- Wire, the brainchild of Japanese techno DJ Takkyu Ishino, celebrated its eighth year by clearly lifting its game as one of the world’s premier techno festivals. A mere glance at the line-up confirms this: this year saw the return of both Alter Ego and Jeff Mills, and the inclusion of first timers Richie Hawtin and Michael Mayer. After a line-up that lacked in starpower in 2005, Wire had brought out the big guns. In fact, regulars such as Westbam and Fumiya Tanaka found themselves demoted somewhat, playing quite early in the festival.
With twenty one acts playing over about twelve hours, it’s impossible for a Wire-goer to take in everything. In fact, the sheer scope of Wire is designed to overwhelm. In order to handle 18,000 techno lovers, Wire takes over an entire sports stadium, with massive “side” areas dedicated to catering, shopping, and relaxing (professional foot massages for everyone, at a nice price). Getting lost during the course of the evening is guaranteed, and with the main dancefloor incorporating more lasers than all six Star Wars movies, it’s clear that Wire intends to be a spectacle that overwhelms and overstimulates. It’s the polar opposite of an intimate clubbing experience, and being well aware of the fact plays to its strengths.
The sheer scope of Wire that threatens to overwhelm partygoers in a delirium of lasers and beats also threatens, however, to overwhelm the DJs. The temptation to fill up the enormous space of Wire with slamming stadium techno must be incredible. Not surprisingly, the highlights of Wire06 were those acts who successfully resisted the temptation.
Some may have been nonplussed by the inclusion of recently reformed ‘80s EBM pioneers Nitzer Ebb, but the band have been an influence on many of today’s techno DJs and producers, popping up on mixes by Richie Hawtin and DJ Hell and recently receiving the remix treatment by Black Strobe, The Hacker, and Robag Wruhme. Nitzer Ebb tore into a forty-five minute live set of classics such as ‘Let Your Body Learn’, ‘Control I’m Here’, ‘Murderous’ and ‘Join In The Chant’. Dressed in black militaristic uniforms, complete with black leather knee-high boots and black leather straps across their chests, Nitzer Ebb were a commanding presence. Vocalist Douglas McCarthy stalked the stage, belting out stirring chants in a powerful voice, while Bon Harris and new addition Kourtney Klein slammed their drumkits, drumsticks theatrically held aloft. Aggressive, powerful, yet somehow positive with chants such as “Lift up your hearts!” and “Learn! Choose! Build!”, Nitzer Ebb’s set was an engaging history lesson in dance music in its formative years.
Michael Mayer, playing in the “smaller” side room (where bottled water was not allowed for some strange reason), played a set that was comparatively softer than most others, yet which had more than enough muscle to keep the floor moving. With impeccable track selection and mixing Mayer proved why he’s Kompakt’s star DJ, serving up a set of gorgeous and groovy minimal tech-house that had the crowd cheering and smiling by the end.
Wire06 saw Alter Ego’s third performance at the festival, and the pair’s hard rocking set of electro power riffs proved incredibly popular with the crowd. In fact, Alter Ego rocked so hard some people most likely needed spinal replacement surgery after their set. Roman and Jörn ripped through a series of highlights from their ‘Transphormer’ album, absolutely tearing up the dancefloor with an extended live mix of ‘Rocker’. They rounded off their set with some earlier tracks, ‘Blast’, ‘Transphormer’ and ‘Betty Ford’, all moving at breakneck speed and reminding the crowd that Alter Ego have long been a force to be reckoned with.
For those who say minimal is boring and uninteresting, Richie Hawtin definitively proved them wrong. Hawtin took the woozy bleepy sound of the current M_nus aesthetic and carried the crowd along on a series of wonderfully deep basslines. Moving between decks and a laptop, Hawtin seamlessly sliced up and stitched up tracks such as ‘25 Bitches’, ‘Baby Kate’ and Claude Vonstroke’s ‘Who’s Afraid Of Detroit?’. It was technically impressive, but Hawtin has always maintained that his mastery of technology allows him to focus more on the artistry of his mixing. With a series of perfectly timed breaks and kicks that the crowd couldn’t help but respond to, Hawtin ably demonstrated that artistry, showing why he’s one of the most interesting and innovative techno DJs in the world today.
As one of techno’s elder statesmen it was only fitting that Jeff Mills closed the festival. Sadly, compared to so many of the earlier acts that had sounded fresh and vital and exciting (yes, even Nitzer Ebb), Mills sounded anything but. With mixing that was twitchy at best, Mills seemed to be going through the motions, putting together a set of slamming but uninspired techno that sounded tired and formulaic. It was a disappointing end to the evening, and a reminder that formulas sometimes need to be changed, lest they become ruts.
With Wire06, Wire have their formula down pat. Let’s hope they don’t fall into a rut for Wire07.
Special thanks to Kaichiro Shirai at Sony Music, Japan.
Photo credits: Takayuki Mishima, Tsukasa Miyoshi and Grant Mitchell.