That having been said, “Pink Trees” took a bit longer for me to appreciate. Its deeper, darker underbelly slowly churns beneath a likewise brooding tempo; as such, its eight-and-a-half minute duration is necessary for the full melody to realize itself. The synthesizers are the only part of the track that notably evolve into deeper and sexy techno; I imagine this singular quality makes the track a most essential addition to the earliest parts of any contemporary set. Grinding along at a modest rate with a likewise modest melody, “Pink Trees” appears to have been produced with the intention of precluding tracks that hit harder without sacrificing the musical integrity upon which Babicz has built his reputation.

“Percofonik,” the EP’s second track, is an astonishingly fresh tune with unrelenting bass and tantalizing brushes with tribal percussion. It deftly skims the opposing side of ‘German techno’ and comes as a true surprise on this release given the nature of the first track. Babicz’s second production makes use of the same type of gnarled and rousing bass that propels “Pink Trees” through its Herculean eight plus minutes of playtime; its density and wavelength, however, are substantially increased. This suggests to me that “Percofonik” may well fit more aptly amongst tracks with higher octane than contemplative techno tracks usually incorporate. In my mind, “Percofonik” is a fitting – if somewhat eclectic and funky – complement to its partner production, and whose constituent attributes promote its inclusion amongst styles ranging from deep house to tech house and beyond.

Perfect Stranger’s remix of “Otagu” eliminates the stylistic interplay that defines Nyquist’s original work, opting instead to possess one’s mind with moody and sometimes minimal techno. Various shakers, clappers and stabs align this type of techno with the CD wallets of DJs who seek lengthy and intricate builds utilizing the fewest possible constituent sounds. The result? Perfect Stranger produces a perfectly strange version of “Otagu” whose build-ups give more the impression of an opus than a simple techno track. Whether in the club or at home, this remix is a must-have for the techno purists out there. Blending rich musical landscapes with persuasive rhythm, Perfect Stranger’s remix creates a novel and simply unforgettable experience.

Prins Thomas’ remix represents a certain kind of musical fusion of deep house and disco that can only be reminiscent of colorful cocktails and South Floridian sunsets. Lasting nine minutes, the track reserves time to build intensity, recede, and build some more. Tasty morsels of savvy, afterhours funk swim between and throughout the softly padded beat. Prins Thomas creates patterns of aural undulations, of wave-like form, that provide a soothing electronic exodus for those in a quaint, carefree mood. Sit back, sip your drink and follow the sun as it sinks beneath the waterline.

The Round Table Knights remix “Floatation” with club-friendly atmospherics – but for all the keyboards’ inspirations, the final product sits firmly on the smoother side of house. Just as the music loses itself to distorted reverberation during the build, soothing lyrics coyly beg the listener to “Take my hand [and] come with me” – whereupon one cannot help but obey! The mist and tranquility of trance anchors itself one way on the well-weathered shores of bigger club hits, but it also forges into contemporary progressive; solid up-tempo hi-hat and stab combinations are overlain with the repetition of high register and even higher reaching piano chords. I became separated from the evolution of progressive trance for a few years, but I can say (with personal confidence) that this remix does justice to the delicate balance between both the groove and majesty of trance.

Last but (in this reviewer’s opinion) absolutely furthest from least is the ambitious housey-dubstepped brainchild of Slof Man. Teasing the listener into the track with atmospheric keys is the only point of comparison between this and any other rendition of “Floatation.” Slof Man turns this vintage tune into an atypical dance excursion. Its individuality is fortified by broken beats that glide into the melody and float briefly out of reach before pummeling the dancefloor with aggressive volleys of aural vertigo characteristic only of dubstep. The track simulates a wickedly fun and “techy” experience whose appearance alongside sexy hypno-breaks will come as an honest surprise to those seeking your average progressive tune. Slof Man’s remix is edgy, delivering both spook and groove without the inclusion of vocals. This remix traces one of the first substantial lines in the sand by marking the successful synthesis of progressive trance and dubstep along the endless beaches of electronic possibility. Sacrificing density for individuality, this track floats – soars, perhaps – above the rest.

