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Nina Simone started playing piano by ear at the age of 3. She studied classical music and developed a love for Bach, Chopin, and Schubert and went on to combine this passion with her love for jazz and blues, entertaining party goers along the East Coast in her early twenties. Eunice Kathleen Waymon became Nina Simone, a sensation in music. During her acclaimed career Nina used her music as a platform for social commentary, in 'Strange Fruit' (1965), a tone of the civil rights movement wrapped in a velvet voice and classical keys. I continue to make a dent in the box of chocolates on the table (this should be a thing at gigs), and I start talking to the man sitting over on the left side, Alex Smyth. He's wearing a dark jacket, has a bit of a beard going on, and seems relaxed in the moment. The tunes have been playing inside this whole time, mostly disco and funk, until the acts begin. I must note, that I arrived at the venue early. The music was scheduled to kick off at 5pm, and it is now sometime around 7:30pm. The music they're playing inside is good music, who doesn't love Daft Punk, and Jamie XX? In the back of my mind I'm wondering when these artists are going to get their chance to thrash out their soul on stage, to expose the music and excite the crowd. Alex kindly agrees to an interview, and among the wrappers we begin. "My name's Alex Smyth, I'm 23 and I'm from Dublin.'' Just a bit of background; how long have you been making music for? "I've been playing music for 10 years, and I started writing music about 10 years ago. I was in a band with my friends from primary school, we used to play in this shitty band, we had a synth, a drums machine- that was the first outlet I had for writing music. After then I left it for a while, and I came back and was in a band with my friend in secondary school. It was only about 2 years ago I started writing my own songs, which are sort of instrumental acoustic pieces. The songs I make are interesting, not intricate but they're nice pieces. As I kept writing music and writing music, I got more interested in having a loop pedal and sample pad. It's semi-ambient sort of music, electronic, instrumental.'' Are there any people that influenced you? "I'm influenced by Tycho a lot, I think his stuff is really cool, every song is good. I just love the bass. Destroy You, Explosions in the Sky, they're influenced me. How their songs are a constant build up of relaxing music. Being influenced by that, but also having my own vibe to it. Ben Howard as well, when I was writing all the acoustic songs he was a massive influence on me because I just love his music and I love what he writes. But I listed to pretty much everything, pop music, rock music, everything.'' And in terms of how easy or difficult it was to get on the scene and perform, how did you find it? "It was pretty hard. And I don't really consider myself in the scene to be honest. You see all these bands that are just starting off and they're getting all these really good gigs- and you're thinking 'how did they do that?', 'Is it who they know or is there someone there at their gig that sees them and helps them out with these sorts of gigs?'. Dublin, it feels like everyone's in their clique. They're getting slots at EP (Electric Picnic), Longitutde, and all these things. It's hard to get in, especially since my music is instrumental, it's not really popular. Everyone's going for bands. I think in Dublin it's really who you know. I'm from Swords, and there's not a big buzz there for music. You have to play as many gigs in Dublin as you can and hopefully you'll meet some people that will show and interest in your music and give you those gigs. I applied, and I actually didn't get picked to play Canalaphonic. I got really down, I wanted to play it. I thought "I've worked hard enough the last few months to get a slot''. I know a guy, he has a few slots and he just rang me up and asked me. So again, it's who you know at the end of the day. Once you're in it you're golden and you'll get those gigs.'' How many female artists or producers have you come across as you've been doing this? *Hums thoughtfully* "A good few. I can't really think of a few off the top of my head. Chanele McGuinness, I played with her a few years ago and she's really good. I think she lives in London now. She's on that Galaxy ad, the Galaxy Duet ad; she wrote a song for that, and she's getting a good bit of publicity. There's a load, BARQ, they're doing really well. There definitely are lots of women there, independent acts that are getting recognised.'' Do you think it's easier or harder for men than it is for women to get into this sort of thing? "I don't know if it's easier. If the music is good it's definitely going to get noticed, but I think it's more assumed that if you're going to see a rock band, it's going to be lads playing together. I don't know...I've only been doing this for a few years, for me I think it's equal. There are definitely more women in bands singing, or on bass guitar, only recently. It's even though, especially at this stage, especially in Dublin. Everyone's cool