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Reviewer: Richard Brown
Global 7th DEC 2003
Global Festival: Summer Sound System 2003
As with the last two years the Summer Sound System of 2003 again
delivered on an epic level; Whether you were moved by sublime techno
madness from two of the genres demigods, a sprawling sea of people
jackin' their bodies to Cypress Hill, Mickey Finn and Matrix bringing
it hard upstairs in the D'n'B space, progressive oozing class and
sophistication from Goldtrtix and Quinn, upfront party breaks from
Freq or you just got off on the giant inflatable Carl Cox heads,
there was plenty to cherish. Oh and no judgement, but you might
want to think about a ten-step program if you relate that last one…
Arrived at mid-arvo and was straight into the main room (which
at that stage felt fresh and pristine, oh how things would change)
to be greeted by the sounds of the UK's Goldtrix. He played an enjoyable
set of high quality 4 by 4 sounds, straying into prog breaks occasionally.
The irresistible melody of Chable & Bonicci's Ride was a highlight,
particularly when Goldtrix mixed out of the track into a long perfectly
controlled transition letting the house bass line return to the
fore for the next track. The gorgeous vocals of Coldplay's Clocks
rose above the house bass line late in the set wrapping things up
nicely.
Main room duties were handed over to Sean Quinn one of Australia's
finest ambassadors of the progressive sound. The atmosphere really
began to gather intensity during Sean's workout of the 1200s, with
deep, melodic progressive house abounding. The airing of Nathan
Fake's Outhouse was a gripping period, as the haunting melody and
pounding rhythm of the track (featured on James Holden's Balance
005) took control of the dance floor. Quinn also gave Ride another
spin, technically a faux pas since it featured in the previous set,
but this tune has such irrepressible, emotive energy that it makes
people respond every time. The set culminated in a luscious orgy
of deeply layered sounds, with a new Bedrock-esque tune from Lakefish
finishing things off.
As Puff started to rip it up with a banging warm-up for Ben Sims
I scooted outside into the bright afternoon sun as some local turntablists
revved up the massive crowd for the onset of Cypress Hill. Eventually
Perth up and comers Pawel and Karisma wound up, and the outdoor
stage was left empty for a good twenty minutes as the sea of onlookers
waited for Cypress to appear. It was too long a build-up but when
the voice of the CP front man finally yelled "What's up Auuustralia?!!"
and group bounced out onto the stage, the crowd erupted and all
was good as the US Hip-Hop group launched into an energetic performance.
These were the act a large segment of people at the festival has
come to see, and while the style of music isn't my favourite personally,
the way the group worked the crowd was awesome. And what a crowd.
With the massive paddock and many levels of steps filled for hundreds
of metres back, it was truly awe-inspiring to watch the masses throw
their hands in the air and move as one with the music.
Flanked by a giant Budda Cypress Hill worked through most of their
older tracks from the hugely popular Black Sunday. Massive chart
cuts like Insane in the Membrane and Rock Superstar of course has
the hugest impact, but all in all I think the fans were well satisfied
throughout.
Back indoors and one of the most popular figures in modern techno
was letting it loose on three-decks. Ben Sims played a truly awesome
set that even virtually-possible-to-please chin-strokers on Perth's
chat forums were raving about afterward. The set blasted anyone
who wasn't ready to dance off the floor, maintaining a devastating
level of energy throughout. Highlight tracks included the dropping
of Sims' classic party tune Street Carnival and his own remix of
Lake Baxter's Sexuality as well as the airing of Andreas Krauffelt's
Jetflange-Noise Chamber and Sandy Warez' Spanish Cookies. All this
was woven together with three decks in motion much of the time,
and barely a beat off the entire set. Incredible skills.
Between the onslaughts of Sims and Cox it was up to Perth's own
James A to fill the gap. Seemed strange to me at first giving a
renowned deep house specialist the job between two sets of high
octane tek, however James did a sterling job. He mixed a tight set
of lush, driving tech-house, which kept the vibe in the room good,
but gave everyone a chance to catch their breath.
By about 7:00 pm dusk had fallen, and the hour for all the breaks
fans had finally arrived. Perennial Perth favourite Freq Nasty was
again the man in control, and was displaying his usual enthusiasm
in setting the party off. Freq played a most enjoyable set of strictly
party style breaks that was very accessible to everyone. He even
dropped a couple of remixes of mainstream hits from Pink and 50c.
