The frenetic world of electronic music is full of distractions and diversions, hindering the ability to find transcendent music. Let Oggie James be your guru and lead down the path to musical Enlightenment.
Album, song and event reviews, mixtapes, and radio shows, light the way to Enlightenment, conveyed by Oggie James.
Friday night I finally got the chance to see Horse Meat Disco in person (at least half of the quartet as it were). Love and freedom ruled CODA as Severino Panzetta and Luke Howard hit the decks for an extended set full of fabulous edits and originals alike. all oozing with funk, biting brass, sensational strings and piquant piano. True to the talk around Horse Meat Disco and their long running party at The Eagle, the atmosphere was incredible and the dance floor was packed the whole night.
While I'm still relatively green when it comes to the greater disco catalog (certainly in comparison to Severino and/or Luke), there were numerous tracks that I knew right off the bat and was able to enjoy in utter ecstasy (see Dimitri From Paris's edit of "Salsoul Rainbow" or Joey Negro's dub of "Found A Cure"). On the other side of things, Horse Meat Disco don't have many of their own productions, however Severino did just release a solo remix effort, taking on Babert & Pink Flamingo Rhythm Revue.
Out now on Midnight Riot Records, this "Good Lyfe" remix is a brilliant blend of the bottomless bounce and groove of deep house with the distinct flair of disco. The chords craft a cool, luxurious italo-disco dance floor primed for your feet to follow the playful percussion all as the vocals spin around your head. It is a hearty and powerful production, that while featuring extended dance sequences never seems to drag, but rather further welcome you to the floor for more fun. Get Severino's "Good Lyfe" here. FOLLOW SEVERINO: FACEBOOKSOUNDCLOUDTWITTER FOLLOW BABERT: FACEBOOKSOUNDCLOUDTWITTER FOLLOW PFRR: FACEBOOKSOUNDCLOUDTWITTER
This weekend the world was tuned in to the awe-inspiring success that was FIRE FESTIVAL 2019, the spiritual successor to last year's head-turning COALCHELLA. Boasting A.G. Cook, Arty, Hudson Mohawke, Iglooghost, Slumberjack, YOOKiE, and a whole host of others on one incredible bill, the two day extravaganza had everything. Whether you stayed locked in on one stage or took full advantage of the epic Minecraft world, the whole undertaking was an absolute wonder. As early as Saturday night, sets began to get shared to Soundcloud, many of which come complete with download and/or tracklist. While I (obviously) didn't get a chance to hear each set, a few of my favourites that you can find in SLEEPYCATT's official recap playlist are Krysh, Poolboy, and onlytom. Stream/download below.
Friday night I finally crossed out one of the names at the top of my must see list, as Purple Disco Machine brought his blend of disco funk, soul house to CODA. With disco's popularity seeing a surge, there's been few who have benefited more than PDM, who has been ablaze behind the decks and in the studio over the past year plus. He's been on big time BBC slots in Ibiza and the Essential mix, as well as authoring chart topping originals and remixes. Really this was the perfect storm, and it certainly came to life at CODA Friday night.
The atmosphere was palpable immediately upon arrival as the now typical all black outfits were much fewer and far between as the line at the door was littered with bright, floral patterns. People were giddy to get in and meet up with their friends, and questions as to what tracks Purple Disco Machine would drop arose as the anticipation to take the floor became more real. Upon entering we were welcomed with a new stacked wall of speakers at the back end of dancefloor, essentially enclosing the square with surround sound. CODA has always been known for good sound, but this certainly cements its status as the spot to be.
Already busy an hour before Purple Disco Machine's set, Simon Jain was doing a great job getting the groove started. Sporting a bright ice cream cone patterned tank top and flanked by half disco balls, Simon spun smooth disco house numbers full of string swells, funky bass lines and dope drum grooves. I nearly melted when he took to Yuksek's remix of L'Imperatrice "Vacances," yet this was just the beginning as PDM was soon to follow.
When the familiar face of Purple Disco Machine and his own floral outfit emerged in the booth and the transition became immanent, the crowd cheered thanking Simon Jain and roared in anticipation of PDM's presence on the decks. Building slow and strong the groove and warmth of his set was omnipresent as he offered the perfect blend of nostalgic feels and contemporary production potency. He broke out many of his own productions and a number of repackaged classic samples, all to great appeal.