enough. There's no sexism going on.'' But when you think about the media; TV, internet, magazines, do you think they might have an influence on who gets involved in music and who doesn't? For example, men or women. "I think the Internet has changed music a lot, like Spotify, Soundcloud and all of those things. And I think that the whole music thing is on Facebook. But I can't answer that question.'' Do you think that there's a bright future for the local music scene in Dublin? "I did. I did until a lot of venues started closing down out of nowhere. I think that DJs are becoming more popular in Dublin, in places like Hangar. I played there recently. But I think it's definitely getting bigger. Stuff like Canalaphonic, and you see stuff like Electric Picnic getting bigger and more festivals happening. Lunasa festival was really small, it's cool to be something that small and you can expect that it's going to get bigger every year. So many bands are getting signed, and the Irish, smaller independent labels are getting more invested in. And we have those venues, like Whelans, that are recognised all around the world. I don't think it'll ever come to a halt, it might be the cycle where bands will constantly grow over the course of ten years and end up getting older, maybe they'll have to get jobs. It'll definitely keep growing, a constant cycle.'' But you were saying venues are closing down. Do you think that'll be a problem? "For the bands it will. For me, I think that DJs are getting more popular and everyone's, not wanting to be DJ, but have more interest in seeing a DJ at 3 in the morning than a band. You pay €15 in to see a DJ that you don't even know, you haven't heard of him, you don't know what music he's going to play. But you wouldn't pay a fiver to see these 3 bands that have been working their arse off for months to play this gig.'' Do you think that the music is advertised well enough? "No... You do see bands putting up their own posters around Dublin, but I think everything's done on Facebook these days. Everything. It's a good thing and a bad thing.'' Something completely unrelated; how do you like your eggs? "Recently, poached. I used to be a scrambled man, but then I went on to these.'' At this stage, the place has filled up a bit more. The pyramids of Red Bull on the tables have gotten slightly smaller, and the chocolates are nearly gone.
I'm thinking about the music now. I'm hoping that the acts will start soon and I can see these people that I've just spoken to do their thing. It can be hard to get opinions about gender issues out of people. Some may feel that it's too controversial to open up about in a recorded interview, it's possible that they can't find the words to express the situation as it is- or maybe they don't want to. Music is for everybody, but it's clear that entry to its production is not so universal. With this heavy and unending research, I'm constantly thinking of different angles on this question: where are all the women? Let's consider gender discrimination; whether it is intended or not, it has been found in workplaces across the globe, and has contributed greatly to attitudes of what women can work as and what they should work as. The limits of their ability. Another possible factor to consider is access to technology, and women's domestic role. Gender roles are often enforced, directly or indirectly from a very young age, in toys, school subjects, and host of other areas. The notions of 'men as men' and 'women as women', doing certain things, become so ingrained in life over time that we may not even notice it until a much later age. People have told me "Maybe it's purely a taste thing. Women just don't like engineering and technology.'' This is not an answer. Of course, I have a lot more research to do. Many more interviews to hunt down, many more gigs to spend the night in. The Red Bull pyramids help. Later on I meet RSAG, a one man band with a wealth of experience and energy under his belt. More to follow... ''exploring women in music: A SERIES OF INTERVIEWS.'' #1. Dylan mccrumlish, dj, speaks on the canal10/6/2016 Just over 2% of music producers are female. This is the first in a series of interviews which will delve into the minds of those in the music scene, to both discover more about them as artists, and to help answer the question "Why are there so few female music producers?''. This research will be gathered over the course of 10 months, and these interviews are just one of the techniques that will be used. Using statistics, surveys, opinion polls, real experience from women in the industry, interviews, academic essays and journals, and observational study, I hope to find an accurate and meaningful answer to this question. More than this, I hope that this answer will lead to real debate concerning gender neutrality in an industry that claims to be unbiased. Ireland is a country of culture, music, beauty, and craic. These are the opinions of visitors and international students that I have gathered over the past few months. They enjoy the atmosphere that surrounds cities like Galway, Cork, and the wild regions of Connemara and the Wild Atlantic Way. Hearing