Krankbrother take over The Union Chapel for a series of sonic excursions

The Krankbrothers, aka Danny and Kieran Clancy, are staple names of the London electronic music scene, Bordering on 10 years throwing inspiring and eclectic dance parties it’s a rarity to find someone who hasn’t at least heard of them, let alone frequent their dances. Being a DJ duo foremost, the two have successfully made the fabled leap and transcended form into an iconic brand stretching from party protagonists to record label bosses.

With their roots firmly in the dance music scene it is suitably refreshing to see the next series of events they have curated, playing host to a selection of modern-classic ambient musicians in their respective niches, all set in Islington under the roof of the iconic Union Chapel. Voted best live music venue of 2012 with its distinct 19th century gothic style and ceremonial sound-scaping, it strikes as a very exciting space for this new series of events.

The first of these sees the Japanese composer Midori Takada bring her exquisite tale of east asian ambience and exhilarating jazz fusion north of the river. An artist who sees the cosmic brilliance of the universe and musical nature of the natural world, proclaiming “Everything that exists on this earth has a sound, Even if humans don’t call it an instrument, on this earth, there exists a significant vibrancy.” This comes through fully in her music which often follows a natural progression taping into human tendencies transporting you to her lucid dreamscape. Using heavy amounts of percussion yet portraying a multitude of feelings is a hall mark of her sound, gentle triangles and cymbals up to pounding drums and gongs, she commands them all. At a show in Cafe OTO last year she kicked off proceedings meandering through the crowd chiming a single triangle, somehow managing to fill the room with a glowing chime moving all around until suddenly she was there right besides you! True mastery of the percussion, with the space of the Union Chapel to play with there is so much potential I cant wait to see what she has in store.

On the night there is support from quite a contrasting, yet complimentary German artist named Jan Jelinek, he is a well revered figure in the ambient electronic community thanks to his seminal works Loop-finding-jazz-records (2001). Known for his minimal tech-glitch sound looping and layering jazz-cut samples, underpinned with deep atmospheric bass lines, he should provide a suitably hypnotic start to the evening. Similarly to Midori Takadas approach of full appreciate for natural acoustics, Jan emphasises the beauty of past sound, amalgamating and moulding minute lost sounds bites into fresh and new compositions. Jan will be playing a rare live performance on the evening so nothing can be expected, all I know is that he’s going to push the reverberations of the Union Chapel to its very limits in true ceremonial fashion.

The second set of shows plays host to one of electronic music’s all time legendary acts, Tangerine Dream. Founded in 1967 by Edgar Froese, their prolific history spans all the way up to present day and boasts over 100 studio albums. They’re more than just a band however, Edgar envisioned them as more of an ethos, a sound and motive expressed through a span of over twenty likeminded artists. Atmospheric and emotive, synth heavy journeys are a stable of this sound, often with excursions lasting well over 10 minutes. One of the key features of their progressive, instrumental sound is the intimate interactiveness of it all. The instrumental progression eeks in deep and forces the listener to be directly involved, projecting their own subconscious and feelings into the sound; rather than be a passive listener to a story being told. It is this characteristic for me that is accurately described as psychedelic, truly mind-manifesting music and I cant imagine a better place to let yourself unfold then the magnificent Union Chapel.

The last in the series of shows at the Union Chapel rounds of a broad cross section of ambient acts with a candlelit evening in the company of avant-garde composer, William Basinski. Most famous for his four-part collection The Disintegration Loops, the majority of his compositions are highly experimental, melancholic affairs; Often using old tape reels playing against each other to create organic feedback. The repetitiveness, decaying nature of the loops coupled with nostalgic tones create a highly contemplative sound and I can imagine that set in candlelight against the beautiful chapel will create an immensely powerful joint meditative experience. Similar to the billing of the aforementioned Midori Takada show, William is to be supported by, and somewhat contrasted to the more techno influenced works of Austrian composer Christian Fennesz. Together they’re sure to mould an immersive, introspective sound scape for the audience to lose themselves within; I personally cannot wait to explore.