- James Woodruff

The second disc is very different from its predecessor; disc two ushers in many familiar names with an array of unfamiliar sounds. Loz’ Remix of Yousef’s “Way Of Life” is a spooky and devilishly tender opener, running xylophone over wooden blocks as water over creek pebbles. “Just Us (Blakdoctor Voice Mix),” mist-laden and full of intrigue, trails behind before segueing into Derrick Carter’s retrospective mix of DJ Q’s “Glasgows Jazz” – thus beginning a succession of snare- and stab-laden dance music that provides the sort of oldskool atmosphere where the only sounds to speak of originate from airy, cautious vinyl records. Johnny D’s “Manipulation” brings back the contemporary to Yousef’s second disc and, stage having thus been set, Gabriel Ananda’s delicious bump-and-grind “Dopplewhipper” swoops and dives through its techy entrails. It is arguably the disc’s most compelling track and should be savored like a piece of red meat. Yousef reaches back to some of 2008’s most famous with the inclusion of classics such as Guy J’s remix of Sasha’s “Mongoose,” Carl Craig’s rework of Faze Action’s “In The Trees” and Dubfire’s rendition of Radio Slave’s “Grindhouse.” The latter half of Yousef’s mix follows a similarly minimalistic path, representing a stark divergence from the uppity west coast house vibe of the first disc. Yousef then re-infuses his second mix with smooth, swinging jazz-house by the likes of Tim Deluxe and “Come Home,” one of Yousef’s very own. ‘Cameras ready, prepare to flash!’ breaks the artificial silence: Green Velvet’s classic track “Flash,” naughtily remixed by Danny Tenaglia himself, rips through the aforementioned placidity with a tribalistic funk to match the aura of the DJ behind Cr2’s Circus Vol. 1, stapling firmly into place an otherwise otherworldly collection of music that (in any other DJ’s hands) would seem mismatched and uncharacteristically bold.

But that is, perhaps, the quality which Yousef embodies most successfully with this eclectic release – uncharacteristic boldness. Do the mixes make sense? Scarcely, by convention’s standards. But, in sampling an album mixed by an artist as varied and uncompromising as Yousef, we must ask ourselves: Is it conventionality that we are really after? Chances are that if you dig this album, the answer is a resounding ‘hell no!’ But as the discs together interweave deep house, jazz-fusion, minimal techno and bass-laden soul into a singular driving beast, it ought to be the listener who ultimately decides whether this latest release from Cr2 Records jives or dives.

- James Woodruff

Stepping into Egg around midnight, (it being my first time at the club), I was immediately transported from the dark, urban sprawl of industrial Kings Cross into what I can only imagine some of the smaller, more intimate clubs in Ibiza to feel like and resemble. Meandering through the young, stylish crowd, I headed straight to the ‘Terrace’, where I was told Gorge was just beginning his set.

Egg impressed me from the off. The attention to detail (surround ‘Funktion 1′ sound in every room) and decor was reminiscent of Fabric and Turnmills, minus their suggestively dingy and cavernous qualities. Rhythmatic complimented this beautifully; with Gorge’s pounding two hour stretch as good as anything I have heard in either of the latter venues. Teasing the early crowd onto the dancefloor with his vocal laden, breakdown heavy style and flawless mixing, the atmosphere in the main room was soon bubbling away effortlessly. The interaction between the booth and the crowd was constant, with the promoters doing as much to keep the crowd moving as the artists. Immediately I saw why Rhythmatic, above all else, was famed for its family-like, friendly feel and for ignoring the conventional boundaries so prevalent at other nights.

Ending his set on a perfect slice of sexy, rolling deep house, Gorge gave way to Lemos who wasted no time in settling into his own, slightly jazzier groove. Alongside Kreon and Alex Celler, Lemos is yet another insane talent to emerge from the Greek islands. Here showcasing his live set, he was able to interact with the crowd on a more complex level, the synched beats allowing the artist time to really delve deep into his eq-ing and into the construction of his mixes. His thick, jazzy loops resonated beautifully around the room, maintaining the atmosphere at its peak. Desperate for the toilet and curious to explore the rest of the club, I set off to inspect what else was on offer.

