News / / 29.11.13

Evian Christ ‘Trance Party’

Corsica Studios, London | Friday 22nd

Hot from lacing Mr. West’s Yeezus with his experiemntal hip-hop expertise, Ellesmere-Port-boy-done-good Evian Christ enrolled the likes of Jam City, Wanda Group and Arca to throw the first in his duo of ‘Trance Parties’, promising to detract away from the genre and coiling it all back to what ‘trance’ actually means.

After several hiccups involving members our group falling off the wagon and step-in heroes missioning from the eternity-away zone four, no unforeseen obstacles could cast a cloud once inside the remarkably well-equipped venue. With help from Corsica’s roaring sound system, the night’s curator bounced from his earlier status-cementing, hip-hop infused electronica, over to the snarling expletives of the unhinged Yeezus cut I’m In It and teases of what we’re to expect for 2014. Judging by the response of his hot-off-the-press tune Salt Carousel, which was released into the web sphere only a day prior, it’s mind-boggling to contemplate the heights he could potentially rocket to. The brutal bass, hyper-speed recitals and unapoloagetic rave synth slashes are melodically accessible yet ballsy, leap he’s made from indie-label bedroom experimentalist to, deservedly, globally-appreciated producer.

As the night plummeted further into the small hours, developments from alternative guests only crept to more bizarre and delightful ranks. Take Brooklyn’s Arca for who we enter through various curtains and almost sacrifice shoes to catch a glimpse of, and who thrives off the dance-floor frenzy he’s fashioned, spinning and gyrating behind the decks just as the hundreds of youngsters surveilling are. Then steps-up Night Slugs eccentric Jam City, following the fabulous care-free ethos that a guilty pleasure shouldn’t be guilty. Streamlining antagonistically throbbing techno with tropical edits of Drake’s Started From The Bottom and Ne-Yo’s Sexy Love, the too-cool-for-school boys find themselves slinking for the nearest lady that catches their eye and the gaggling drunk girls can’t help but swoon like it’s 2006 all over again. Oh, and any artist that manages to admirably insert How Soon Is Now into what is dubbed a trance event and cause a benevolent uproar deserves an honourable revelation in our book.

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Words: Leah Connolly

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