Grab tickets below:

Midori Takada + Jan Jelinek

https://www.residentadvisor.net/events/1065904

Tangerine Dream

https://www.residentadvisor.net/events/1060211

https://www.residentadvisor.net/events/1070531

William Basinski + Christian Fennesz

https://www.residentadvisor.net/events/1088044

krankbrother splash

Printworks 2018 Opening: The Hydra

Printworks, nestled in an industrial estate in the Canada Water area, just south of the river, is a great example of urban regeneration. It is in the space of what was once West Europe’s largest printing facility responsible for printing the Metro and the London Standard and has now been transformed into a 6,000 capacity multi-dimensional venue. This reuse of existing archaic architecture for new cultural facilities is certainly pleasing in today’s throw away society. Although not as romantic as the squat-cum-clubs of the Berlin scene, Tresor and Berghain, it is still a powerful feeling. Along with the area, Printworks itself is constantly being improved and fine tuned, everything from sound and lighting configurations to crowd flow and drink purchasing systems (no more drinks tokens, yes) which makes me extra excited to witness the second season of events, having a complete overhaul of its audio visual equipment this time round.

For the opening party the Hydra took the realms in curating the dance. Long time legendary party coordinators in London, it’s no surprise they put together such an impressive line up. On entrance it was smooth, a short walk through the winding complex greeted by friendly staff cracking jokes and making you feel relaxed and not tense on edge like the airport style security of some London venues. The building opens up as you start to get a shear size of the space, illuminated with tube lighting installations and ambience with a growing bass thud, enticing you into the cavernous space of Printworks’ main Press Hall.

Revelers in the main hall printworks
Revellers in the main hall Printworks

The sound of Red Axes filled the room with surprising clarity, the improvements to the main room sound system are instantly noticeable; a lot fuller and richer sound through ought even at the bar area. It is a vast improvement to the patchy and often overworked and blast-y sound in the main room before. The duo were bouncing through with clean heavy hitting rolling techno making you forget it’s only early afternoon, playing late night club bangers with worldly acid tinges and playfulness of their productions, such as a the M.A.N.D.Y remix of “My Warehouse” by Roland Leesker. As they build with more cheeky percussive tunes, a hallmark of their sounds, teasing pan pots and tin drums over mystique sounding psychedelic chanting style vocals. The vibe got progressively psychedelic, imagine acid campfire, everyone gradually losing themselves in the over powered strobe lights and then dreamy twinkly percussions like you’re laying back looking at the night sky, then BAM pounding beat back to your feet. A very good set, although relied on cutaway drop a bit too much creating a sense of plastic tension rather than sincere, but still very textbook.

On occasions the lighting in the main room was very overwhelming and distracting, especially the ridiculous amount of lasers and strobes, which become disorientating at times. If they’re well engineered they’ll be fine, but nothing on the epic beam setup of last season. The full on lighting was almost blinding at times making it hard to navigate, but on the whole the crowd flow down the sides of the main hall allowed for good access without getting too crowded, with exits whenever you needed. Coupled with the more solid sound coverage, it was much less hectic than prior configurations.

Room 2, nestled away at the back of the Press Hall hosted nordic rave legends Prins Thomas and Lindstrøm for the later end of the day. I was instantly a little disappointed to find the crisp and clear VOID acoustics had been replaced by a much more boomy and overpowered system which did not sit well in the room, although it still did a fair job. Prins did not disappoint however, playing heavier than usual layering upbeat techno and powerful disco to cosmic effect. There was a lot of positive dancing and happy faces, upbeat ethereal party time; weaving in twinkly synths as though we were dancing in the stratosphere while laying on huge bass keeping us from drifting off in space. A tune that stuck out from his set was Bawrut’s remix of “Devozioni Dialettali” by Enzo Avitabile, although the main highlight had to be an almost 10 minute long rendition of “I Feel Love” by Donna Summer involving rolling Chicago hats and claps yet withholding the vocals, somehow more satisfying in simply respecting the magical arpeggiated beat that Giorgio Moroder concocted.

Kerri Chandler looks out over the printworks crowd in the epic Press hall
Kerri Chandler looks out over the printworks crowd in the epic Press hall

The finale came in the form of House legend Kerri Chandler, hailing from New Jersey, he steps up, straight into high energy drum roll double tension tempo claps slapping the slider to his own beat. He knows a party and truly turns it into one, expertly blending from big room techno bangers such as “Bang’t” by Geeeman to euphoric disco house “Let Love Enter” by The Disco House Lovers and high-energy punchy numbers like “Work It Out” by Karizma, to modern house classics like “If Only (Lehult)” by Liem and “Never Grow Old” by Floorplan. You could really tell he is a class above the rest the way he effortlessly swept away any lingering residue and fatigue from an afternoon of heavier tunes and filled the crowd with ecstasy and new energy. The set was accompanied by a huge bright disco ball, sparkling down the vast hall, a lighting fixture which was tasteful and added to the music. Overall a great way to end a solid selection of music and set everyone up for a beautiful rest of the weekend.

