NYD Tribe Festival Review from InThemix.com.auPosted: Tuesday, January 3rd, 2012
The inspiration of multiple Melbourne crews, this New Years Day bash took over staple venue Brown Alley with jungle inspired decor, innovative visuals and a swathe quality of international artists and local support. Genres be damned, the artists mixed and matched as they pleased all evening to an enthusiastic and friendly crowd. With the most consistently good music I’ve ever heard at any one Melbourne gig, Tribe has set a new standard for future broken beat events.
By 10:30, there was already a sizable (though quick moving) line outside. Inside, the sound quality was superior to what I’m used to hearing at Brown Alley, in both the downstairs main room and Blights bar upstairs. I’m not sure what extra tweaking or speakers were added but the results were well worth it.
Tribal decor abounded, with stretched banners across the ceiling, and shields made of bright led light ropes topping the stage. A 3 by 5 metre installation of flashing star lights complemented the brilliant lasers and lighting. The icing on the cake was the main room sound being piped to the mezzanine level – providing a slightly cooler and less crowded space to enjoy the main acts.
Unfortunately, the club is still as unpleasantly hot and sticky as it has ever been – surely with sell out events like this it wouldn’t bankrupt Brown Alley to install some air conditioning?
We arrived to Melbourne’s own Nick Thayer belting out bouncy, dirty electro breaks to an enthusiastic crowd. Like all of the following main room sets, the music was extremely varied with a mix of dubstep, breaks, glitch hop and electro house with a dose of tribal, reggae and fidget for good measure. His cheesy samples and air-horn topped it off. The wide appeal of the set had him filling both the main room and most of the mezzanine level early on.
The ever popular rooftop garden bar had been turned into a beach, complete with sand, beach umbrellas, bamboo screens, and bright plasma screens. This sound system had not been pimped, and levels were a bit low, perhaps to keep the neighbours happy and the space more chilled. Tommy Showtime spun some funky jazzy breaks and groovy glitch hop and Agent 86 was a popular set, packing it out with funk. At one point, the line to get in stretched down an entire floor around the stair well. Unfortunately, it was so smoky that it was difficult to spend long intervals outside enjoying it.
A-skills, also of the UK, took over in the main room with some ultra funky soulful breaks, hip hop, old school, rock and Motown. Showing off his quality scratching skills he had the excited crowd saying “YEAH for the funky beats”. He played stacks of great artists: Girl Talk, Daft Punk, Stevie Wonder, Jackson Five and Blur to name a few.
He varied from heavy and driving to more funky breaks, playing many of his own productions. The flow was excellent, and his seamless mixes were done skilfully off laptop, two CDJs, and a turntable – quite the setup! The set built into faster and more energetic tunes, with quick cuts to old school Pendulum, Prodigy and Queen. The crowd lapped up the creative and inventive selection, both dance-floors packed for the entire set.
Altruism is not an act I am familiar with, but I was quickly won over by the deep rolling bass, driving rhythms, and warm melodies that formed his liquid drum’n’bass set. The set rolled along smoothly with the occasional soulful vocal and no epic breakdowns or windups to disturb the flow of dancing. I was grateful that the MC showed unusual restraint and in doing so enhanced this set. This set, like the others, really benefited from the tweaked sound-system in Blights. He finished the set to a packed room, finishing with slower funky beats and rich bass that warming it down a bit for Mr Bukem.
This led almost seamlessly into London’s LTJ Bukem’s set. I’ve caught him once before at Origin in Perth and was looking forward to some intelligent dance-floor drum’n’bass. He did not disappoint – deep, liquid tracks ensued, bouncier and less driving than Altruism but otherwise very similar in style. The set had a bit of an old school jungle vibe with the soulful piano lines, chopped up amens and blissful melodies. MC Conrad, while initially well behaved, started to overdo it as the set went on. By the end, the subs had been put through an intense workout, but the set got a bit repetitive and could have used a bit more variety.
Next up, Belgian rising star Netsky upped the energy with pure dance-floor party action. Uplifting melodies, epic windups and cranking drops had the room going off and the room packed out. Given Netsky’s productions and prior sets, the set was a lot harder than expected but entirely appropriate. Not content to play pure drum’n’bass we heard seamless transitions to booty breaks, hip hop, old school jungle, and even a snippet of R’n’B. It would seem he paid attention to the diverse styles and funky mood of the party. At times things softened a bit, with smooth tracks like B-Complex Beautiful Lies and Spectrasoul’s deep bootleg of Adele’s Rolling in the Deep. We were pleased to hear him drop plenty of his own tracks such as Secret Agent and Memory Lane. The unexpected mashup/remix of Beastie Boys Intergalactic Planetary made my night.
London’s Stanton Warriors took over about 1:30. They eased into the set with suspense building techy breaks. Their first big track was Beatnuts’ Shake It Up – booty shaking goodness. Hands Up, another star tune started to play, but Stanton frustratingly fiddled with for literally minutes, not letting it break. Instead, they built suspense by continually winding it back…then dropped it into disappointing heavy dubstep, rather than its own amazing heavy breaks that I was itching to dance too.
Towards the end, they dropped deep bass backed breaks like Still Here (Bounce Funk Remix), the beats I felt like they’d been holding back before. They finished with solid track Precinct, but then gave an encore of chipmunk housey sounding Shoot me Down from their new album. I thought their set and mixing was passable but lacked the deep booty shaking breaks which they excel at producing. It seemed a rather mainstream for an event that otherwise showcased quality sets and DJs who read adeptly read the crowd and energy.