The ‘Basement’ I found to be the perfect accompaniment to the main room, catering to the slightly tougher shade of tech house, mixed expertly by some of Rythymatic’s homegrown talent. Here I found some of the bigger tracks of the scene being aired. Joris Voorn’s recent remix of Steve Bug’s ‘Swallowed Too Much Bass’ was a particular highlight, providing a joyous and otherwise rare moment of recognition.
The ‘Loft’, curated in part by DJ Download was playing host to the more commercial, electro-influenced side of things, with techy, clunky Calvin Harris remixes seeming oddly out of synch with the rest of the night but it worked for a breath of fresh air.

As I re-entered the ‘Terrace’, keen to witness Kabale Und Liebe exercise his skills for the first time, I was disappointed to find the room far emptier than before. As I settled once more into my rhythm, expecting for some reason a sub-standard DJ performance, I could in fact find no fault at all with the music. Similar to Gorge in style, but with a blistering, more powerful drive at the centre of his music, Kabale was fantastic. Those left in the room were bouncing off the walls, with Kabale’s freshest production ‘Una y Nada’ on 100% Pure receiving especially loud clamours of approval.

Overall an excellent night; the headliners were well thought out, picked for their abilities to rock rather than simply pull in a crowd. The residents were energetic and perfectly suited to their task as conductors of the second room. Unfortunately, as the night progressed, possibly as a result of other nightclubs in the area shutting their doors, Rhythmatic attracted a crowd that seemed to be far more interested in Egg as a late night venue than in the music on offer. Such is the curse of becoming one of London’s increasingly popular night spots especially since the fall of ‘Turnmills’ and ‘The End’. Let’s just hope that nights like Rhythmatic, with their passion for cutting-edge underground house music, continue regardless.

This makes their arrival at Pure Pacha highly incongruous. Pacha prides itself on sophistication and as much gentility as becomes a discotheque. It isn’t a natural destination for raving teenagers waving white crosses and homemade “Justice” banners. Tonight they are joined by Cassius, completing the French twist on the evening. On the corner, just past the main entrance a group of youngsters is swigging bottled drinks. This is typical behaviour outside other clubs, but at Pacha you almost expect one of the doormen to lumber down and have a word. No one does though. There is plenty of merriment in the warm air, and the kind of good natured jostling that happens in high-spirited queues. Judging by the snippets of conversation running Justice fan base travels well: Italian, Spanish, French and a fair portion of English voices ring out. Everyone is fidgeting to the hint of the kick drum oozing through the dense walls.

By the time we scramble inside there is a mini rush for the dancefloor. Any latent concerns about how Justice’s cheeky style and flamboyant showmanship will fit in the calm lines of Pacha vanishes in a moment. The booth – always a hive of activity – is a veritable swarm, with enough arms flailing through the dry ice to look as if it’s been taken over by an impatient octopus. Justice and Cassius are playing back to back, moving so fast it seems as if there surely must be more than four of them. On the dancefloor an enthusiastic moil keeps pace with the hyperactive display in the DJ box, swishing and pitching from side to side with giddy abandon. Girls in boutique dresses have bade farewell to propriety and are dancing manically. One, actually around her handbag – ironically, we hope. Justice’s knowing melange of electro, pop (including Janet Jackson!) and the odd stonking guitar riff is perfectly gender balanced: the boys are stomping away with equal concentration. Somehow, they engage the crowd without seeming to pay it much attention. Xavier, small and perky as a meerkat, bobs up from behind the decks to cheer the floor; Gaspard’s most demonstrative moment is a smile and half-wave when someone thrusts a mobile phone up at him, yet they are in perfect harmony with the crowd. The gurgling pop of ‘D.A.N.C.E.’ whips up a storm, and a tough, techno-tinged track gets just as much of a hearty response. Tonight, Justice – with a little help from their friends, Cassius – demonstrates perfectly why the are who they are: every expectation broken, every rule bent and everyone dancing towards dawn with a smile on their face.