One of my favourite things about disco and house sets is their long form, extended dance sections. These oppose the kinds of sets happening at Lost Lands this weekend, where its more about rapid-fire drops and banging bass blows. Here you can come and go more, drift in and out of tracks, always able to rejoin the reliable dependable four on the floor presence. You can explore the club and the space, no need to drop everything and run to the floor to go crazy to the drop, just play around how you like and let the music move you. And while Purple Disco Machine wasn't really following A-Trak and Todd Terry's "DJs Gotta Dance More," he was indeed in tune with the crowd, literally and figuratively playing with them. Not giving too much away I've posted a short playlist of some of the tracks I heard Friday, one of those wonderful nights where you truly get lost in the music. Enjoy below and be sure to check out PDM if/when you get the chance. Same goes for CODA who's system and setup is can't miss.
It's hard to believe that 1) this time last year we were gearing up for the The Hoxton finale and 2) that No Neon has been one of the coolest parties for 3 years now. Further, playing the comfy confines of CODA, and their superb sound system, made No Neon's 3rd anniversary even more unbelievable.
Billed as a Hunter Siegel open to close set, he was actually joined behind the decks with Autoerotique, who Hunter said has been part of the most No Neon B2B sessions. No word whether this was because Hunter's "entire music collection [got] corrupted" the night before. While both brought out some new weapons, including a banging remix of Ekali and ZHU's "Blame," the night focused in large part on throwbacks, paying homage to the history of this epic party series.
I've compiled a short list of tracks played last night, starting with perhaps the No Neon anthem, "OTF" which was premiered at one of the previous shows. It also runs through a spell of dubstep, culminating in the sublime switch from the original into Sub Focus' remix of Rusko "Hold On." Hunter also managed to work in multiple MK tunes, including "Look Right Through" and "My Head Is A Jungle." He truly touched on every genre in the epic set, with only the smallest of samplings below. Enjoy!FOLLOW HUNTER SIEGEL: FACEBOOKSOUNDCLOUDTWITTER FOLLOW NO NEON: FACEBOOKSOUNDCLOUDTWITTER
Last night I took a bit of a deviation from my typical tour of DJ sets, to check out Great Good Fine OK and Tigertown at The Garrison (a venue I've been to before, albeit only for stand-up comedy). As you may have noticed, I've been branching out recently, finding myself enjoying live, dance music as opposed to purely electronic productions, so this show couldn't have come at a better time. While I'm sure I'll always enjoy DJ sets, and there's no questioning the skill and value behind them, there's just something so fascinating about watching someone perform their song live. Whether a flamboyant, energetic exhibition or a restrained and muted matinee, the simple act of taking a stage and performing is equally revealing and powerful. After having drowned myself in EDM for years, last night I was awakened to the art that is a live performance (band, DJ or otherwise). To close off this idea, I would suggest checking out my article on FUXWITHIT, where I pose questions about the nature and value of live performance in the ever changing electronic music scene, here. Now, on to last night.
I arrived at The Garrison with very few expectations overall, and absolutely zero knowledge of the openers Tigertown. The Aussie trio was already well into their set, with a growing crowd becoming more and more captivated. Led by Charlie's warm smile and infectious energy, their mix of electronic elements and Chris' guitar worked wonders, getting the dance groove going while leaving room for extended solos and singalongs. Their chemistry was almost immediately palpable, and as it turns out today is Charlie and Chris' seven year anniversary, lending greater insight into songs like "Papernote" and "Come My Way." They even shared a new song they had only just written the day before, and whether slow or upbeat, their songs were always warm and fun. Finally they announced their last song, "Lonely Cities" which absolutely rocked and cemented me as a new fan. Tigertown and the crowd showed their appreciation for each other, as we waited for Great Good Fine OK to take the stage.
After quite the extensive set up was complete (nearly a dozen guitar effect pedals, a keyboard, drum pad, drum set, laptop and 3 mics), dozens of flashing multicolour disco-ball ring lights were given to the crowd. Russ, Danny and Luke then took to the stage, the latter throwing glow sticks to half the crowd. They then started their first song "Already Love," to which Jon made his grand entrance with light up shoes and his trademark kimono, throwing more glow sticks to the other half. It didn't take long for the crowd to be swept up in the incredible, uplifting and funky energy the foursome was pouring out. Jon's vocals were as wonderful and emotive as ever, Russ wailed away on the guitar, effecting it in seemingly infinite ways, while Luke orchestrated the complex arrangements and Danny delivered dance ready drum rhythms. Luke's incredible ability was on full display during "By My Side" as he worked between the pads with four sticks, the keyboard and eventually the keytar. This crowd favourite was followed by a brand new unreleased song, led by some special guitar work from Russ.
