- “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spirit of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way…”
‘A Tale of Two Cities’
By Charles Dickens
Over the last number of years, the concept of electronic dance music festivals has exploded almost in conjunction with, and as a result of, the popularity of the very music that has allowed it to exist. These days almost every country in the world has their own festival and each celebrate this once underground phenomenon as uniquely as the genres that are represented. Australia’s largest and most successful dance music festival is, without question, Two Tribes. Having begun in Melbourne’s Docklands in 1999, it became an Australasian event in 2001 with the addition Brisbane and Auckland to its roster and then finally Sydney in 2002. For me, the inaugural Sydney event was my initiation to the Two Tribes festival and one that I still hold special where dance music experiences are concerned.
Today Two Tribes has become a welcome addition on the Australian dance music scene. The excitement the name heralds can only be truly felt when the initial announcements are released regarding the headlining acts and DJs. The United Kingdom has Homelands and Creamfields, Holland has Dance Valley and the United States has Ultra. Australia has Two Tribes. So it came as no surprise to anyone that 2003 saw the initial release of the Two Tribes compilation to coincide with this unique event. While that release was a somewhat safe inclusion as a compilation, it is the 2004 contribution that marks a mature level of interpretation where dance music is concerned. Mixed by two of Australia’s best DJs, Melbourne’s Sean Quinn and Sydney’s Peewee Ferris, this year’s Two Tribes CD is by far a more international release in sound as much as it is an Australian one. Sean Quinn’s mix is abundant in Australian artists and remixers of the progressive/breaks genre while Peewee Ferris’ mix is truly international in its intelligent portrayal of a universal trance sound. Aboveall, both DJs have created a current sound that will be found in all Two Tribes festivals across Australia and New Zealand.
CD1 opens with the dramatic ‘True To Form’ by Hybrid. The beginning of this track is a sweeping soundscape, which breaks into a deep melodic bass and haunting violin riff. Hybrid are a unique phenomenon unto themselves and their interpretation of ‘dance music’ makes them stand out from the rest. We then move onto the progressive breaks of ‘Before You Beat My Box’ by Luke Chable vs Johno Fernandez. It encompasses both a distinct breakbeat element and melodic progressive rhythm with bleepy samples that when combined form an exciting piece of dance music. While I’ve never been a fan of progressive breaks, this is simply brilliant. Up next we have Global Underground’s eponymous first release on their GU: Music label. The Luke Chable Vocal Breaks Mix of Trafik’s ‘Your Light’ is a more typical progressive breaks track that has an underlying urgency in the beat that is only enhanced by the vocals. Following on is The Plump DJs’ ‘How Much Is Enough’ with its vibrating, twangy beats. I’m not normally a Plumps fan but I found myself immersed in the pleasure of this track. With ‘Take It’ by Krafty Kuts & CS Joy Riders, I truly began to understand why people like the breaks genre so much. There’s a primal feel to this track’s austerity that is enhanced and ultimately complimented by the vocals. Before I even realised what was happening, I found myself dancing in my own living room. Then it’s onto the distinct opening sounds of Chable & Bonnici’s ‘Ride’. This has to be one of the most jawdropping pieces of dance music to have been created in recent years. It’s dubby, it’s freaky, and it’s bloody great! This is perfectly followed by the Breaks Mix of ‘Twilight’ by Kasey Taylor and Sean Quinn himself under the guise of Our House. A track that’s high in melodic treble but with a breaks style bass that is a compliment to the previous track. Australian producers rock it with the best when it comes to music production. Just when I needed a breather, I started to hear the opening melody of the Gabriel & Dresden Unplugged Mix of Andain’s ‘Beautiful Things’. This is another stand out track in recent time and one that has been perfectly remixed by the super duo of Gabriel & Dresden. If Luke Chable is Australia’s current super producer, one of Europe’s has to be these guys. A gloriously melodic track that features a guitar like riff with equally gorgeous vocals. It’s the type of track that suits a progressive mix as much as it does a trance mix, when programmed properly. Another stand out track on Sean Quinn’s mix. Up next is the uncompromising beauty of Sasha’s remix of UNKLE’s ‘In A State’. Much like the Hybrid track, this tune just begs to rip your heart out with its dramatic beginning. I can only equate it with the sound of falling snow. If such a thing is even possible. When the bass kicks in and you hear the true structure of this track, you can’t help but lose yourself in the musical notes. This is UNKLE enhanced by only what a talent like Sasha can create. To be honest, I shed tears when I heard this because it made me feel like a child hearing for the first time. An almost dark, brooding feel is followed up with Infusion’s own remix of their ‘Girls Can Be Cruel’. It’s all about the underlying urgency in the bass that makes this another outstanding track and one that never loses my interest. One producer that made an instant impact on the dance music scene in the last year was Nathan Fake with his track ‘Outhouse’, which follows next. First featured on James Holden’s ‘Balance 005’, it has since become what some consider an instant classic. It’s a two level track that features a rhythmic, almost percussive underlying bass with a high-end melodic riff laid over the top. Even after having heard this track so many times, it still has a profound effect. We end with the darkness that is Nubreed’s ‘Midi Killa’. I can’t help but think this would scare the hell out anyone who’s in a wrong state of mind. It’s seriously warped and I love it! A stand out track to end a stand out mix.
