What appropriate timing to make an entrance to The Warehouse Project, a definitive moment of the night for many I’m sure, that of Joy Orbison’s 'Shrew That Cushioned The Blow' mixed wonderfully into ‘Hyph Mngo’. Nice. And no better does it sound than in this moment right now, surrounded by mash-faced revellers and stunning lasers that silhouette arms twist shapes for.
As the night’s progressing, the young crowd respond to Katy B in her newfound modern icon status, with 'Perfect Stranger' proving to be the best of the night so far. Flying Lotus supplied us with edgy, experimental hip-hop sounds that only the die-hard fan missed the bar to see. And Magnetic Man prove their supergroup status, and true to their name the people swarm and squash to see this forward thinking, 21st century boy band. Or is that man band?
A few random video selections that can't really highlight the superiority of this night but can let you in to the brilliant production of a Warehouse Project show. Enjoy!
Manchester is abuzz with events this weekend, made all the more noticeable by the squeals of freshers and the queues that had dissapeared throughout this summer, and every summer before. The Contact Theatre greets me with its gothic, castle-like appearance, though the music blasting from the next venue detracts any elegance or poise, its Euro-pop-dance tinged bass and lyrics that drift poisonously to my psyche, 'Now you're gone...'. It is none other than Basshunter, throwing shapes using only his crotch area to screaming adolescent girls - exactly what I don't look for in a decent night and if anything is making me appreciate the kind of music I will be hearing tonight.
"I.D. please?"
I look old enough to have spawned a few sprogs, so it's a shock to my system that I almost don't get in. Nothing more can go wrong, I think, right? Wrong. Branded on the entrance door is a landscape A4 piece of paper highlighting very poo news: DUE TO UNFORSEEN REASONS, ZED BIAS WILL NOT ATTEND TONIGHT'S GIG. In my opinion, the headline act, the whole draw of the night was not going to appear. Bummer.
As in my usual laid back style, nothing is going to deter me from having a good night. This is a celebratory night afterall, in the essence of Black History Month.
As I'm here early, the near empty makeshift dancefloor area is a slight cause for concern for two reasons; I've told friends this will be a good night and; that maybe the event isn't going to get a deserved reception, especially because of its cause. More people are scattered in the smoking and bar area whilst the speaker system is booming the bass-heavy grime as promised.
The music that is playing has no real flow from one tune to the next and Mancunian MC DRS is splurting various lyrical concoctions over the crowd-pleasing tunes. Eventually, more people spill in as the music encompasses the celebratory nature of the event, and the intimate crowd can't help but shake their shit to a dutty wind. The tunes are crowd-pleasers taken from funky, garage, drum and bass, dubstep, hip-hop and grime in a soundclash of musical ideas and history. Examples of said popular and broad-ranging tunes include 'Hold You' by Gyptian, Magnetic Man with 'I Need Air' and 'Feelings' by Shy FX. I'm slightly put off the sound of Sean Paul, being used a tad too much, but all pleasing to the general atmosphere.
It is a night that needs commending because of the cause - a celebration of black history, made all the more poignant by the knowledge of paying customers in the Basshunter-pit of a venue next door.
Unfortunate that Zed Bias didn't show but Marcus Intalex and Fallacy sure made up for it. Great night. Great vibe. Great sound.
Believe it or not, there's a certain expectation of sillyness upon first hearing their name: Totally Enormous Extinct Dinosaurs (MySpace page - worth visiting just for the list of dinosaur influences) or TEED. Yes, there is a playful, light-hearted element to his new EP, found in the upbeat musical style of 'Garden', which sounds like a Calvin Harris-Joy Orbison replicate, a sort of relaxed disco-dubstep amalgamation. The conversational narrative between a couple balances out the upbeat music and adds a touch of introspective depth. 'Blood Pressure' is more of a dancefloor pleaser, subscribing to a fidgety electro house bass roll that takes inspiration from dancehall and sounds like an Ayia Napa goldmine - a sound that is all so popular at the moment. Top advice in the lyrics too: "Prehistoric ting, rude bwoy." Damn straight. Overall, a very quirky, post-historic release that doesn't lose its credible enormity through experimental production.
The feeling of anticipation for this renowned Manchester institution has overtook my weekend build up many times before and once again I am fully able to tread my eager feet on to definitive clubbing grounds with certain knowledge that at some point during the night to come I will lose control of my tense limbs as they become one with thy music.
The Warehouse Project has returned for another quart of a year to deliver time stopping shows and incredible live and DJ sets. This is the venue that has roused Manchester's worldwide penchant for putting on a memorable night reminiscent of the days when rave began in the history-making Hacienda nightclub.
The clubbing world is at its feet in mention of hugely hyped Canadian DJ Deadmau5 and I feel as if I am attending an event of someone who stands to be one of the most successful DJ’s in the world pretty soon. So naturally, there are high expectations. The crowd is different to the usual sophisticated enthusiasts, seemingly younger and donning clothes that fit the spectre of chav, whilst the aroma of Warehouse virgins lingers in circles around you - assumingly new students in town showing allegiance to an act that has produced some commercially stunning tracks.
Upon entering, supporting act Chris Lake is stimulating the increasing herd of a crowd with a tight and sound-perfect set, throwing out tracks 'Tropical Chick' by Alex Kenji, a special mix of Kings Of Leon's 'Use Somebody' and the overplayed and overrated La Roux's 'In For The Kill'. Commercial sing-alongs aside, Lake provides a popular dirty electro sound that bounces off the walls and fits perfectly, like condom to head, in a venue such as this. Still, everybody is waiting patiently for 2am.
Deadmau5's slightly pretentious entrance is impressing the crowd, overshadowing his impending 2 hour set. The crowd are compressing themselves and cheer as if a heavyweight sporting legend has just appeared from beyond the layer of smoke, all staring at the infamous giant mouse head made larger by the skinny frame it balances upon. The stirring hype, however, is short lived - fast forward past a 30 minute opening of renowned tracks such as 'The Reward Is Cheese' and people start to disperse and numbers dwindle.
It all becomes a bit of a letdown.
Yes, unfortunately the set based on his new material is overusing minimal trance, some of which sounds too much alike to determine the start and end of any one track. Thus, I am craving for more, standing rather than stomping and gazing outwardly towards the lights, the beautiful entrancing lights.
Despite my wish for recognisable tunes to surface amongst this constant, downbeat style synonymous with Deadmau5, there is one aspect that is impressing me and a few other hedonists - the expressive lights and laser show. The stage is mounted with tall rectangular shapes showing trippy visuals of ascending lights shaped like a city of skyscrapers, only to descend in quick succession as if the city is being tore down as quickly as erected. Meanwhile, rays of light are piercing a smoky haze, shooting past the DJ and creating a silhouette Mau5 lapping up the love being projected from the crowd through finger punches to the air and silent screams of approval.
In this egotistical moment of his I realise the legions of fans that remain in the room, and the world over, look up to Deadmau5 as if he invented music itself. What he is achieving is an icon status but only to fans that will stand by him despite what his shows and sounds are like. I feel there is a fine line these days between an icon and somebody who is quite subtly a well marketed gimmick.
Full credit goes out to a few of his renowned tunes - most notably the extra long and very acknowledged version of 'I Remember' - that sometimes couldn't be heard over screams of immense appreciation. For all of the nights grandeur expectations that eventually fell way short of the mark, it is 'I Remember' that resurrected a dying night.