By this time everyone was sufficiently warmed up, which led to some spectacular solos, particularly in "Bring You Back." It saw the both the guitar and keytar play rivaling solos, as the former leaned out into the ravenous audience, even allowing one fan to lick the guitar mid-solo. The love and fun continued to climb as the foursome moved through their newest releases, "Holding You," "Always," and "Find Yourself." In spite of it's name, "Too Much To Handle" had the crowd demanding more, bringing GGFO back out for an incredible encore of "Get Away," to which Jon ingeniously included lines from their Chainsmokers collab "Let You Go." As the four took their final bows, amidst an extended applause with hooting and hollering, some of us in the crowd we left stunned. Their set was everything I could've hoped for and more. It was the perfect mix of strong sing-along content, deliriously delightful dance grooves and just down right magical music. Without a doubt I'll be eagerly awaiting Great Good Find OK's return to their "favourite place on earth."
I was pretty sure seeing Henrik The Artist for the first time would not be a disappointment, in spite of my incredibly high hopes, and thankfully he blew them out of the water. If you're interested in the play by play, head to my twitter and have a laugh. But I'm sure you really only care about the music, so I'll do my best to show off what I remember from the sublime set here. Tracklist above is of course incomplete, and not entirely attributed (although those without artist names are either Henrik's or some kind of remix/bootleg). So here you go, enjoy and don't be afraid to turn all the way up, it's worth it.
I will end by saying that while I don't think this is the version of "All I Do Is Win" he played (his was more internet/meme friendly, especially in the vocal treatment), but it's an enjoyable version nonetheless.
When the lineup for the WayHome Music and Arts festival was first announced, there were two artists at the top of my list: Justice and Mura Masa. By the time the festival actually rolled around I had added a significant number of names to my list of must see acts (see here and here), but still there were two tracks from those first two artists that I essentially hung all my anticipation on: my #1 track of 2016 "Randy" (read here) and "Helpline" (read here). Unfortunately neither track was played, but that didn't stop this past weekend from being perhaps THE BEST WEEKEND EVER.
This being both my first WayHome, and my first overnight camping festival, I went in with very few expectations or even ideas about what I was getting myself into. I was also flying solo for the most part (bouncing between groups of friends, as I'm apt to do), which allowed for full freedom and discovery. I had a strong schedule of who I wanted to see, but that was more of guideline rather than a strict itinerary. And this is part of what I love about being a blogger/reviewer as opposed to a photographer/videographer/etc, it allows me to experience the festival as a whole, while still focusing on the music. From the camping, food, staff, fellow WayHomies and everything in between, WayHome was pure perfection. If you're reading for the music only, jump ahead to the break below.
Weather
Mother nature set the mood for the weekend right off the bat, clearing out the clouds, turning up the temperature and letting the sun shine full blast from Friday morning through Sunday evening. Even the grass was green, which I'm told was not the case in previous years. Check out the Friday night sunset.
Camping
The seemingly endless rows of camping played host to hundreds of little parties. It was absolutely mind-blowing walking from one corner to another, passing thousands of people all here for the same thing. Saturday morning I met up with 404, and we literally went back and forth between a half dozen different groups of people getting ready another full day of fun. This was tiring walking so far, but inspiring in that it brought so many people together. However the highlight of my camping came when I met Kyle (left) and his group from Barrie. Just take a look at this character (RIP those sunglasses, which fell into a porta-potty minutes after this picture).
Food
No matter your dietary restrictions or desires there was something for you. Poutines aplenty placated, staples like Pizza Pizza and Beaver Tails satisfied, while dozens of other delicacies tickled your taste buds. I had a wicked good (but ultimately bad choice due to time spent in the porta-potties afterwards) spicy chorizo burrito. However the most talked about foodstuff was The Colossal Onion, but beware it's not for the faint of heart, I barely made a dent in mine even though it was sinfully scrumptious.
This weekend I took to Burl's Creek Event Grounds for the third edition of the WayHome Music and Arts festival. Perhaps you followed my exploits Friday (live blogged here) or throughout the weekend via Twitter. While I'm working a large scale recap for this blog, and perhaps more elsewhere, I first wanted to share one of the more unique experiences from the truly magical weekend.
One of the undeniable characteristics of WayHome is love, and there was perhaps no better example of that then the nuptials of WayHomie couple, Chayla and Almir. The wedding, which was performed by my friend, and fellow Radio Humber alumnus Kenan (now of 106.9 FM The Wolf), showcased both the incredible community feeling and energy of WayHome, as well as the aforementioned love.
In terms of energy and fun, the above video has it all. But if you're looking for a little more love, or just some more wit and humour from Kenan, enjoy the full ceremony below, complete with The Big Lebowskiand Waiting...references. Apologies for the low quality, I'm but a blogger, not a photographer.