The epic disco ball glistening perfectly in unison with Kerri Chandler's infectious grooves
The epic disco ball glistening perfectly in unison with Kerri Chandler’s infectious grooves

Photography by the talented Jake Davis at Hungry Visuals

Golide @ The Roundhouse, Camden

Goldie, known by most as one of the pioneers ofthe Drum and Bass sound, famous for tracks such as “Inner City Life” and “Digital” along with the ground-breaking album Timeless, has been out of the game for some time; so when he announces his first proper studio album in nearly 19 years and accompanying live tour you can imagine the deep feelings stirred. Having not been too dialed into recent developments in the Drum and Bass scene, I went for a chat with long-term friend and DnB head to get his take on Goldie’s movements before the show. To sum up, his perspective was that “Goldie is trying desperately hard to stay relevant” and wrote his new live show off to be a gimmick. With this pretext I had mixed feelings leaving the house on a wet and windy Sunday evening.

These feelings were very quickly forgotten upon entering the roundhouse with ease; the smooth and polite door staff made you feel very welcome, right at home setting the tone for the show. An iconic venue to say the least, the dome spherical setup allows for great sound and clear view from most points.

The lights dimmed and the man himself exploded onto stage, Goldie for the first time taking centre stage, under the spotlight, rather than staying second to the music behind the decks. His new role suits well as he wastes no time introducing the new band consisting of three keys/synth/controllers, two drummers and two backing singers accompanied by a whole host of guests including Natalie Duncan, who Goldie showed great reverie for as his “musical muse”.

The band are extremely tight from the outset and it instantly becomes apparent just how many layers of sound go into creating the intricate soundscapes of Goldie’s music. Taking the humble position of percussion using an array of instruments (favouring the tambourine) Goldie bounces around the stage providing glowing encouragement and enthusiasm for each and every member of his new band; clearly super excited on this new venture, he breathes energy into the band and crowd a like.

The new album, The Journey Man, is the focus of the show and is flawlessly brought to life. The drummers for me were especially impressive never seeming to let up and miss a beat, keeping up the intensity for the duration of the show. The album is generally easy listening with a few too many slower songs smattered in between the classic Drum and Bass jams which hark back to his iconic sound from the nineties. However, when played out live with a more refined selection accompanied with live musicians, especially the baking vocalists and Natalie Duncan who were superb, the show cut the perfect balance between hype Drum and Bass and mellow sections to create a very accessible, enjoyable show for all. Not directly appealing to the OG Metalheadz, although Goldie made a point to share his respect and appreciation to the ‘old heads’, it is broadly a very enjoyable spectacle. A real highlight enjoyed by all was the rendition of “Inner City Life”, with Natalie Duncan singing impressively true to the original sound, sending shivers of nostalgia throughout the room.

Goldie has done so much for the Drum and Bass scene, and the electronic music scene alike; from helping mold the sound at Fabric many years ago to being a prominent key figure in helping the institution that helped kickstart his career remain open. I see this live show as an extension of that spirit, showcasing the true musicianship that goes into Drum and Bass music, which along with other electronic music doesn’t always receive the fullest appreciation and respect it deserves.

Sunfall Festival 2017

As the sun fell over Brockwell park there really was only one name on everyone’s lips, the legendary Larry Heard making his return to UK for the first time in 20 years. A gradual stream of people from various tents meandered down towards the Sunfall Main Stage to form an ocean of smiling faces as his gentle voice graced the mic. As humble as ever, he shared his delight to be here before unleashing one of the most emotional electronic music experiences I’ve ever witnessed. Getting things off to a sensual start with “Mystery Of Love”, Larry accompanied by long term collaborate Mr White eased the crowd through some of the deepest, most soulful house, washing away any prior feelings of angst after struggling through ridiculous queues and overt police presence at the door.  As the last stragglers started to fill in any gaps, friends were seen all around greeting each other with hugs and kisses after who knows how long apart. The feelings were gradually heating as the duo ramped up a gear concentrating their ethereal acid sounds, amalgamating in fever pitch during a rendition of one of Mr. Fingers most recent releases “Qwazars”. The crowd raised in elevation, elated spirits all round, hands on heads in disbelief, what actually is going on? There was such a smooth and direct flow of the set with generally little time to stop and take a breather, one solid stream the whole time accompanied by lo-fi graphics zooming through the depths of space tying the whole experience together. Moving on from this the last moments of sun were serenaded with a few choicely timed Mr White jams, “The Sun can’t Compare” and then “Aeroplanes” perfectly accompanied by a powerful low flying jumbo jet roaring overhead.