It’s not often that I’m stopped mid stride by the opening track of a compilation. If Sean Quinn was hoping for dramatic effect, I think he more than achieved that goal with Hybrid’s ‘True to Form’. Upon hearing this, I truly thought I had just found religion. But it developed into so much more. Anyone that knows me, knows that I don’t particularly like breaks, progressive or otherwise. However, after listening to this mix, which contains an abundant amount of breaks inspired tracks, I’ve developed a newfound love of the genre. It’s not something that I actually thought was possible. For that very reason, I’ve gained a greater respect for Sean Quinn. But then you eventually hear the likes of UNKLE’s ‘In A State’ or Nathan Fake’s ‘Outhouse’ and you realise you’re listening to something quite special. Speaking generally, those who are familiar with progressive may scoff at the track selection. Yes, there are well-known tracks and ones that have been around for a little while. And yes, Luke Chable’s production work is more than apparent. But it’s the way in which they have been mixed together that makes this such a pleasure to hear. While die-hard prog fans would be familiar with most, if not all, of the tracks on Sean Quinn’s mix, there will be those that are unfamiliar with the genre and as such will hear these for the first time. The Two Tribes compilations aren’t meant to be a groundbreaking concept in dance music. What they are meant to be is a taster of the type of music that will be heard at the Two Tribes festival. From a progressive aspect, and I used that in the general sense, Sean Quinn has achieved that goal. And more than greatly.
CD 2 opens with the warped synths of the Intro Mix of Mark Norman’s ‘Overkill’. The nature of the track quickly changes into an austere drum like bass which made me think I was going to be hearing a hard trance mix from Peewee Ferris. Luckily, that’s not the case in this instant as the track takes on an uplifting trance element that is a welcome relief. Very deceptive track. This is then followed with Ian Knowles ‘United As One’ which has all the elements found in a typical uplifting trance tune but with a slightly high trebled riff that makes it rather enjoyable. I can’t help but think that, as a trance mix, this is going to be quite special. An uplifting nature is maintained with the 2Players Remix of ‘Shiatsu’ by Resan Khan which has a very majestic, big room sound that would work well in either an arena or an intimate club. A definite hands in the air track. Up next, we have the instant growl of Mike Robbins ‘Are You A Freak’ which takes us into a darker realm for this mix. It has definite overtones of a harder trance sound without ever actually meandering into that territory. We are then led into the melodic intensity that is Tomcraft’s ‘Brainwashed’. The DJ Choose & F’s That Mucho Remix has turned the track into a stand out with its rolling, almost galloping bass that infuses a high energy level that just forces you to dance. One of my favourite tracks from this mix created by one of my favourite trance producers. The energy levels continue with the Basic Dawn Mix of Mac Zimms’ ‘L’Annonce des Couleurs 2003’ which once again contains that melodic fervor that has thus far been abundant in each track. I have to say that at this point, I’m very impressed by the caliber of tracks Peewee has chosen. Another favourite trance producer of recent time is without question Darren Tate and I was pleased to find that his track, ‘Prayer For A God’ was up next. While energy levels abound, it’s the almost angelic overlying melody, which leads into the atmospheric breakdown that adds to this track’s otherworldly feel. Not only that but there are bleepy little samples when you listen to this carefully which give it that extra edge. Absolutely stunning tune! The pulsating bass of Clokx’s ‘Overdrive’ is up next with the Ron van den Buken Remix giving the track an intense drive that is complimented by the overlapping melody. So far, I can honestly say that I’ve been listening to a certain kind of trance that hasn’t sacrificed melody in order to concentrate on a track’s hardness. It’s at this point that the mix peaks, which I found a pleasant surprised. The levels are brought slightly down with Adam Sheridan’s ‘Lektrik’. A sweeping, melodic soundscape that just forces you to take stock and check your heart rate. A beautifully structured track that’s rich in bass as much as it is melody. The deep bass of Tiesto’s ‘In My Memory’ can next be heard and while I’ve never been a huge fan of this particular Tiesto production, the V-One mix has drawn the best aspects and turned it into very enjoyable tune. The vocals, which I originally found annoying, can barely be heard and the bass is quantified and made prominent while the main riff is at a neutral level. As we near the end of Peewee’s contribution to the Two Tribes 2004 compilation, the dark, rumbling bass of John ‘00’ Fleming’s ‘New Sound’. In its original format, it has a strangely menacing quality that would successfully give even the hardened a touch of the creeps. If anything, this is the sound of good versus evil in the battle to save mankind. When you hear it, you will understand and for me, it is THE standout track! Truly epic! Only the driving force of a techno production could ever truly follow such a track as ‘New Sound’ and with that very thought, the Osaka 27.09 mix of Oliver Klitzing’s ‘Ultra Pumping’ is brought into the mix. The track’s galloping beats and subtle high hats end the mix on a definite techno note, which I think is sensation way to end the second part of the Two Tribes 2004 compilation.