Saturday night saw a funeral of sorts, as people piled into The Hoxton for the final time. Fittingly, the Hunter Siegel led party, No Neon, was tapped to send the iconic club into the abyss. Despite being the host to countless epic parties and superstar DJs, The Hoxton has become synonymous with No Neon. They've combined to create utterly iconic images, showing the world the passion Toronto has for not only its Dark Plur host, but its numerous guests (AC Slater, Drezo, Dr. Fresch, Joyryde and others). No Neon has traveled, but its home will forever remain The Hoxton.
Of all the shows I've been to at The Hoxton, it's always No Neon that best illustrates what the 69 Bathurst venue had to offer. I'll always remember it for its tight, community feel as well as the unmistakable, rachet/lit party nature. What separates The Hoxton from the other venues I've been to is the closeness of the crowd and DJ; the connection and reciprocal energy sharing from DJ to crowd and back again is unparalleled. The stage was always packed with not only that night's DJs, there to support their peers, but others not playing that night, who couldn't help but take in the atmosphere.
This was only amplified when, after last call, The Hoxton's staff would join the hype crew on stage, giving back to the crowd, not just with their injection of energy but often pouring alcohol into their mouths. Ever since the party ended after 40+ minutes of encores, I've had perhaps the most iconic image of The Hoxton burnt into my head (the photo above): an overcrowded stage with Hunter in the middle commanding the decks, book-ended by Stephen Kazumi and two girls on either end of the yellow DJ table. Below I'll dive further into the night itself, with a chronological breakdown of events.
The night was billed as a Hunter Siegel open to close set, and that's essentially how it happened, although he did have help from a number of special guests. With the headliner also acting as the opener, people showed up early, sending the line outside around the corner shortly after 10 PM. It was noted by several people in line that it was especially dark, both because nearly everyone was wearing all black, and The Hoxton's neon sign was not lit. Whether this was done in light of it being a No Neon event inside or otherwise (it was not on for Joyryde the weekend prior), it seemed fitting.
Once inside I was greeted by countless familiar faces, both known acquaintances and unnamed revelers whom I had unknowingly partied with before. The scene was bittersweet, knowing that this would be my last time in such comfortable confines. The music in the early going was also easy and familiar, Hunter coming on the mic to say "I'm taking it easy right now cause we've got a lot left." The first few tracks I can recall include SNBRN and Sevenn's "What You Need" mixed into Hunter's "Bootleg Beat Control," shortly followed by his Wax Motif collab "All Night Man." Sometime later, after greeting more friends, Hunter dropped more of my favourite tracks including Wax Motif's "Krush Groove," and Gesaffelstein's "Control Movement" into the crazy good collab "OTF," which was birthed at No Neon early last year. It was at this point that I got close to the front of the stage, the floor felt like it was going to fall out from under us, and I began taking video after video (all on my Twitter, starting here).
Being so close to the front, I noticed my favourite spot at the left side of the stage was open and proceeded to take a couple videos that I hope encapsulate the connection between DJ and crowd, which made it my favourite spot to take in events at The Hoxton. While the view is occasionally obstructed by photographers, there is no better way to take in the interaction between DJ and crowd. The two videos (here and here) show the peak of Hunter's set before the special guests came out.
By this time the crowd was starting to thin out, however I had promised myself I'd stay till the bitter end, wanting to see the lights come on one last time, wondering what the last track to come out of The Hoxton's speakers would be. Before the seemingly endless encores and outpouring of love from both the fans and the DJs, I was able to capture a couple more videos (here and here). Both came before 3AM while the final track, Neil Young's "Heart Of Gold," was dropped at approximately 4:35. Despite continued chants of "One more song! One more song!" "We're going till 6!" "They're going to have to drag us out of here!" the plug was finally pulled and The Hoxton was essentially no more. I leave you the image and video below, both from Stephen Kazumi. Here's to more No Neon's in the future!
My love for Cosella is well established, I've written a number of posts on this blog about his tracks, and DJ sets, as well as premiering his latest production "No Boundaries" with FromDropTillDawn on Bump In The Hump. Last night I caught another set of his, while he opened for AC Slater, and I was also able to capture a couple moments that perfectly encapsulate why I love him and his sets so much. First of all he's a genuine dude, never passing up the opportunity to chat with me before/after his sets, always answering my questions, as to what he played etc. He's warm and funny, even jumping on stage early to do a pre-set stretching routine. Second, as I've mentioned many times before, his networking skills are nearly unparalleled, giving him truly unique tracklists every time he hits the decks. He's got a keen ear, always selecting the perfect tracks to get the crowd going. Whether it's Riton's "Rinse & Repeat," Noise Frenzy's "Pon De Floor" remix, the latest from Chris Lake "Operator (Ring Ring)" or Metroplane's "Bahp" below, he's always able command the crowd like a master.