Text: Cila Warncke
Photos: Sebastian Desbats

Chandeliers float elegantly above an impenetrable fog of dry ice. It puffs away in a cool breath letting the light fall on a sea of upturned faces. “This is Pure Pacha!” Sander Kleinenberg whoops from the DJ box, raising both fists in salute. The girl next to me bursts into a flurry of elbow-popping motion as Sander slams on a remix of We Are Your Friends that thunders across the dance floor like a charge of the Valkyries. Pure Pacha is the quintessential Friday night party in Ibiza – a mélange of music, spectacle and moments that simply wouldn’t happen anywhere else.

Tonight the sense of anticipation is as thick as the smell of cologne because none other than Paul Oakenfold is due on the decks soon. One of the original superstar DJs, Oakie “discovered” Ibiza in 1986 and floated back to London to kick-start the acid house revolution. There is a gradually thickening clot of clubbers around the DJ booth, edging closer in anticipation of his set. Even Sander seems to have caught the fan-club feel, skittering around the booth like a hyperactive kid, clapping, giving a photographer the thumbs-up, pouring champagne. Suddenly a boy dives past me, camera phone aloft to snap Oakie descending upon the DJ box.

He has flown in for the night from his “day job” as Madonna’s official tour DJ. A lot of DJs probably wouldn’t bother taking the time to play for a couple of thousand fans after rocking stadiums night after night, but the huge grin on Paul’s face says it all: he’s home. A flutter of fingers reach upwards and he hangs over the edge of the booth to grab and shake the waiting hands. Sander lets the music drop. The lights lower then remerge on a trio of stunning dancers who slither up onto the podiums, trailing a sea of sequins as the crowd ripples with excitement. Alice in Wonderland never saw anything like this. A wooden hatch opens beneath the stairs and two waiters pop up like surreal rabbits, carrying vast trays of iced glasses and bottles of vodka. No one is paying any attention, though. Every ear is tuned in impatient glee for the first shimmying wave off sound to crash over the room. The bass rumbles as a looped vocal intones: “welcome to Perfecto.” A palpable crackle of energy sparks across the room and suddenly everyone who has come to remember forgets – forgets what year it is, where they are, mostly likely who they’re with. The only thing that matters is the music lifting the club to the stratosphere and Oakie bopping at the controls, controlling the speed and altitude of the flight. Someone reaches up to pass him a CD. He pulls a jokey pose behind the decks. For a few hours, 2009 can be 1989… a pure celebration of sound and motion.

Sometimes conversations with new producers can only take place thanks to the existence of Babel Fish and Google Translate. Such was the case with our russian friend Evgeniy Prokopenko. We have managed to work out that he lives in the city of Ivanovo, which is to the north east of Moscow. He is 25 years old and has been producing music since 2003 under the name Jeysound. After some releases on local russian labels, he now has secured his first release on Plastic Fantastic.

We bring you two tracks, both in original mix as well as heavier club mixes. “Sonic Attack” is a progressive masterpiece, which gaines an electro flavour in the NuStyle Mix, whilst “In The Stars” stays closer to its trance base in both the Original Mix and the Club Mix.

After Germany and Eqypt, we’re off to Russia: Jeysound is Plastic Fantastic’s 75th with the “Sonic Attack EP”.

С уважением,
Пластиковые Фантастика

Label: Plastic Fantastic
Catalog: PFT075
Release Date: 15 Jun 2009

Highlife (The original and the Invol2ver Remix) are decent tracks – however, the vocal intrusion leaves something to be desired for most tech-house sets. Certainly the lesser of the two tracks, ‘Highlife’ may be a reflection of Sasha’s willingness to enter melodica rather than true techno fervency. An interesting and worthwhile EP, nonetheless. Sasha and Adam Parker release a record mapping the ins and outs of what it means to live both the high – and the low – life of living four-to-the-floor.

Words: James Woodruff