I’ll be brutally honest. I spent a ridiculously long time convincing myself to slip Peewee’s mix into my CD player. While the tracklisting was hopeful, such things in the past have fooled me and therefore caused me much disappointment. It’s been a very, very long time since I’ve enjoyed any compilation released by Peewee Ferris. In fact, it hasn’t been since his contribution to 1999’s ‘H2O – Water’ compilation that I’d seriously enjoyed anything he had mixed. That particular effort still ranks as one of my all time favourite mixes and one that I never thought he could ever equal again. Well, you could have slapped me stupid when I started to hear quality trance being played again by one of Australia’s original DJ legends. After years in the hard trance wilderness, I’m so happy to say the Peewee Ferris is back! And in exceptional form. Something that I thought would truly make me cringe, ended up as a more than enjoyable surprised.
Over the years, there has been an underbelly of rivalry between Sydney and Melbourne. Whether it’s literature, art, fashion, politics or even music, each city has nonetheless been defined by its individuality. Ultimately, one is not better than the other and as such, they can each learn from one another. I quoted a passage from Charles Dickens’ ‘A Tale of Two Cities’ as my opening to this review because it is a universal description that is not only relevant to these two cities but to any two cities in Australia. In fact, any two cities around the world. However, both have equivocally seen their share of success and tragedy, joy and pain, the weird and the mundane. The opposing elements explained in that piece can be used symbolically to describe these two sister cities even though the words were written more than 150 years ago but with the cities of London and Paris in mind. From a musical perspective, these very words can also be used to define the complex texture that can be found in either Sydney or Melbourne.
This particular compilation has, for me, defined the diversity that each city holds. Sean Quinn has encompassed the progressive nature that is Melbourne while Peewee Ferris has captured the youthful trance that is so often found in Sydney. At the end of it all, each mix has portrayed a musical phenomenon that can be transposed and found in both, in fact in any two cities. However, it is these very aspects that make me love these two particular regions equally and unanimously. But more importantly, I cherish the fact that we live in such a diverse and accepting continent that is Australia. From an analytical point of view, I won’t even begin to compare this addition to the Two Tribes compilation series with last year’s attempt. There’s no point. This one truly outshines last year’s inaugural effort in every sense. It is far, far superior.
Two exceptional DJs. Two beautiful cities. Many varied and unique tribes. Aboveall, one culture. It is a culture that is united in its universal love of dance music in all its mistakes and in all its perfection.
Much respect!
Tracklisting:
CD 1
1. True To Form – Hybrid
2. Before You Beat My Box – Luke Chable vs Johno Fernandez
3. Your Light (Luke Chable’s Vocal Breaks Mix) – Trafik
4. How Much Is Enough – Plump DJs
5. Take It – Krafty Kuts & CS Joy Riders
6. Ride – Chable & Bonnici
7. Twilight (Breaks Mix) – Our House
8. Beautiful Things (Gabriel & Dresden Unplugged Mix)
9. In A State (Sasha Remix) – UNKLE
10. Girls Can Be Cruel (Infusion Mix) – Infusion
11. Outhouse – Nathan Fake
12. Midi Killa – Nubreed
CD 2
1. Overkill (Intro Mix) – Mark Norman
2. United As One (Original) – Ian Knowles
3. Shiatsu (2Players Remix) – Resan Khan
4. Are You A Freak (Original) – Mike Robbins
5. Brainwashed (DJ Choose & F’s That Mucho Remix) – Tomcraft
6. L’Annonce des Couleurs 2003 (Basic Dawn Mix) – Mac Zimms
7. Prayer For A God (Original) – Darren Tate
8. Overdrive (Ron van den Buken Remix) – Clokx
9. Lektrik (Original) – Adam Sheridan
10. In My Memory (V-One Mix) – DJ Tiesto
11. New Sound (Original) – John ‘00’ Fleming
12. Ultra Pumping (Osaka 27.09 Mix) – Oliver Klitzing