This next video, I tweeted about at the time, saying I "captured the dopest three minutes of life," which he then followed with his remix of Destructo and Wax Motif's "Catching Plays." For some reason it sounded better than ever, causing me to wonder whether he made a VIP version. He said it was just the original remix, but in any case, it crushed again, making the killer three minutes into a fire five or so. Watch him mix Black Beatles with SwaggleRock's "Next Hellifornia Shake" below, and be sure to check him out next time he's got a set, you won't regret it.
Tuesday night was unbelievably busy on twitter, obviously as a result of the election, but I was tweeting almost exclusively about an incredible show at Velvet Underground, with Coucheron, Chet Porter and Lemaitre. The latter, I only came to know though one of my favourite remixes, from one of my favourite artists, Louis La Roche. His "Splitting Colors" remix features the classic touch that takes the Brit, Brett Ewels, and transforms him into the nu-disco/funk/French house producer that we know and love. It's bright, bleepy, poppy and powerful, and as a cherry on top it features steel pans. Those little riffs add another level of catchiness to the already earworming production; there's no denying its awesomeness.
Of course seeing Lemaitre live is the impetus behind this post, and while I essentially went to this show because I never turn down a chance to see Chet Porter, I was beyond impressed with both Coucheron and Lemaitre. In fact it was Coucheron, who came out of the back corner, grabbing a guitar and absolutely shredding a solo on "Splitting Colors" in the video below.
Lemaitre themselves were an absolute joy to watch, as the duo of Ketil Jansen and Ulrik Denizou Lund went back and forth between multiple instruments seemlessly, showcasing incredible versatility. Their energy was immediately infectious, as they had the crowd jumping in unison, mere minutes into being on stage. They were tremendously positive despite the dark pretense of the American election results pouring in throughout the night, looming as a dark cloud in many minds. It didn't help that throughout his set, Chet came on the mic asking if Hillary had won yet, to which the crowd continually groaned, "No." That aside, it was an awesome night of music, from Coucheron's excellent opening set to the overwhelming love to and from local, Chet Porter, through to Lemaitre's powerful live performance. While there's no proper way to illustrate either Chet or Lemaitre's live sets, I've compiled a short list of tracks Coucheron played, with of course a few missing due to their unreleased nature.
Feels like I talk about Ryan Hemsworth all the time, so it should come as no surprise that I had such a great time last night at Velvet Underground for their special Absolut party. This event had been on my radar since mid September, when the call for RSVP's went out. Oddly the RSVP's didn't seem to play in at all, other than allow Absolut to email us. The initial online list only asked for first names, which they didn't confirm on the way in. This is all fine because it was free entry, which we were reminded of multiple times. "Arrive early to avoid disappointment." And early did people arrive, I've never seen such a long line (in proportion to the venue) 45 minutes after doors. Unfortunately I got there as the same time as everyone else; the line wasn't half as long any other time during the night. Once getting in I was treated to the wonderful surprise of two free drinks. Despite the long wait due to the complexity of the four different Absolut branded drinks, they were well worth it. Velvet was specially made up with installations by Adam Hummell & Shadi Assadin, creating VIP vibes. People were more dressed up than normal, drinking nifty drinks from crafty cups, listening to the coolest mix of music. On the floor the constantly flashing lights in our cups were joined by one of many little artsy touches that made the night so special, some kind of headgear covered in LED lights - a mix of deadmau5 and Rezz.
While I always really enjoy the crowd vibe at Velvet, last night's was extra enticing. People were talking to each other more, having freer fun, all while being warm and respectful. It took me back to the 'good old days,' filled me with nostalgia, and members as though this were South Park. Whether it was the free booze, the extra attention to the visual aesthetic, the incredible curation of the DJs sets, or a combination of all of those, it certainly felt like a night I'll remember fondly. The highlight for me is, as you would have guessed, Ryan Hemsworth's inimitable 'live' mixing style. While technically what he does probably isn't unique, Ryan's multi-track live mashup approach is tremendously enjoyable and well conceived. The constant mixing together of bright, happy, at times kawaii, beats with rap vocals creates an incredible, uplifting cacophony of sounds that shouldn't work, but always does. His sets dart back and forth between solo elements of the two, including many of his own productions, which, if you're like me hits you right in the heart. He mixes so quickly from element to element, you don't have time to get bored let alone shazam it. Not that it'd matter, shazam wouldn't be able to identify much anyway, due to the constant mashing up. Nevertheless, here's a few tracks I did identify last night.
