Grab your fascinator, fedora or fez, as on Saturday 27 th September Hat-Club will open the doors of Digital in Brighton to a crowd of hat wearing hedonists.
With:
THE BEATTHIEFS
JAMES FITCH
VINCE FRIMPONG
TIM PRIESTLEY
Also legendary to Brighton is Fat Boy Slim’s Big Beach party, which will take place on the pebble beach on this very day, so if you’re looking for somewhere to continue partying after the sun goes down, why not roll into Digital (also on the beach front) and party the night away with Hat-Club!
You know the rules – don’t talk about Hat-Club and don’t forget your hat! Ssshhh…
This August Bank Holiday, the UK’s premiere hat party Hat-Club heads back to Belfast , to deliver a night of filthy house music and hat-clad fun!
The event will be held on Friday 22nd at the MYNT club in the Cathedral Quarter of Belfast, where Hat-Club will go head-to-head with Northern Ireland’s top house night, Kinetik.
FEATURING: Filthy Rich, James Fitch, Dale Hooks
DON’T FORGET YOUR HAT! 2-16 Dunbar Street , Belfast, BT1 2LH 11pm-5am | £5/£7 | 0845 6 524 025 www.myntbelfast.com Check out Hat-Club on YouTube http://www.youtube.com/watch?v=6E_bK6UdYtY
Saturday 9 th August sees Hat-Club return to its monthly residency at Storm: it’s not going to be easy to top the first birthday party from last month, but if anyone can throw a better party than last time, it’ll be the boys with a penchant for hats, hats and more hats.
To celebrate the launch of their Ibiza Album, Club Azuli have put together a mouth watering line up at Pacha, including German house hero, Tom Novy and one of 2008's hottest names, Laidback Luke . David Piccioni , Mr Azuli himself, also steps up to rock the Pacha main room. In The Loft, Twisted Funk are the hosts and will be dropping funked up house and twisted grooves all night, ably supported by Tony English .
Full line up: Tom Novy, Laidback Luke, David Piccioni, Tony English, Ed Rockstar, Pedro Gonzalez, Gary "Agent" Abraham and David House.
The Breakbeat scene in the UK has really taken off in the past few years, continuing to go from strength to strength as today's "in" electro house vibe has had a marked effect on the sound. Despite this, a multitude of sounds still coexist prolific producers and labels – Rennie Pilgrem, Elite Force's Used And Abused label, Bushwacka! Meat Katie and Fingerlickin' to name but a few, bring every flavour to the breakbeat dinner, from Funk to Glitch and beyond. A mix album like this, showcases the range and musicality combined with sheer dancefloor power that makes the style so special are can help a listener break free of the tyranny of 4/4 and move over to the broken-beat darkside..
Y4K is available as a mixed CD or unmixed 12”s; the mixed album is superbly executed as basslines drop in at all the right points and the flow of music is as seamless as it should be. In fact, so seamless I am wondering if it was mixed on decks at all, or whether it was digitally spliced together, as the depth of dynamics mean the mixes between the tracks sound almost as natural as the tracks themselves. Textbook stuff from Tayo!
The opening track, “Travelling” from Kevin Beber is different from the others insofaras it has a full vocal, with lyrics, occupying similar musical territory to Kosheen, albeit with less of a drum and bass slant to it. I have to confess, initially I wasn’t too taken with this track, although subsequent listens have opened me up to it. It provides quite a mellow start to the album, but the charactaristic big, techy bassline of the Bushwacka! remix of Sueno Latino soon drops in and takes things deeper. The next couple of tracks take us through the type of territory covered in the Y3K series, and Adam Freeland’s Tectonics compilation – deep nu-skool breaks of the type that get played at progressive nights like Bedrock (formerly first Thursday of every month at Heaven in London, hosted by John Digweed), and are good, solid examples of the style.
On to the fifth track now, where the mood is brought round to a more uplifting, summery vibe by the Stanton Warriors “Da Antidote”. The Stanton Warriors are well known for their catholic approach to producing, taking a similar approach to Basement Jaxx, although some might say with a more underground edge to their work. “Da Antidote” is quite garagey with a definite 2-step feel to it, and although I’m not a huge fan of UK garage, I found myself drawn to this track, and I can see it doing very well indeed, especially at the Notting Hill Carnival.
The next few tracks from BLIM & Rennie Pilgrem, Creative Invasion Collective and Meat Katie all explore the harder side of breakbeat; more minimal and driving, but still very funky. This section is brought to a peak by Rennie Pilgrem and Uberzone’s now ubiquitous cut “Black Widow” -- it’s been doing the rounds for a while now and is likely to be quite a familiar track to many listeners with its clattering tribal percussion and frenetic voodoo vocal loop. After “Black Widow”, we come out into more funk-oriented territory with the Plump DJs “Scram” – another favorite that gets played out on quite a few House dancefloors.
