::: Disco :::
::: Bar :::
Egyptian Lover (live)
Kerri Chandler's extraordinary skills certainly have something to do with his father being a DJ and his family being full of musicians, but that doesn't explain his absolute magic, both as DJ and producer. Kerri is a true legend of the New York/Jersey garage house sound, he's been spinning records for four decades and is as relevant today as he was in the 90s, when he released his first records. He started to DJ at age 13, first warming up for his father, soon later keeping it going all night long. While all the other teenagers were busy being teenagers, Kerri perfected his mixing techniques, learnt about sound, waves, frequencies, which buttons to turn. Everything he needed to know in order to make dance music and influence adults on the dancefloor, something in which he mastered. He's known for being a technical geek who modifies and builds his own machines. One of them is a laser harp, inspired by one used by Jean Michel Jarre (apparently, Jarre's was just for show, but Kerri Chandler's does work and there's proof he has used it!). Of course Kerri needs no extra lights to shine bright. He is so special and efficient that he beats any blind test on the dancefloor!
In L.A., Egyptian Lover learned the hard way: mixes had to be perfect so the gangstas stayed in the groove and wouldn't start harassing. He cut his teeth with the funk and R&B of Prince, Rick James, Bar-Kays, discovered rap with "Rappers Delight" just like everyone else in his generation, looked to Egypt as the farthest he could think when entertaining thoughts of escaping the neighbourhood but also because of Rudolph Valentino in "The Sheik". And so he became Egyptian Lover still in high school. Well before the incredible "Freak-A-Holic" (1986), he wanted to sing like Prince on top of Kraftwerk beats. His style was boosted by the popularity of "Planet Rock" and the nascent electro scene and the Lover went on to build a career firmly grounded on Roland's TR 808 drum machine. We can watch him program it live, on occasions. The chrome image we so often get of Los Angeles via car culture, the "eternal Summer", babes, palm trees and the whole fantasy world made possible by Hollywood, the division of the urban grid in gang territories, the popularity and social statement of West Coast rap, all this informs Egyptian Lover's escapist, futuristic and sexualized narrative. On the Prince song, he replaces "kiss" with "pussy lips" and it sounds devotional.
Wow. A unique synthetic experience is about to descend. Within the ever revolving circle of styles, Electro dominated a good portion of the front line during 2018 and into 2019. The incredible Den Haag scene arrives at Lux with Intergalactic Gary, once part of the Parallax Corporation with I-F, champion of the spartan, robotic sound for over 30 years now. That special invention fusing italo disco with Detroit, Chicago and European synth pop resulted in a style kept very fresh in Den Haag as nowhere else in the world. Gary (in fact John) is not the most extroverted, he usually moves only inside the structure (Intergalactic FM, Crème Organization, etc.) and perfects the "dark and instrumental" selection that used to clear the floor when he started DJing.. The mission is pretty clear, the concept became complete since the "Star Trek" marathons with I-F. Gary's sets are like entering a flight simulator, completing the journey and coming out with eyes wide open because they've "seen things you people wouldn't believe". Take note: on this night, going far out means stepping inside Lux.