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Once again The Hoxton played host to one of the wildest nights imaginable, seeing the like of legends, Felix Da Housecat and Destructo take the decks, with support from Sita Abellan and Cosella B2B with Maddmon, last minute fill-ins for Josh Pan who was unable to cross the border without his passport. I truly have no idea how many times I've been to The Hoxton. I've seen countless crazy, ratchet and lit shows, but this one was certainly one for the books. I had been lamenting The Hoxton's new LED screens and the fact that they take up so much room onstage, which meant a lack of room for VIPs and hype crews. This didn't stop Destructo who kept inviting people (mostly and almost exclusively girls) on stage, despite security constantly sending them back down. Being a Halloween themed event, there was not only a lot to see, but it meant that people were really letting lose. Destructo led this charge and established this ethos early. Apologies for the audio quality, this was my first night with my new phone and haven't perfected my abilities yet, at least the video is better than it was with the last phone.
Destructo played to, and with the crowd for nearly two hours, which meant he had an extended playlist that included a number of his own tracks, "Technology," "Dare You 2 Move," "Higher," "Catching Plays," and a number of new and exclusive tracks, including a forthcoming track with Snoop Dogg.
Perhaps the best video to illustrate just how crazy the night got is this one where the stage became totally overloaded with fans, leaving security utterly helpless. But as Destructo kept saying, as long as you leave the DJ equipment alone, you can do whatever you want.
As Destructo himself said when he played Vindata and Wax Motif's "Crazy," Toronto is "f*cking crazy," and he loves playing here. He prefaced that by saying, while most DJs say that no matter what, and where they are, he truly meant it. We can be confident he spoke the truth since he professed his love for Toronto in a recent interview with TRC. I can only hope that we get to see Destructo here again soon, and that next time, Josh Pan remembers his passport. Pan has vowed to "make it up to [...] Toronto."
Last night Travis Stewart, aka Machinedrum took to the stage at Velvet Underground for a special live performance of his album, Human Energy. I'll be honest, up until a month ago I wasn't even aware of Machinedrum, but when I stumbled across his album I was immediately taken. The bright computer driven sounds, fantastical flourishes and streamlined approach at storytelling is exactly what I look for in an album. The continually playful and progressive style of his effect-driven tracks and their multitude of tempos make Human Energy a wild white-knuckled ride. The composition of the album is such that it lends itself to a live performance, allowing fluid movement between tracks.
He began with "Ocean of Thought." Waves of emotion washed over the sea of faces, as the incredible over arching progression of the track reached its high water mark, breaking the levy, setting in motion a series of events that could not be stopped. The following track "Spectrum Sequence" brought beams of light as the crowd bounced along with the wobbly synth strides. Each climbing chord catches the ear, burrowing into the brain, taking command of our corporeal being, slipping into our souls.
The composition of each euphonic sound and symphonic stride is key to the quality of each track. There's a clear road-map for Machinedrum to follow, he just has to fill in the blanks with his finger drumming and machine manipulations. It was interesting to note that he didn't follow Human Energy's tracklist, opting to take us on a unique journey. Moving from the more anthemic arches to fast flying tracks and resplendent reprieves, the emotional roller-coaster that is his album and his performance of it, kept the floor of revelers on their toes. "Morphogene" is perhaps the best example of this. Nothing stays the same, "the only guarantees come with changes." The movement in each track is simply spellbinding.
It's impossible not to get whisked away by flourishes of "Isometrix" or the impressive intensity of "White Crown." Then again the stoic strength of "Colour Communicator" and its palpable perfection is enough to inspire even the most insipid listener. That's the beauty of Machinedrum's live performance and album. Despite relying entirely on computer based, digital sounds which obviously lack humanity and emotion, he is able to inject it chalk full of feeling and (human) energy. The albeit limited lyrical content succeeds in adding an emotional element and story we can sink our teeth into. Whether it's "Tell U," "Do It 4 U" or "Celestial Levels" the theme Human Energy stands strong throughout. The final track of the night "Angel Speak" had me feeling all kinds of awesome, simply stunned by the potent performance I had just witnessed.
As I tweeted last night, Human Energyis likely my favourite album of the year, Machinedrum's set may also be my favourite of the year, and he definitely deserves some sort of Grammy consideration, both for the album itself and what I believe to be the standout track (among others), "Colour Communicator." If you get the chance to check out a Machinedrum show, DO IT! And be sure to stream Human Energy so you too can feel "sad, elated, wistful, petrified" and ready to explode.
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Last night The Hoxton played host to Rezz's Something Wrong HereEP release party. Arriving shortly before 11, I was immediately astounded by the number of people already there. The place was packed the whole night, with a fervor rarely felt, save for the biggest acts, and it's quickly becoming clear that Rezz is one of those. I can honestly say I've never seen a crowd more ravenous for any artist ever, the anticipation throughout the night was incredibly palpable, and rose to near dangerous levels as the crowd was egged on by openers, Melissa Calavera and Cosella.