all of this does make me appreciate the fact that I was born into this. Two weeks after I moved to Dublin, I heard about Canalaphonic. It is a music and arts festival, showcasing independent acts in venues across the South side of the city, and it is not exclusive to music. Over the two days it ran, there was a constant stream of art and photography exhibitions, music and dance, family entertainment, opera, theatre, and poetry. If it fell under the vast umbrella of culture, it was there. Canalaphonic came into existence through an ongoing collaboration between Dublin City Council's South East Area Office and Abner Browns Barbershop. On September 23rd and 24th, with a desire to get immersed in the music scene here, as well as exploring the burning question I was determined to answer, I went to see what it was all about. This led me to Lock 6 Cafe, Canal Road. I enter a small, cosy place, with a smoking area of seats and pillows, free Red Bull and chocolates, and Prosecco on tap inside. It is also BYOB (Bring Your Own Beer). On the other side of the cafe is the outdoor stage leading onto the street. Arriving early, at 4:30pm, I sit by the pillows and soon I get into conversation with the man beside me. "Are you here for business or pleasure?'', he asks. "A bit of both. I want to interview the acts.'' And so I meet my first interviewee of the night; Dylan McCrumlish, DJ. Young, wearing glasses, a bit of a beard, and a friendly demeanour. I take out my notebook and get into journalism mode, putting the batteries into my old dictaphone. I comment on its age, and ask him to bear with me for a moment while I get it set up (I was only slightly offended by his laughing at my Sony fossil). With candles on the coffee tables, a box of Roses in front of us, and a scattering of rose petals by an employee, this interview feels like a highly efficient first date. How long have you been making music for? What influenced you? "I've been at it for about 4 years- I don't want to say professionally because it's not the only thing I do, and DJs around Dublin don't actually get paid that much contrary to popular belief- so I've been DJing semi-professionally for about 2 years. And influences... 70s music influences me, I love all the funkiness, all the grooviness that comes with it. Anything that gets you moving. That's what I like.'' And how many female artists have you come across? "I've met a few female artists on my travels, but a lot less than male. -Would they be DJing or on the production side of things? All the girls I know that are DJing are just DJing. I'm sure that it's a precursor, you start DJing and then naturally enough you're interested in how to make music as well. So, I think it comes with it. But, the girls I know that are DJing, they're not looking at the production side of things. I'm sure that's a natural enough progression over time.'' -Do you think they will? I hope they will, but the 2 girls I know aren't particularly musical, you know? They're into their music, they know a good tune when they hear one and they're able to mix it in; they're good at that. But I don't think they're musicians or anything. So for those girls in particular, probably not.'' Off the top of you head, how many female producers can you name? Emaleigh Kelly is a big one at the moment, she's getting a lot of media. There's one called Heidi, a good house DJ. And another one, Magda. But you're right, there's not many.'' What about the media, do you think that there's any aspect within it that would influence the lack of female producers? "I don't think, from a woman's perspective looking in at the media and seeing all these male DJs, that they would be intimidated by the thought of being a DJ. Just from seeing 90% of them being men. On the other side of that though, all the media is portraying the fact that it is a male dominated industry.'' How do you think that it could become more balanced? Are there some things that could change to make it more inclusive? Girls just need to get out there more, I think. When you see a good female DJ, it's automatically better than the guy who's just as good, you know what I mean? You see the woman, and she's just as good, which makes her better, because of the rarity. So women actually have an advantage because of the minority that they are in the industry. -So you think people would be more inclined to go see a female DJ, rather than a male DJ? If they know that it's a good DJ, they'd be more inclined to go see them'' In terms of being an artists- there are so many good female artists out there in the world, singers and musicians, there's no real issue there- but the step from artist to producer, are there reasons why women are not making that transition? Within the industry, or in how things are managed? I'm trying to think of producers in the studio recording, but they're all male, there aren't much women out there. From what I know, computer science college courses are all male dominated too. Maybe women are just intimidated by the technology side of things, and that has a knock-on effect deterring them from getting into production, which is all electronic these days on a laptop in your