Rave Undead II
Although rave sirens echo throughout the dance halls and temples of today’s world only in the form of samples, and the fluorescent excesses of the 90s have ceded to a subtler club culture, the rave as a movement, event type, and aesthetic category is currently undergoing a diametrical rebirth. While its zombie-fied, glowstick-bedecked version – the ruthlessly commercial EDM scene – has conquered the mainstream in the USA, a rapt reappraisal of the early 90s as the “Golden Age” of hedonistic yet socially and politically transgressive dance music is now unfolding in Europe. Hardcore breaks are alive and kicking again in house sets, and a touch of P.L.U.R. is in the air.
Each artist at this all-nighter presents a different take on rave: from Samuel Kerridge, who is more than a little influenced by his parents’ acid house background, passing through a special hardcore set by Berlin’s Shed, mysterious act Powell’s thoroughly emaciated, obtuse and primitivist take on techno, the utter destruction of rave in 2012 with the violent “rave slime” mutations of Evol, and the decelerated, dubbed-out techno of Andy Stott. The night culminates in a DJ-set of original rave hero Mark Archer of Altern 8, the dust mask-wearing icon of the movement in the 90s, while the final blow will be delivered by the gothic-industrial hybridity of Lower Order Ethics.
At home in the Panorama Bar for over nine years, this event series is not only one of the world’s best known, but also one of the most important forums that continuously spins forth the history and permutations of house. It is the understated, delicate balance between consistency and experimentation maintained by Sammy Dee and Zip that catapulted Get Perlonized! to where it is today. Their own DJ sets and their choice of guests reveal them as guardians of sound in its purest form, as well as curious scouts whose subtle intuition takes the music in new directions. Shackleton was one such discovery: his album Three EPs, released on Zip’s own Perlon label, broke new ground for an up-coming generation of producers as it finally sealed the bond between hitherto cautious approximations of dubstep and club house; sounds that were indeed close, yet whose roots lay elsewhere. The work of artist and transgender activist Terre Thaemlitz aka DJ Sprinkles, on the other hand, reminds us that house, in spite of, or precisely because of its hedonism, is political music that firmly opposes identity-ascription in the name of gender and class.
In collaboration with Perlon.