The stand-out tracks on the final part are Scratch D vs H-Bomb’s Matrix-sampling “Red Pill” – a great hook bound to appeal to the more chemically-inclined clubbers and the last track – Tayo and Precision Cuts “Fire Good” winding things back down again with a great, dubby reggae vibe. It’s by no means a slow-moving track, but it’s perfect to ease you back into real life after all the breakbeat madness that has gone on in the last 70 minutes.
The unmixed vinyl version is undoutably a good way to boost your collection of breaks records, especially as it’s going to be a lot easier to find than the individual tracks on 12” as Distinct’ive Breaks have a larger distribution base than most of the labels featured on the compilation. However, some of the stand-out tracks that give this compilation its edge (Stanton Warriors, Rennie Pilgrem, Plump DJs) are missing, so it’s up to you to decide whether you like the other tracks enough to go for the vinyl option. So, to conclude – 8.5/10 for the mixed CD, and a solid 7/10 for the vinyl.
The Breakbeat scene in the UK has really taken off in the past few years, continuing to go from strength to strength as today's "in" electro house vibe has had a marked effect on the sound. Despite this, a multitude of sounds still coexist prolific producers and labels – Rennie Pilgrem, Elite Force's Used And Abused label, Bushwacka! Meat Katie and Fingerlickin' to name but a few, bring every flavour to the breakbeat dinner, from Funk to Glitch and beyond. A mix album like this, showcases the range and musicality combined with sheer dancefloor power that makes the style so special are can help a listener break free of the tyranny of 4/4 and move over to the broken-beat darkside..
Y4K is available as a mixed CD or unmixed 12”s; the mixed album is superbly executed as basslines drop in at all the right points and the flow of music is as seamless as it should be. In fact, so seamless I am wondering if it was mixed on decks at all, or whether it was digitally spliced together, as the depth of dynamics mean the mixes between the tracks sound almost as natural as the tracks themselves. Textbook stuff from Tayo!
The opening track, “Travelling” from Kevin Beber is different from the others insofaras it has a full vocal, with lyrics, occupying similar musical territory to Kosheen, albeit with less of a drum and bass slant to it. I have to confess, initially I wasn’t too taken with this track, although subsequent listens have opened me up to it. It provides quite a mellow start to the album, but the charactaristic big, techy bassline of the Bushwacka! remix of Sueno Latino soon drops in and takes things deeper. The next couple of tracks take us through the type of territory covered in the Y3K series, and Adam Freeland’s Tectonics compilation – deep nu-skool breaks of the type that get played at progressive nights like Bedrock (formerly first Thursday of every month at Heaven in London, hosted by John Digweed), and are good, solid examples of the style.
On to the fifth track now, where the mood is brought round to a more uplifting, summery vibe by the Stanton Warriors “Da Antidote”. The Stanton Warriors are well known for their catholic approach to producing, taking a similar approach to Basement Jaxx, although some might say with a more underground edge to their work. “Da Antidote” is quite garagey with a definite 2-step feel to it, and although I’m not a huge fan of UK garage, I found myself drawn to this track, and I can see it doing very well indeed, especially at the Notting Hill Carnival.
The next few tracks from BLIM & Rennie Pilgrem, Creative Invasion Collective and Meat Katie all explore the harder side of breakbeat; more minimal and driving, but still very funky. This section is brought to a peak by Rennie Pilgrem and Uberzone’s now ubiquitous cut “Black Widow” -- it’s been doing the rounds for a while now and is likely to be quite a familiar track to many listeners with its clattering tribal percussion and frenetic voodoo vocal loop. After “Black Widow”, we come out into more funk-oriented territory with the Plump DJs “Scram” – another favorite that gets played out on quite a few House dancefloors.
The stand-out tracks on the final part are Scratch D vs H-Bomb’s Matrix-sampling “Red Pill” – a great hook bound to appeal to the more chemically-inclined clubbers and the last track – Tayo and Precision Cuts “Fire Good” winding things back down again with a great, dubby reggae vibe. It’s by no means a slow-moving track, but it’s perfect to ease you back into real life after all the breakbeat madness that has gone on in the last 70 minutes.
The unmixed vinyl version is undoutably a good way to boost your collection of breaks records, especially as it’s going to be a lot easier to find than the individual tracks on 12” as Distinct’ive Breaks have a larger distribution base than most of the labels featured on the compilation. However, some of the stand-out tracks that give this compilation its edge (Stanton Warriors, Rennie Pilgrem, Plump DJs) are missing, so it’s up to you to decide whether you like the other tracks enough to go for the vinyl option. So, to conclude – 8.5/10 for the mixed CD, and a solid 7/10 for the vinyl.