Both did a great job grabbing the crowds energy, guiding them to the dancefloor, and riling them up for Rezz. While opening the club up can be a thankless task, Melissa Calavera did a marvelous job, maintaining a deep groove, slowly amping up the energy; to great success I might add, as from front to back there was no shortage of people dancing. Cosella continued this trend, with veteran poise and professional mixing despite the now raucous crowd. He was the victim of a stage charger, who twice jumped up, ambushing him in an attempted a selfie. The rest of the crowd was acutely aware of this trespasser and when she tried to escape from security for the second time, she fell over, causing the crowd to cheer.
While the largest cheer of the night was reserved for Rezz (and rightfully so, as it was her night), Cosella captured the attention of many with his unreleased and bootleg tracks, accrued from his undeniable networking acumen. His unique blend of booty, ghetto and tech house had the whole club reeling with tracks like his remix of Destructo's latest "Catching Plays" and bouncy bass numbers from Yolanda Be Cool, Walker & Royce, and Noise Frenzy. As I tweeted last night, I'm always fascinated to see how DJs handle the switch over between sets, and while continuity is perhaps ideal there's plenty of ways to play it. The hand off between Melissa and Cosella was well done, not losing anything, later Cosella chose another route, leaving the stage early, killing the audio, creating a vacuum of anticipation.
The manic masses roared "Rezz! Rezz! Rezz!" even cheering when her drinks were put on the decks. It was almost as though people were expecting the Beatles to come out, there was absolute hysteria. People were on the verge of tears as dozens grabbed for their phones in hopes of recording something historic. That's when things really got lit. Rezz's trademark 'hypno-goggles' turned on alongside her mesmerizing visuals on the three screens surrounding her. The contrasting bright lights and incredibly dense, dark bass drops had people in absolute awe. Early into the set, her track "Edge" came on and the crowd sang along despite the lack of vocals.
Part of what makes Rezz so alluring is her unwavering ability to command the expectations of the crowd while deliver her daunting darkness. She's done a great job curating her sound and style, leading her fans into the dark abyss, while maintaining a bright, bubbly exterior. She truly is a force to be reckoned with. Her sets have become legend, playing almost exclusively her own content; something that you need to see/feel to believe.
I've complied a small sampling of the most commanding tracks from last night, below. Enjoy and be sure to keep an eye on all of last night's performers as they're all going places.
FOLLOW REZZ: FACEBOOKSOUNDCLOUDTWITTER FOLLOW COSELLA: FACEBOOKSOUNDCLOUDTWITTER FOLLOW MELISSA CALAVERA: FACEBOOKSOUNDCLOUDTWITTER
Last night locals, Harrison, Allie and Clairmont The Second all took the stage at Queen Street's Velvet Underground. The party follows the release of Harrison's debut album, Checkpoint Titaniumwhich features both Allie and Clairmont The Second as guest vocalists. Both openers took advantage of The Velvet Underground's small space, injecting the audience with incredible energy. Much like the last time I saw Clairmont The Second (with Tennyson at The Great Hall basement), the energetic performer took to the crowd, literally bringing his vivacity to them first hand. This was one of the themes of the night, the local, community and family feel that was ever present.
It was a special night for Clairmont who was celebrating his 19th birthday, with his crew/family there documenting the whole night, which was also the last of his tour (which saw him play 5 cities in as many nights). Many of the attendees were well versed in Clairmont's songs, singing along while riding along his dynamic delivery and flow. By the time Harrison took the stage, the crowd's energy hit a boiling point as the headliner was joined by a guitarist for a dreamy, illusory intro, at once grabbing the audience's attention and energy. He then proceeded to bring up both Allie and Clairmont for their respective tracks, "Vertigo" and "It's Okay I Promise."
By this time the crowd's energy (and perhaps inebriation) was absolutely overflowing. Dance battles were breaking out with Harrison's tracks making people faint into their friends arms. There was one particular patron whose signature move was miming a trust fall not just into his friends but into random, unsuspecting guests. This boisterous bumping was perhaps commanded by Harrison who at one point took to the mic to tell us "If you're looking at me, you're doing it wrong. Dance! Dance with yourself." This was really taken to heart by the crowd who were absolutely eating up everything Harrison brought to the table.