With the crowd suitably warmed up and feeling raised to Larry’s level, the duo took things on a spiritual tip, easing in with Glenn Undergrounds Thank You mix of “Praise”. The graphics followed suit, showing a man seemingly made of juicy fruit pulsing away to the beat. The general vibe from then on was truly religious, some commenting a little cheesy, but I was fully in it. It felt as though Larry was directing us to a higher power with lyrics “Become the light, feel the light!” to an emotional finale tied up with the ultimate classic “Can You Feel It”. What was one to do with themselves after that?! A moment to sit and decompress was much needed, but the herd soon started to migrate towards their night session of choice…

An undoubtedly righteous show, baptised in the deepest font of House, but the day wasn’t an all round fun time. Many a complaint from all manner of today’s methods of communication rang true with the theme of disorganisation and mammoth queues, some 4hrs to get in and 1hr for a beer. A few decisions such as metal gated queue for the bar and increased security searches around 2pm due to overzealous police could’ve definitely been avoided to ease pain, and it is a shame that Sunfall 2017 was plagued with tedious queues, questionable sound in the tents and familiarly overpriced beers…

This was a great shame as there were many stellar acts which went majorly unappreciated towards the start; Peggy Gou dressed in her red top and blue dungarees looking like Mario popping beats like shells, red preferably knocking Goombas out with a 1-2 click getting the revellers moving like they slippin frick banana slip, only a few people in bobbin in this dip.

One real highlight of the billing was the extended set from Theo Parrish, commanding the crowd with sincere g authority and riding through house riddims like a breeze. True vet. Driving into powerful bongo beats rhythms with kick and distant tribal wails dancing the tempo up and down, jogging pitch smooth like velvet.  Jazzy house numbers with wild synths into a sound cut out, the crowd hails “just play records!” While handling it like a smooth don papa he jumps straight into uplifting house getting the crowd straight back to dancing. Again it happens then slides up a gear with a techno slammer, expertly feathering the tempo down to a slow amble the crowd wobbles to the sub bass, literally in the palm of his hand.

The lack of powerful sound in the tents drew me to check the main stage where Romare was just stepping up with his very full and wholesome sound, with little to no bleed from other stages. Roland drum pads hitting very clean an powerful, lowkey jazz sax riding in, very hypnotic. Main stage had an absolute stack of martin audio subs, so punchy you feel it right there in your chest bringing power to Romare’s sound. Very nice array of live instruments all sounded nicely spaced out with room to breath and swirl, real feel good sensations showing how powerful live music is in bringing people together.

My life, my life in the sunshine! Everyone loves it, instant mood elevation, Roy Ayers raises the crowd in an beat. Very soulful vibes bobbin away, he took it at a darling pace while his band were incredibly tight, such power in the bassist you can tell these friends had been playing together a long time. Smooth grooves sliding through the low hanging sun, bass notes verb piano keys chime a soothing breather for the crowd as Roy vibraphones away, pumpin to full disco vibes super loose dancing ensue; tight fruity grooves. Craaazzzzyyy drum solo hype hype hype crowd feels it then the bassist finishes of in a cheeky another one bites the dust riff to close things off. A truly heartwarming live performance!

MCDE follows on this electricity with ease playing his trademark disco funk techno sound playing tracks like Straight Lines’ “Everybody Wants To Be A Star” and Cratebug’s “Acid Train”, he kept the movement flowing through expertly to Floating Points’ Live set, which was phenomenal as always.

Overall the Main Stage supplied many a choice musical experience and made for a thoroughly enjoyable day.

Words by Edward Bowyer for Ticketarena

Planet Giegling @ Superstiton, Village Underground

Giegling

If you have not heard of Giegling, they’re a crew of super-talented individuals, majorly German, who came into contact around a small German university town called Weimar. They have been releasing music since 2009 and rapidly becoming more prolific with every release, a vinyl only policy with very limited online presence in conjunction with their unique sounds helps make them highly sought after in such a commodified era.