room. I think a lack of female participation in these courses is part of it, absolutely. There are loads of women doing biology, but in physics and computing... It tends to drop off. Maybe it might be an innate male thing to go for these mathsy sort of things, or computer and technology. But I'm not sure.'' How many gigs do you have planned? I've got this one all day today. I'm actually in Galway in Monroes on the 6th of October. My friends, they're a trad band- I'm wearing their t-shirt now-Moxie. They're doing an Irish tour and I'll be supporting them. They're class, really good.'' If you weren't DJing, what would you be doing? I'd probably be sitting on my mam's couch collecting the dole. *Laughs* No really, I wouldn't know what else to do. Right now I'm doing a music technology course in Maynooth. I don't really know what else I want to do.'' Are there any artists around Ireland that you would love to do things with? "Around Ireland...no, I'm the only artist in Ireland I want to work with. -You're a lone wolf? Yes. Picasso never collaborated, am I right?'' I think it's a very Irish thing to procrastinate. Do you find that it's a difficulty in work? Or a benefit? ''Absolutely. I've been waiting to make the next big track now for about 3 years. It definitely does hold you back.'' And if you were to predict the future for the electronic music scene in Ireland, where do you think it will go? Are artists going to become bigger than local? "I think there's a nice mix at the moment of international and local. Every week in Dublin, each night a week there's probably going to be an international DJ that you know is very good at what he does. On the other side, there are loads of night with just locals, and they're the best craic in town. The techno scene has skyrocketed, and electronic music in general; it's becoming mainstream. I'm from Sligo, and the house and techno scene has kicked off there. There are a few guys organising underground parties over the last few years. But there's only been 50 to 100 people turning up. Now they've got a weekly thing, they're bringing in international acts, it's all getting bigger. Even the local clubs are moving to techno and house, they're getting the big acts over. My prediction is that there will be more of that, what the mainstream now wants. It's not underground anymore. Even in the charts you're hearing all this deep house music becoming more and more popular, and there's more of a market for that underground stuff now. -Is there a point where it could be ruined? Absolutely. Anything that becomes mainstream will eventually be exploited and commercialised. I suppose EDM is that already. It'll probably be just a lot more EDM. I do think we'll be hearing a lot more techno tunes in the charts with those cheesy vocals over them. -And you're not going to go that direction? Here look, if somebody offers me a hundred grand for a cheesy vocal over a techno track, I'll do it. I'll sell my soul.'' On an unrelated note, how do you like your eggs? "I've always been a scrambled man. But recently, in the last 12 months or so, I've moved on to poached eggs. I've got this little egg cup, where I put it in the pot of boiling water, and I crack the egg into this rubber cup. You put the lid on and in 3 minutes the egg is perfectly poached- it's perfect. I recommend it, highly.'' -Thanks, Dylan. Subsequently after this, I met singer Alex Smyth in the pillowed smoking area of Lock 6. More to follow...
Did you enjoy tonight?
Every time I play in a different place, in different situations, it is always wicked. And tonight it was cool because there was a lot of bass, and the crowd was ready to hear some music. I put more electronic [sounds] into my Dub, because I'm a big fan of House music, like good House not 'radio House'. Over three or four years I really got into this and Electro- finally I tried to make myself different and to try to meet different influences. What was the first record you ever bought? I think it was some Metal stuff, a lot of Metal. I think it was System of a Down. I prefer their older stuff, and I think 'Toxicity' was one of the first I bought. You know what, one of the first albums I bought was by Shakira or something, I was only about ten years old. Haha I think mine was a Christina Aguilera one so you're ok. What do you think are the main challenges to becoming a DJ today, or becoming well-known? For me, I started to put my music on the internet for free, almost eight years ago, and in Dub music I was one of the first for free download. I started a long time ago. Right now, you speak of two different things; DJs and producers. Me, I am a producer. Right now it's really hard to be famous; everybody can make music with a computer. But ten years ago there were not so many people making music, so I think I arrived at a good time. I think the point is, not to be famous, you know? It is to enjoy and to have the feeling that "I want to do the music that's inside myself''. A lot of guys I meet, smaller artists than me, say "How do you get so famous?'', and I just say, man, it's not about wanting to be famous, just do your music and what you feel. Maybe it's going to