what's coming up. And if you ever want to know more about any of the DJs and record labels mentioned in this blog, the ones highlighted are links through to more info.

Last minute change of weekend plans meant I was free to go to Black Atlantic, which I was pretty chuffed about as I have missed Lucy play in London twice this year already.

Pariah

We arrived to Pariah's set and hung out in the bar until the full crew had arrived and caught up on all recent gossip and future techno plans. Upon entry to the main room, the sound was ridiculous - as in OUCH HELP GET ME EARPLUGS. All of us - that is all 6 of us - went to the bar for earplugs. To need them right near speakers is fine but to need them just to walk into the room was a bit rubbish. We planted ourselves 10ft from the front whilst TIR scampered off to find the sweet spot. Aside from the ear tickling volume Pariah delivered a solid warm up set of minimal techno. Non-techno lovers may have found it dull and for sure this set eeked out a few £5 early bird Shoreditch kids out for piss up and not for the tunes. The event was sold out but in no way over sold - the crowd was a nice bunch and there was plenty of room to dance, except nearer the front where the temperature was crazy hot.

The Sweet Spot - where the sound is best!

Village Underground is a venue rather than a club, so it doesn't have a DJ booth. The set up was brought in and unceremoniously plonked at one end of the room at ground level. Now I don't know about you but I quite like to feel connected to the DJ somehow and that usually means being able to see them. From 10ft back we couldn't see them at all. It really would not have cost much to get some wood blocks or steel deck under the set up to raise the DJs up high enough for us all to see them. Yes we could have moved to the front but TIR had found the sweet spot and it was a third of the way back with no sight of the DJs. That however, is my only complaint of the night. That and the overly invasive security. Just doing their jobs they may be but when you feel hounded whilst dancing it's not so nice. Lots of unfounded searching and ejecting going on. I saw one girl marched out and none of her friends allowed to follow. I know licenses are being revoked at the drop of a hat in this city at present but there has to be some kind of middle ground.

I rather unexpectedly bumped into an ex colleague - LJ - a lady very into her music whom I had not a single clue liked techno! It's funny how subjects like this never come up at the office. I do talk about my love of techno at work now and am glad I do. Sometimes I get some lush tunes on the Sonos system and am asked what they are and people are always surprised to learn it's techno. And that techno is not hurting their ears, nor is it soulless or indeed crap. I also occasionally find someone else in the building who loves it like me (Hi Mike). However, LJ was an unexpected surprise :) Hopefully we will see her out again soon.

The lighting at Black Atlantic was great - unfussy with just a couple of LED panels at the front and a row of spotlights which sent out various beams and effects that flowed totally in time with the music and mood.

Lucy started his set and brought the real sounds if Berlin. Lots of rolling pulsing bass, bleeps and squeaks and chugging hi hats littered with odd effects and overlays; Really good hypnotic minimal that would wake up every now and then as the effects dropped out and just rolling bass was left in their wake, building up again until it pounded the crap out of you then gently lulled you back into a stompy trance. Galloping horses thrusting out the bass bins and high hats like cans or pop bottles opening fizzing out the top end.

I took a verrrrrrrrrrrry quick trip to the ladies to expel my only beer of the night (yes people, this girl had to be up early for Sunday lunch out in the country so a hang over was to be avoided at all costs - I stayed delightfully sober for a change!). The toilets at this venue have been tarted up very slightly - they are now at least lit properly - woooohooo. I exited to a queue of other not so classy ladies with tell tale frosting of their delicately flaring nostrils. Ladies and gents... Take your drugs if that is what floats your boat, but do not walk about with white rings on your nostrils. Not cool. Have a word.

I returned to the dance floor to a short phase of sounds highly reminiscent of Green Velvet's Flash, some thumping bass and a sudden recognition that the sound had been turned down and sorted out so no more hurty ears. Having not been able to see the DJs I can't tell you if Pariah and Lucy used the same equipment or not so I have no idea if the sound was down to that or just someone prodding the sound guy to turn it down a smidge. Maybe the bar ran out of ear plugs ;)

The heavy stomp gave way to a flourish of glockenspiels and floatiness. The music came to an elegant stop. For a teeny breath of silence I thought Lucy's set had finished but before I could turn around, the speakers roared back to life with a huge bang delved into that kind of disjointed, "chasing horses" thing  - where everything almost sounds totally out of sync and time but is, actually, still totally in time. This always make me get ants in my pants. Then came the hellish droning bleeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeep that went on foreverandeverandeverandever. I am not a fan of one sound going on for ages like a low pitched buzzer alarm that never stops. Makes me feel uneasy, even though every other sound around it changes and flows and sweep along melodically and occasionally the buzzer skips a beat. It's done to evoke a mood or feeling and it does the job but drives me mad until it gets to it's fucking point - like being in a dream where you can hear the alarm and can't work out your are asleep and need to turn it off. But, if you can handle it for long enough, when the break does happen - it's just sublime. It's like someone has been shaking your head hard for as long as you can take it and then hands you a pillow for a blissful lie down.

