Nestled in the 2e arrondissement and the heart of the bourse (financial district) is the Rex Club, a venue with a unique history that owes plenty to Laurent Garnier and his now-mythical Wake Up nights of the early ‘90s, which were almost single-handedly responsible for reviving the dying Paris rave scene. The Rex has remained something of a house/techno hotspot for Parisians and tourists alike for years – and one definitely worth a bonne soiree and a spot of techtonic dancing whether you’re a local or a tourist out visiting Jim Morrison’s grave, Moulin Rouge and the obligatory Da Vinci Code tour of the Louvre.
The building dates from the 1930s, when it served as a cinema complex, but the space has been adapted expertly with a custom sound system. Despite the relatively low ceiling, the multiple speakers are strategically spaced to produce a sound on the dance floor that is simply wonderful. The music is always clear and powerful without endangering your eardrums. It’s a club big enough to feel important and small enough to be intimate and with its clear zones for smokers, dancers and loungers – it’s adaptable to the moment’s desire. Drinks may be a little pricey, but if you are with a group you can share the unique experience of pitching in 120€ or more for a bottle of your favourite spirit with jug of mixer, ice bucket and table included.
Musically, there is always a good program on offer. Arriving for the Easter Closer party just after 1:30, we were treated to a near immaculate night of unpretentious and infectious beats that began with the last half-hour of resident DJ Chloés set. Those familiar with her DJing or her RA podcast will know her style: a crisp and patient blending of minimal techno and electro-tinged house. She played her warm-up role perfectly, relying on a fluid mix, rather than special effects, to get some of the crowd moving to her gently urgent performance.
At 2:00, Swedenns Minilogue took over for 90 minutes, performing selections from Animals, their upcoming double album on Cocoon. In keeping with the strength and fuller sound of their recent singles, Sebastian Mullaert and Marcus Henrikson showcased a still-maturing sound. Some of their earlier live sets often seemed crudely decorated with Massive Attack samples, while also rushing from track to track as if nervously trying to hide. Their music nowadays is much more confident and direct. Live, the duo reinforce the driving and rolling bottom end and aim for a tighter blending and warping of the percussive and textural sounds akin to 20077s Space EP. The second third of the set also featured extensive use of abstracted vocal samples to effectively mark a change in the setts palette and intensity before heading upwards towards the finale. Gradually building the intensity of the music with the climax, the duo showed as much enthusiasm behind the laptops and mixing board as the crowd pressing in all around them. Despite losing control of the mix towards the end, Minilogue almost seemed reluctant to close it down and the crowd was more than appreciative.
Berlin resident and BPitch Control producer Kiki picked up the vibe and jumped straight in to a louder and more kooky set of minimal and tech house. Equally as enthusiastic in the booth as Minilogue had been at the controls, he piqued and teased the crowd with what almost seemed a continuous stream of build-ups and breakdowns. Dispensing almost entirely with long, deep runs of beats or subtle mixing can be dangerous, but in Kikiis hands it all worked well and was a welcome and light-hearted change from a more journey-like set of head music. Kikiis technique is almost to ram one track into each other, forcing a point of accumulating friction and then dropping back suddenly into the track. Perhaps helping his technique was his choice of more airy and glacial tracks from the likes of his BPitch Control base, rather than deep or textured cuts from further afield. Not too serious, but with plenty of spirit to keep a good crowd until the small hours. A great venue and a relaxed show.