work, maybe it isn't. Just make your own music, and your mix. Right now with the internet it's hard, because of so much music, so many producers and so many DJs. But I think every artist, if they're good, it's going to work. If you could stage a rave anywhere, where would it be? I would love to play in the USA, because there it's a different world and music. The artists like Rihanna and big artists come from there- but I don't want to be part of that movement. I know that in the USA Dub music isn't so famous, and I would love to play there to bring the Dub vibes, because it is really famous in Europe. I've played in beaches in America, but for example, New York. I would love to play on a rooftop there. Walking towards the edge of town, through Woodquay and following the river towards the Galway Commercial Boat Club, I hear a deep resounding bass noise growing louder and louder- this is the place to be this Saturday night. The anticipation can be felt in the air, and how could we not be excited with such a line-up? At 8pm I arrive, and Destitute has begun his set. This is that heavy bass I followed here, and it makes the wooden floors of the venue vibrate underneath you like sound waves. Destitute is a Galway based producer, musician, and DJ, touching styles across the board from Dub Techno, Dubstep, to electronic ambiance, with a wide ranging and varied taste in all things musical, and technical expertise in what makes the bass happy. "I've played at some fairly weird and bizarre places. Some good ones are beaches, boats, and just being in the outdoors with a nice crew of people in nice weather, you can't beat it. When you're doing an outdoor unlicensed thing, i'd just have a small party for a few of my friends, with a battery powered sound system. kEEP THINGS SIMPLE'' (DESTITUTE) For an hour he blasts out some Deep Electro sounds and ear popping beats, filling the hall with vibrations that make your eyes wobble; the bar for bass quality and weight of sound is floating somewhere up above the speakers. I also get a chance to take a look around the venue. One of the most important things about any gig is the venue, and this is the most striking difference between this gig and ones previously held by Puzzle. Usually held in smaller, cosier and intimate locations, this larger and more expansive hall is an improvement as it allows more room for the sound to travel, as well as providing more dancing space. The walls are covered with the Boat Club's framed photos, and these provide a surface for the dazzling lasers to bounce off; hats off to Si Tom for these little beauties. Combined with this, throughout the night, are the creations by Q-Pop visuals, projected onto the walls and faces of those on the floor. Q-Pop have provided visual journeys for various Puzzle events, and the flashing colours, lines and cubist shapes provide everything with a texture which gives the whole place depth and a spacey atmosphere, as if stars and techno tunnels are the only way forward. The atmosphere of the venue makes you feel like you are removed from the rest of town, floating off on a little island powered only by continuous bass and good vibrations, and as more and more people come trickling in, attracted by Destitute's continuous Dub creation. Outside in the smoking area, surrounded by a river and small boats I'm able to get to know people better and ask their opinions on the music scene in Galway, and these gigs in particular. "My first puzzle experience was in the cellar, and the cellar is quite hard to have a good night in- this is a much better venue, personally i think, so i'm looking forward to tonight...cause if i'm not djing, i'm on the dance floor'' (si tom) Something I notice about the music is it contains a sound which travels through you and all around you. I feel it in my feet, my chest, my head, and in the air of the dance hall. This is the power of the SubVersion Sound System, created and assembled by Welfare and Destitute. It has the capacity to amplify the bass to its lowest level while providing a quality sound that reverberates with precision, giving the music thickness and soul. And it only gets better. Rozie Loopz is next up at 9pm, and she brings more bass bounce to the room, with a bit of Funk to keep things rolling. Friendly and bubbly, like her music, she continues to bring the night to life. This music makers interest began at home, with influences from her family and involvement in choirs, which contributed to her understanding of what she wanted to contribute to this music scene. She is a budding artist, affiliated with the musically motivating organisation Back to the Old Skool. "I feel like i only really started to develop musically later in life when i moved to spain when i was in my early twenties, and started going to some amazing underground free parties. I became obsessed with bass music and the culture behind it...music and djing is so much more than just a way to make money in a commercial club or festival; the parties i went to were getting people through serious times...the dj would take them to another place'' (rozie loopz) People are dancing and smiling and I can't get over how comfortable