Lucy's set lost my attention for 20mins towards the end as it got more experimental and although sounded amazing, I lost the urge to dance so much. However, for the final 15mins I was enthralled again. I heard the drum sounds that always remind me of the old Guinness advert with the surfers and horses (Leftfield - Phat7 Planet), I heard toy soldiers drumming and a constant rhythmic phrase repeating in various sliding ranges. Every sound in techno evokes a memory in me and I have a vivid imagination. You need to be intelligent and creative to enjoy this genre. Otherwise its just noise. Your brain has to take all that imagery and binary code it. The randomness that is conjured up - everything from childhood playtimes to helicopters to alarm clocks, to shopping trolleys to computer games to dentist drills to waves on the beach and pebbles skimming on ponds. Every single sound is a sample from somewhere in my past and I think that is why I love this genre so much. It's a pretty varied soundscape. There are not many genres where you get to hear the finest emotive top end violin of a symphony orchestra mixed with muted elec guitars and tribal bongos and whirring fans and helicopter blades woodpeckers in trees and have it all sound cohesive and beautiful.

TIR and I continue to be impressed by the lighting. It was totally in tune with the music and very simple. No lasers here. There was a light haze in the air, just enough to make the lighting effects really work their magic but, there were no smoke machines. The gobos used created amazing simple effects as tubes of warm light trumpeted out followed by what looked like each lamp blowing smoke rings, then sun rays, then just warm burning embers. At one point for 5 seconds only we got a full rainbow of pastel beams - really pale and subtle but 100% needed unicorns to top it off.

Lucy's set ended to rapturous applause and Dettmann took to the decks. The time was now about 4am and I was supposed to be going home by now to get up at a sensible time for a lunch in the midlands. But how the hell do you leave Marcel Dettmann starts playing? Well you don't.

Dettmann was instantly a lot more uplifting than Lucy. Old school acid house vibes and synthy sounds wrapped up in some stonking techno. Driving beats. Now we're trucking. I was on cloud nine. Lucy had been slamming and a wonderful journey through sound and now Dettmann was just plain old hands in the air heartfelt joy. Didgeridoos and wooden hollow drum beats. Just at the point you think it's all going to get a bit too lovey, he's back in with an in your face dance floor pounding. Somehow though, even at it's least fluffy, Dettmann's set still has warmth and soul.

One of the people out partying with us was the lovely EVD. I have only ever shared a dancefloor with her a handful of times but we definitely have a techno bond. Never afraid to point out the problems with a night or the people around us we are kin in the need for perfect atmospheric conditions. She wanted harder faster louder more all the time, and gradually had us moving towards the back of the room for more space. As the room emptied a little later in the night the back was awash with decent dance space. I am not sure if the speakers hung half way down the room are a new permanent fixture or if the promoters brought them in but BRAVO!!! It was the first time I've been to Village Underground and the sound at the back has been as good as the sound at the front. So whilst we were at the back for space, we would usually be parted from Hilda who was born down the front and will most probably die down the front, in her sandals with her arms in the air. But low and behold - and it's now noted in history on the intwebs for all to see... HILDA JOINED US AT THE BACK. It may never happen ever again. And I swear I even heard her utter the words "ooo it's quite good back here isn't it, I've been missing out." She may well deny all knowledge of this. But we know. Unfortunately I have no video evidence. Was too busy enjoying the tunes.

I am a sucker for lyrics in techno. I used to sing a lot when I was younger. I hear melodies before I hear beats. I listen to lyrics before I listen to the voice singing them. I fell in love with one track and had no idea what the hell it was so typed the lyrics into my phone and have just googled that bad boy. VOILA:

And with that I had to leave and jump on a bus home. I got 6hrs sleep, woke up with no hangover and had a wonderful lunch on Sunday with my bestie in her new home in the middle of bloody nowhere. The Sunday lunch was almost worth missing the end of Dettmann's set for. Hilda told me the next day he went off on a bit of a tangent for the last hour and she wasn't feeling it so much. But she also said TIR would disagree. And I think so would I. I bet it was awesome.

Next big night out is the much anticipated Hydra Vs Blueprint tonight. I shall bring you news of this sometime next week. I am carb loaded, fully stretched and ready for a 12hrs techno marathon of epic proportions. Followed by a sleepy recovery and lazy bank holiday. Have a fabulous weekend whether you are at Hydra, Dekmantel, Carnival or elsewhere this weekend.

Maybe see you all at Plex, Colony and VOID next weekend...

The next Black Atlantic night is Wednesday 19th October at KoKo presenting Moderat. Buy tickets here:
http://www.residentadvisor.net/event.aspx?502829 I'll be seeing them the night after in Amsterdam for my birthday trip to ADE :)