Not everyone was a fan of these, but I think it got a lot more people
jumping then exiting. The dreadlocked one also dropped Nirvana bootleg
Smells Like Freeland, mixed a Public Enemy accapella skilfully through
a breaks tune and aired several older Plump DJs tracks off the duo's
first LP, as well as the hella funky In Stereo off Eargasm.
The one drawback was an extremely talkative MC who in my opinion
continually interrupted the flow of the set. I've never been much
of a fan of MCs especially the real noisy variety, and I know I'm
not the only one.
Due to a late start Freq played well past the original finish time
of 9:00 and props to Delirium for letting the show go on, hopefully
there were no council hassles that have plagued parties in the past.
Didn't spend too much time upstairs but it was definitely going
off, with high-energy selection of D'n'B from Mickey Finn. I'm told
the dropping of Barcelona was definitely one of the highlights during
the set. Matrix also delivered an excellent set, which was great
to hear given he's previously been disappointing in performances
in Perth.
As 9:00 ticked by and the event headed into the final stretch, a
massive influx of people surged into the main room where Carl Cox
stepped up behind the decks for his first performance in Perth since
the legendary Electrick 002 in 2000.
The big man launched into a pulsating set which moved through both
filtered and tribal styles of techno, and just like Sims, kept the
energy level red-lining the whole time. Though not quite as technically
astounding as Ben, Coxy engaged in plenty of trickery, working the
EQs hard and fast, and ripping up tracks in dynamic fashion over
three decks and two CDJ-1000s.
Cox's track-list included plenty of stirringly anthemic techno
cuts, with several Lars Klein tracks featuring, as well as the rousing
masterpiece of his Intec label Sunshine. The dropping of his remix
of the latter cut, originally produced by Thomaz & The Filterheads
was just one of the many epic moments that got a massive reaction
out of the heavily amped crowd.
One gripe which was consistently cited in feedback after the event
was the intense heat and crowding in the main room during Cox's
set. For my part, I was having so much fun that I didn't mind the
sweat pouring from all directions and I think the heat and energy
coming off the dance floor actually made the experience more memorable
to a degree. The squashed up feeling that one felt, particularly
through the early stages of the set, and the low ceilings of the
room, were definitely not a plus though. I don't mind Belmont as
a venue generally, but with the massive crowd that a DJ like Cox
draws, it's not ideal.
Had the music not been so good it would have been more of an issue
for me, but thankfully Cox's control of the dance-floor was so fantastic
that the tunes were always what was foremost on the crowds mind.
An international DJs set rarely seems to be complete lately without
the airing of a reworked 80's number, and Carl's nod to this trend
came in the form of The Eurhythmic's Sweet Dreams. This tune went
down in awesome fashion and was yet another highlight. Cox also
mixed in It Just Won't Do over the top of a banging techno track,
which brought the funk, as well as a brilliant rendition of Born
Slippy towards the end of the set. I'm not sure if it was a remix,
or just the fact that Carl was cutting the tune up with other tracks,
but the classic Underworld tune sounded the best I'd ever heard
it, through Coxy's reinvention.
In the opinion of much of Perth's techno community Sims' set was
the highlight of the day, however I personally feel that Carl's
had a slight edge given the level of energy and emotion that emanated
from the dance-floor during its progression. Whatever your opinion,
the air of excitement and positive vibe that the performers created
at this flagship festival was the kind that you can carry with you
long after the event is through, and that's one of the main reasons
why people go to raves in the first place. Much respect to all involved.
Richie Brown
Contact : Richie Brown
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Global 7th DEC 2003
Global Festival
Sunday 7th December 2003
Presented by Agent Mad in conjunction with Delirium. 12 midday
to 12 midnight. After undergoing a bit of a name change the yearly
Science Fiction Festival now becomes the Global Festival.
Carl Cox Global Arena:
Carl Cox (3 hour set)
Ben Sims
Goldtrix
Sean Quinn
plus James A, Puff, Adam Kelly vs Clint Wiltshire, Chad D vs Kriece,
Warren 10 vs Adam Kytka.
ITM presents the 33and 1/3 Arena:
Cypress Hill Live
Maseo (DeLaSoul)
Downsyde Live
plus Karisma vs Pawel, Wato vs Buex, Micah vs Koosh, SMan vs Don
Migi, Cee vs Tamar.
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