During their early days of lurking in separate music scenes they gradually made contact and gravitated around a rundown post-GDR space with a great system that they used on the cheap “Giegling” (Originally called The Giegling) and used for 4(ish) legendary parties which set the precedent for their whole ethos moving forward. A deep, enticing sound of spacial nostalgia and lost emotions across many genres; minimal, micro house, dub, techno and leftfield electronica. Their music really has a sense of message and purpose, super heartfelt taking you away to places and feeling far out there you didn’t know existed. They’re one of the tightest labels in terms of sound and aesthetics, epitomised by their ethos “For us, Giegling is the belief that we are better together than as individuals,”

You can read deeper into Giegling at Resident Advisor and Juno Records.

As you can guess I was super excited at the announcement of their world tour…

Planet Giegling.

 

Planet Giegling Tour Poster

I was lucky enough to take a trip to Planet Giegling during the London stop of the world tour, and I must say it was quite the trip. For this leg they chose the renovated turn-of-the-century warehouse space, Village Underground, based in Shoreditch. The space has a real cryptic, religious feel with candles burning along the wall and and matched with a new installation from Giegling behind the decks, formed of a cross of 5 holes which looked to be carved into the wall holding extra large candles, perfectly suiting the aesthetic of the club night who hosted the event, Superstition. This also perfectly matched the Giegling vibe, and the almost religious experience that was to unfold, I can’t think of a better place in London.

Photos by Luca Crescenzi, full gallery here

Dwig (live) @ Planet Giegling, Village Underground

Setting the scene

The instant I walked into Village Underground I was taken aback with what they had done with the place; a bosom of filament bulbs hang above the dance floor; pulsing away to the downtempo beats of Dwig. You can catch his set here.

In addition to this an interesting bunch of Balloons float just above the decks, a mix of all different shapes and sizes, wafting gently between some abstract neon lighting. Initially I thought it was some bespoke scutltpure they’ve been carting around the world, but on closer inspection the balloons became apparent. They were a very impressively simple piece and along with the different colours and intensities of lighting, morphed into all kinds of awesome and bizarre shapes and figures, maybe helped with some slight acidity in my system, but nonetheless a great addition to the spectacle.

Giegling family all stand around assembling the beautiful bulbs
Giegling family assembling the beautiful bulbs
Bulbs an Bunting
Bulbs an Bunting

Journey begins

Warming the crowd up nicely with his more downtempo vibes Dwig sets the scene for one of Giegling’s more well-known acts Dj Dustin, the founder and runner of affairs, who come through with his trademark sound featuring kicks so crispy it feels like you’re right there inside the drum. Catch his Giegling #1 mix here.

Following him was probably my choice for the evening, Edward. Someone who has been hot on the lips of my Berlin-based friends, often playing in the ‘hain, I’ve been keen to check him for a while. He majestically moved the crowd and tempo through a multitude of feels, peaks and troughs, building powerfully to ecstasy quite impressive for the mid point of the party around midnight (had been running since ~7pm).

Gaining momentum

Up next ATEQ, who’s set I can’t speak too much about as I had a fair session in the smoke pit still wallowing in the highs of Edwards performance enjoying the pleasant sensations of some of the finest Moroccan. Following him was another heavy hitter of the crew Konstantin who recently gained hype after his sublime mix for the famous Georgian club, Bassiani. Really building on the intensity he took the crowd deeper and deeper, a pure energy felt to be building around the floor as though we were preparing for something big, real big.

Vril built upon this energy, initially curve-balling with some off-key trippy downtempo numbers before easing into his trademark hypnotic, powerful techno sound. Something the crowd were more than ready for an apparent in the increasingly abstract forms of dancing, raw energy flowing around pulsing the bodies like rag dolls.

Blast off

Kettenkarussell was to close of proceedings, named as the German for a chair-swing fair ground ride, he took the crowd of on the final spiral ascent up onto Planet Giegling. The last hour was a pure whirl wind of excitement as the real hardcore remained and danced themselves into an absolute bliss ascension.  The ballon installation was gyrating to the bass and masses of smoke which swirled all around, highlighted with the powerful lights and tears streaming down my face. It was such a spectacle I couldn’t help but break the events no-phone policy to snap the takeoff…

Blast off to Planet Giegling
Blast off to Planet Giegling

Floating down

Even weeks after I’m still on a high from the energies shared that trip to Planet Giegling, it was such a powerful, emotional night that is very hard to compare to anything else I’ve witnessed. Doubly inspiring that such a grass-roots group of friends can go on to traverse the globe spreading their unique sound and message, something rarely seen in the world of electronic music.

