- Carved into the left bank of the Seine lies the architecturally spectacular Cité de la Mode et du Design, an unlikely Parisian venue for a Whitest Boy Alive gig/techno rave. Designed by Jakob & McFarlane, this audaciously renovated former warehouse, with its green spindles and snaking glass walkways, stands as testament to the innovative quality of French contemporary architectural design.
Unfortunately, the wondrousness of this venue worked in detriment to the music that We Love had gathered for their night of "Fantasy." The vast events hall, where all the musical action took place, was never more than half full. And, in order to properly enjoy the benefits of the location, you had to explore the exterior or the upstairs on the grassy smoking terrace. Up there, partygoers reaped the benefits of the warm September evening and beautiful view, but could hear only murmurs of ongoing music from down below.
The night was presented in two parts, with a Whitest Boy Alive gig kicking things off and, then, five hours of techno music provided by Berlin residents Ellen Allien, Ben Klock and Seth Troxler. The latter DJ provided an energetic set in which he showcased his aptitude for fusing rhythmic house with wonky blues basslines and dark, hypnotic beats. Allien's set, although more consistent in its techno course, was intriguing in its surprising vibrancy—a distinct departure from her sometimes austere original productions. Klock, meanwhile, ended the night with a faultless presentation of his minimally structured sound, a haunting set that conjured tempestuous grey skies.
As with any musical event, however, atmosphere within the crowd was as integral to the experience as the music itself. So although the music invoked enthusiastic responses from those present, Troxler's strange and playful energy, Allien's pulsating dance tunes and Klock's smooth minimalism were diluted by space. The impact of their deep and gritty music—and much of the evening's intended "fantasy"—was lost.
As the only members of the lineup that didn't fit squarely within the rave scene, The Whitest Boy Alive's set was easily able to counteract such issues. The characteristically understated nature of their music—along with their living-room approach to performance—meant that Erlend Øye and his band grooved undeterred, casually reeling out songs from Rules and Dreams. They cleverly adapted their laidback studio sound by embellishing and extending songs with funky electronic piano riffs. For those seeking new material, the gig may have proved to have been a disappointment. But as a fan of all things Erlend, hearing favourites such as "Inflation," "Fireworks" and "Courage," live—while watching him on stage in his geeky chic glory—was more than enough to satisfy.