London based turntablists Scratch Perverts pulled out the vinyl for their set. Known for their scratching technique, creative sets, and full-on bassy sound, they played the heaviest set of the main room. Hip hop, heavy breaks, electro, and metal like System of a Down blasted over the system. They also threw in some quite unexpected things – like an expletive laden version of the Tetris tune! Unfortunately, their later set time meant they played to a sparser crowd and ended up repeating a few tracks heard earlier in the evening. Still, theirs was an inspired set; with 16 years experience, their sound is still relevant and their mixing skills are phenomenal.
By the end of the night, there was sandy mud in even the ground floor toilets, tracked down from the rooftop beach two floors above – yes, it was definitely an interesting night to remember.
Taken from www.inthemix.com.au
Noisia, Danny Byrd, Brookes Brothers, DJ Nonames – January 6th @ Brown AlleyPosted: Monday, January 2nd, 2012
Continuing to bring you the hottest line-ups with only the biggest names in the business, Brown Alley is doing it once again..
Saturday the 6th January will see the Dutch masters Noisia bring their unmistakeable sound to Melbourne for one night only!
Plus with club favourite Danny Byrd and party starters the Brookes Brothers joining in for the fun, this is a line up you won’t see for a while!!
Noisia (who took their name from the word VISION inverted on an upside down VHS tape) are Nik Roos, Thijs de Vlieger and Martijn van Sonderen, hailing from Groningen, The Netherlands. Influenced by an eclectic range of artists, from The Prodigy to James Brown, Miles Davis to Konflict, Tipper to Fatboy Slim, Noisia make music for DJs and dance-floors that is interesting enough to cross over from the clubs to your MP3 player.
Releasing their first record in 2003 on SLR and releasing on every major drum and bass label in the following years, 2005 saw Noisia establish their own label, Vision Recordings to put out their drum and bass productions and collaborations and retain creative control of their music. Nik designs almost all of the artwork for the releases on their labels, and the guys love the challenges and rewards that come with running a label. In 2007 they established Division Recordings, a label for electro, house, breaks and dubstep. They then went on to establish Invisible Recordings in 2010, catering for the deeper and more experimental side of drum and bass.
Over the past few years, accolades for Noisia have included Best Tech DJ in the UK National D&B Awards in 2009 and 2010, Best Producers at the 2010 D&BArena Awards and Best Drum&Bass Artist on Beatport in both 2009 and 2010.
The guys have worked with, and remixed a number of diverse artists, with notable tracks including, ‘Alice’ by Moby, ‘Omen’ by The Prodigy, ‘E.T.’ by Katy Perry, ‘Scary Monsters And Nice Sprites’ by Skrillex, ‘Raise Your Weapon’ by deadmau5, and Hadouken!, whose entire second album ‘For The Masses’ was produced by Noisia. They have collaborated on a number of tracks with Foreign Beggars, the most successful being ‘Contact’, which has garnered over 3 million views on YouTube and become an influential underground hit. Another Noisia video that has been a big hit on YouTube is ‘Exodus’ which took 3 years to make and features Krs One.
Noisia have been Dj’ing every weekend since 2004. They have played in major cities all over the world, from Sydney to Moscow, Tokyo to Berlin, Los Angeles to Johannesburg and have DJ’ed in some of the world’s biggest clubs. They have reduced their DJ’ing commitments recently in order to focus on production.
Noisia’s music lends itself perfectly to videogames; their track ‘Groundhog’ is the hardest track to beat in the first DJ Hero, ‘Machine Gun’ and ‘Seven Stitches’ feature in three editions of the game WipeOut, and ‘Stigma’ and ‘Yellow Brick’ were picked up by Playstation to be featured on GranTurismo. They were commissioned to make 8 remixes especially for Motorstorm Apocalypse, a triple-A racing game that was released in March 2011.
2011 will see the release of a Special Edition of their successful debut album ‘Split The Atom’. The original was released in April 2010 and showcases a wide variety of styles; from electro to drum and bass to dubstep. Having signed to Jay-Z’s Roc Nation publishing company, working on new videogame soundtracks and producing for a number of artists, Noisia are expanding into exciting new areas whilst continuing to make the ‘bangers’ they are known and loved for!
Monkee – Jan 6th Promo MixPosted: Saturday, December 31st, 2011
Tribe Festival – NYD night @ Brown AlleyPosted: Tuesday, December 20th, 2011
Release your primal instincts this NYD Night With Melbourne’s finest crews featuring Twisted Audio’s finest DJs + more!!
Return to a primitive time when rhythmic drums rumbled through the vast jungle and moved the savage tribes in a collective of hypnotic dance.
Brown Alley will be transformed into a massive 3 level jungle themed environment, featuring a unique interactive decor setup, cutting edge lighting displays and mind bending visuals.
This is an optional “DRESS UP PARTY” for anyone who would like to really get in theme, so come dressed as a tribal savage or any kind of jungle animal.
Be prepared Melbourne as we kick off the New Year with arguably one of the biggest broken beat lineups of the last decade!!
“TRIBE” – NEW YEARS DAY NIGHT – BROWN ALLEY ENTIRE COMPLEX – FULL NEXO SOUND
THIS EVENT WILL SELL OUT
2nd Round Announcements
Kuya (Former DMC Winner)
MORE INFO COMING SOON