Giegling truly are producing a sound so hauntingly emotional and yet so highly personal that it feels like there is an honest and important message behind it, Planet Giegling feels like the most complete representation of that, yet I still cannot put my finger on it; magical.

 

Percolate x Mind Fundraiser @ Oval Space

It was a great party, for an even better cause; Mind are a UK charity dedicated to providing advice and support to empower anyone experiencing a mental health problem.

On the whole a massive £9793.72 was raised – shout out to Percolate and all involved for helping to raise awareness and open up the conversation on mental health.

 

Peeping PercolatexMind Oval Space Leon Vynehall b2b bicep percolate mind oval space Hazy crowd percolate x mind oval space Crowd PercolatexMind Oval Space Cane Kane and Issace PercolatexMind oval space Don Killshaw PercolatexMind Oval Space

Love Thy Neighbour Oval space

 

 

More photos here

Floating Points Live @ Electric Brixton 

Floating points is a name you’ll probably be familiar with for songs like Vacum boogie and Nuits Sonores, really funky fresh dance tunes, with heaps of soul. This trademark sound was incubated through many intimate sessions at London’s Plastic People club, of which has sadly shit its doors at the turn of the year.

That being said, if you look further back into Dr Sam Shepard’s roots you see a highly educated neuroscientist with background in classical music, he started out as a choir boy in Manchester before learning to play an array of instruments. His debut album Elaenia is a cosmic culmination of Shepard’s varied musical career, placing it in genre hard pushed for comparison – spiritual jazz is the phrase which often comes up to describe it. You can read more about his album when he sat down with Katie Hutchinson from the Guardian 

The Live show was a great rendition of the album interspersed with some intense and interesting experimentation and improvisation, a highlight was a five minute techno drum an bass solo with mesmerising strobe lighting throughout. The whole orchestra were incredibly tight, even if they did look a little bored throughout some of the extended breakdowns – bringing out real highs and deep lows, You can fell how much Sam enjoys playing with the crowd.

Overall the gig was a good musical performance and Electric Brixton suited it well – my only criticism was that Shepard lacked much real showmanship such as introducing and closing words, which would’ve really help bring together such a disconnected and experimental set like this; Something he can definitely work on to take the show to the next level from musical expression to spiritual transcendence.

If you enjoyed the album then you should do all you can to try an catch an upcoming live show, if you prefer his older releases and Dj sets then you may be left a little wanting without that persistent funky rhythm to dance to.

Four Tet – Live Performance @ ICA, London, August 24th 2015 with Video

In todays day world of USB stick playlists and lip syncing, it’s getting hard to tell what really is ‘live’ music? This goes doubly for electronic shows, where some of the most popular ‘acts’ consistently pump out pre-baked shows for extortionate price tags. Luckily we still have acts like Four Tet, currating ridiculous line-ups for honest prices  while also pioneering a truly live electronic experience – a unique journey through the sound and vision of Kieran’s music.

Four Tet plays live

Four Tet’s show last night at the Institute of Contemporary arts was a prime example of this, a simply beautiful electronic a/v show like nothing I’ve seen before; A perfect matrix of lights dancing to the sounds of his latest piece Morning/Evening sprinkled with classic tunes along the way.

This was a special show and I’m pleased to have grabbed a few clips to share; I can’t recommend enough Four Tet’s Live shows, catch one near you: http://www.fourtet.net/index.php/live/

 

Four Tet's Live setup surrounded by lights
Four Tet’s Live setup

See Kieran go into a few details of his Live setup https://www.youtube.com/watch?v=9KIvnLBF7vU

WUITW 2

Warm Up In The Woods is a woodland-based rave put on by the Warm Up crew.

“As a brand Warm Up is very dedicated to representing melodic techno and electronica. Expect deep progressive grooves and lush warm melodies from our residents and friends”

WUITW 2 was my first warm up event, it was such a special morning and epic party – The vibes were happy, uplifting and deeply felt by all. The deep, melodic branch of techno that the warm up crew radiate brings a real sense of unity and oneness with the music,  nature and everything. Progressing to deeper groves throughout the early morning through sunrise, Aidan kept the crowd on a heart string powering through in to the new day.

Warm Up are a shining example of how to run a party, highly recommend! The next WUITW event can be seen here 

Catch the next Warm Up event

Hear a portion of Aidan Dohertys 5 hour set below:

 

Few shots from the night

Warm Up In The Woods 2 Crowd

Happy Chequers Going Deeper Stoked Flowers Lusty Paisley Distant Stripes Feels Hazy Shades