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In Review: Aphex Twin Curates, WHP 2019

In Review: Aphex Twin Curates, WHP 2019

Francesca Melia | Reviews

This year's session of Warehouse Project kicked off with Aphex twin Curates, at the Mayfield Depot. What used to be a train station, the grungy and underground aesthetic was still ever present what we have come to know from the club night. From the decaying walls to the rusty steelwork the beauty was impressive, this along with a booming sound system we knew Warehouse was back.

Upon fumbling into the venue the first person who caught my attention was Lee Gamble on the Concourse stage. Known for his more experimental and politically involved music, he provided a more deconstructed and dramatic set which resembled firecrackers in my mind. He really set the tone for the evening, the crowds were buzzing and and I was excited to see what the other performers had to give.

I found myself more drawn to The Depot stage as Alexis Perala came on. Booming and entrancing, the Finnish DJ provided sleek Techno coupled with melodic sounds which left you feeling uplifted, Intrigued but by all means hooked. Ambient sequences coupled with an electric bass was quirky and beautifully constructed which left you in some sort of trance.

Next was the King of Electronic music himself, Aphex Twin. The crowd seemed uncontrollable when he came on, straight away he didn’t hold back and threw himself into the music. Incorporating both a fantastic visual show from warped faces which reminded me of his “Come to Daddy” music video to a mesmerising lights high above, he didn’t let the masses down as he provided both the weird and the wonderful side of his music.

His set was progressive and indeed modern, incorporating 90s Trance to hard-style Drum n Bass, he has kept up with the times through a cleaner more refined sound whilst not forgetting his earlier pieces of work. From throwing in a remix of Biceps’ “Glue” track to Sampling the Jungle veteran Congo Natty, Aphex took us on a journey which was relentless and fun, almost unseemingly neverending but never boring. This set showed how Aphex and his almost Cult status with his followers will not die anytime soon.

Ending on a high we had Nina Kravitz, a woman not only famed for her minimal and explorative Techno but also her vibrant personality on the decks. Normally I’ve seen her more ambient side with steady risings and equally smooth bass drops. This time however, we saw a palpitating set which not only tied on nicely with Aphexs’ set but also created a new wave of energy for the late night ravers. Hitting us with more of a hard-style side she didn’t fail to stay true to her minimal roots and left us gasping for more by the end.

The night hit overall hit above my expectations. The Mayfield Depot is more definitely refined than Store Street both aesthetically and acoustically. With this being the opening night I was blown away all-in-all and I cannot wait to see what Warehouse Project has to offer.

In Review: Aphex Twin Curates, WHP 2019

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