The who's who of Toronto electronic artists were there in support of these three fast rising talents. Sighted in the crowd were Pusher, Chet Porter, Grandtheft and Ryan Hemsworth, who also took the stage alongside Harrison, first to play their collaborative effort "Vanilla." After that success, the two played what seemed to be an impromptu B2B set which lasted a good 15 minutes until Harrison took the decks back for himself, playing popular tracks such as his remix of Nelly Furtado's "Turn Off The Light," "Right Hook" and album title track "Checkpoint Titanium." Just before the clock struck 2AM, Harrison once again invited Hemsworth to join him on stage where they declared their desire to play until security kicked them off. Despite the now dwindling numbers, the two continued to command the crowds attention dropping the likes of Shiba San's "Okay," Riton's "Rinse & Repeat," and new Mr. Oizo and Siriusmo, "All Wet."
Overall the night had the distinct feel that these young artists are the future of the Toronto scene. Harrison's combination of sound and style, new and old, and live performance are clearly forward thinking and provide a truly enjoyable experience. Even twitter account @HungoverFromFun addressed this fact, calling the three performers "the future of Toronto." Expect your friends to become familiar with the names Harrison, Allie and Clairmont The Second as the three continue to strengthen their stranglehold on the Toronto scene and expand into the mainstream consciousness.
My body is worse for wear, but my mind has never been so satisfied. This year's edition of Bestival exceeded even my grandest expectations. From Maddmon's opening set under the Big Top Saturday, to The Cure closing down the Main Stage Sunday, and all of the surprises in between, the ethos of BestivalIncrease The Peace rang true throughout. I've never been to any festival that can rival Bestival's family-friendly inclusiveness, genius curation and undeniably loving atmosphere.
I was disappointed to leave the island venue, in spite of the frustrating ferry service, but Woodbine Park actually ended up being as good, if not better than last year. The stages were significantly closer than last year, with a little bit of sound bleeding from the Big Top to the Main Stage; enough to cause Robert Smith to have his headphones at maximum volume, so he could stay on beat. The Bollywood stage was a brilliant reprieve, removed from the hustle and bustle of the rest of the venue. Even further removed, in a quiet, wooded corner of Woodbine Park, the Sunday Best Balearic Beach Bar was the ultimate chill zone for people to relax, lie under the shade of the trees and refresh your soul with therapeutic, ecstasy inducing vibes. Rounding out the Bestival atmosphere were a Dr. Suess-esque bicycle with dozens of drums and noise makers for people to play, the infamous Inflatable Church and Cosmic Commune, which hosted plays and other intimate performances. Standing on the hill that held the I<3BESTIVAL sign, you could take in all three stages with Toronto's skyline in the distance.
The sound system under the Big Top was quite simply bonkers, and although there were less 'bass acts' and less room under the tent (than the previous year), the lineup utilized it to the fullest with standout sets from locals Maddmon, Thugli, Shaun Frank, HRMXNY, and Pusher, legendary live performances from Porter Robinson and Madeon, banging bass from Smalltown DJs, 4B, Malaa, Unlike Pluto and Tchami, welcome changes of pace from Giraffage, Skylar Spence, Classixx and Thomas Jack. But the standout performance from the Big Top came from Reeps One, who absolutely blew me away with his unfathomably awesome beat-boxing skills.
The Bollywood Stage's visual marvel was only surpassed by its monstrous musical magnitude. Throughout the weekend I found myself going back to Bollywood more often than I had planned; its open air allure was led by an anything goes, never-ending dance-off. On my first journey around, exploring the festival grounds, I caught the end of Jonathan Rosa's set and the beginning of Rob Da Bank's which, apart from Lee Foss dropping MK's "Reverse Skydiving" remix, was my Bollywood highlight. Welcoming the early crowd, the Bestival founder led off with Prince's "I Wanna Be Your Lover," in perhaps the most fitting set starter possible.
What sets Bestival apart from other festivals, is its unwavering commitment to fostering rising and local talents, and showcasing acts that otherwise would not play Toronto festivals, especially alongside electronic acts. The Main Stage saw alternative, rock, new-wave and cross over acts from Tame Impala, Odesza, Jamie XX, Grimes and The Cure. It would be nearly impossible to put together a lineup that so perfectly bridges the gap between the sounds of the Bollywood and Big Top stages, while maintaining a slightly more rock focus. I don't know that the real EDM heads would venture from their bubble, but I can say that those five acts mentioned above strike me as the perfect stepping stones, to a wider appreciation for music and art as a whole. For in the end that is what Bestival does best, showcasing the infinite possibilities of art in all its forms, and expanding your mind.
I went to Bestival to see The Cure, among a number of electronic acts, but came away having rekindled friendships, met dozens of like-minded music lovers, and sharing in the experiences of a lifetime. I cannot wait for next year's edition of Bestival; if there were such a thing, I'd buy a lifetime membership.
