Intensities: Theo Parrish, Nicky Siano, Helen Lane
[Last updated: 27.10.2006 21:35]
Three big parties to report on: Theo Parrish at Plastic People
(Shoreditch), Nicky Siano at the Key (Kings Cross) and Helen Lane at
Appolonia (Stanmore). (I also went to the Dubstep launch of Memories of the Future at Plastic People last night, but more on that another time.)
I'd been looking forward to hearing Theo Parrish to play for some time. He's part of the stripped down, black techno continuum that to my ear goes back to the machine-like instrumental sections of "Law of the Land" by the Temptations and developed its electronic impetus in the hands of producers like Moroder, plus of course Atkins, May and Saunderson. The harder edge of Detroit's sometimes misty-eyed techno was prominent at the raves I went to in the early 1990s, but it was only occasionally played at Feel Real on Friday nights at the Gardening Club, which became the party I lived for (at least it felt that way) between 1992-94. The Rhythm Doctor and the other Feel Real spinners looked more to New York than Detroit, and when Louie Vega appeared as a guest at the club I pretty much decided on the spot that I had to spend some time living in Manhattan, which is precisely what I did between 1994-98. During the four years I was there, Detroit wasn't even on my North American map.
Throughout this eight-year period ⎯ a period in which I bought way more records than I should have, and ended up exchanging about ninety percent of my purchases at Reckless Record for a clutch of vouchers that will still be nestling in my wallet long after file sharing has shut the store down ⎯ I purchased more records by Louie Vega and Kenny Dope (Masters at Work…) than any other producer/remix team. But since then I'm sure I've been buying more Carl Craig than anything else, and this incremental movement towards techno has been helped along by the likes of Fran
I'd been looking forward to hearing Theo Parrish to play for some time. He's part of the stripped down, black techno continuum that to my ear goes back to the machine-like instrumental sections of "Law of the Land" by the Temptations and developed its electronic impetus in the hands of producers like Moroder, plus of course Atkins, May and Saunderson. The harder edge of Detroit's sometimes misty-eyed techno was prominent at the raves I went to in the early 1990s, but it was only occasionally played at Feel Real on Friday nights at the Gardening Club, which became the party I lived for (at least it felt that way) between 1992-94. The Rhythm Doctor and the other Feel Real spinners looked more to New York than Detroit, and when Louie Vega appeared as a guest at the club I pretty much decided on the spot that I had to spend some time living in Manhattan, which is precisely what I did between 1994-98. During the four years I was there, Detroit wasn't even on my North American map.
Throughout this eight-year period ⎯ a period in which I bought way more records than I should have, and ended up exchanging about ninety percent of my purchases at Reckless Record for a clutch of vouchers that will still be nestling in my wallet long after file sharing has shut the store down ⎯ I purchased more records by Louie Vega and Kenny Dope (Masters at Work…) than any other producer/remix team. But since then I'm sure I've been buying more Carl Craig than anything else, and this incremental movement towards techno has been helped along by the likes of Fran