I feel walking through the gig, talking to strangers who respond to me like friends I haven't seem in a long time. Ever since my first Puzzle gig I've never felt such a strong sense of unity with the area I live in, and I know this to be true for many others. Nights like this are special, and the security on the night also has something to add. "i think the problem with big venues (not so much here where it's less commercial-excuse the pun) is that they get someone big in, and they have to make it back on drink sales...people here are coming for the djs, and to have fun; not to get drunk'' As I'm chatting to people Rozie Loopz mixes her Dubstep fueled rhythm with something that reminds me of bright disco lights, just in that bounce you get in between it all. Time moves faster and faster, and at about 10pm Man-G and Spetz take control and the vibrations really kick off. The dance floor fills up, the visuals and lasers behind the decks turn the hall into an underground super-gathering, and RasTinny adds some vocal dub attitude to the infectious Drum & Bass beats the speakers are pouring out. You can't help but feel the rhythm in yourself, and I see everybody in the room has this bounce in their bodies, whether they're consciously dancing or not. Man-G (Killamanselector) has been producing music since the early 2000's, beginning in his native country Poland. His journey led him to Ireland where he collaborated with the widely known Radikal Guru in 2007, to create what is now a large influential creative body in electronic music, called World Bass Culture. Currently based in Cork, he pumps out a Drum & Bass and Jungle infused sound, with break beats that make you feel the funk deep in your veins. Spetz joined these bass-tasters in 2007, adding another Dubstep, Glitch and Drum & Bass creator to the WBC family. He began producing in 2003, collaborating with and contributing to Dub gatherings since then, mixing and generating sounds that have developed with himself and the music scene that surrounds him. This duo feeds the crowd with Jungle sounds, shifting the style and focus in and out of the beats, and this gives the crowd something to loosen up to. The voice that penetrates this set is deep, and full of vibrations that keep this hall shaking. Ras Tinny is where this voice is coming from; a selecta, singer on Steppas Records, and organic farming base of intelligence, this man is bringing more life to the beat. "The most important thing is what you put in it; what is your wish, money or fame? YOU CAN get this by mixing, but people who listen for emotions will hear this straight away. if you put energy into the creative moment, it stays there, and if you move away from the speaker, people can feel it. What you give is what people hear, and this is most important. To be conscious of your creation.'' (man-g) "everyone listened to the same music, and was attending the same gigs; everyone knew each other so every gig was like a big family meeting. thanks to this i could polish my skills in a friendly environment, regardless of which direction i wanted music to take me'' (spetz) Dancing is my favourite part of any gig, it's part of what the music is made for; and it is the greatest contribution we can give to the music itself, that movement and life. Dub music originates from Jamaican Reggae and Ska, and it emphasises the drum and bass elements of the music. It has managed to maintain its ethnic and cultural feel throughout the decades, even when there exist so many derivatives and variation of its style. And that's what this gig is, a combination of beats, bass, and creative juices that have their roots in a type of music that came to define the soul of a nation. This unifying power has stretched itself far across the Atlantic, and in this dance hall everybody is giving it their all. Man-G and Spetz belt out some hot stepper beats, and I've put myself in the centre of the movement, letting the music guide my feet and sway my hips for me. The closeness of people dancing removes the boundaries you would usually find between crowd in 'normal life'. I have to pry myself away from the dance floor to mingle more with the crowd and check out the scene in the smoking area. Small sub groups are scattered everywhere and I meet so many old familiar faces, that it reminds me of the fact that Galway is such a small town, and everybody's lives are so interconnected. And when it comes to music and gatherings like this, there is no outside to look in from- everybody is here together. "My first [Puzzle] gig was really good, I played at it myself and enjoyed it. i take any opportunity i can to play at gigs, because you meet great people, some coming up from dublin or cork; people who just really appreciate the music scene'' (oisin kavanagh) The night attracts more of Galway's dub-flys, and you can feel the buzz and excitement growing, as the beats and flow of the music become more integrated into the physical experience. Seriaz Sound dives into his set at around 11pm and I slip onto the dance floor minutes after. The visuals continue to provide a tripped out experience for us and the projections onto the walls behind the decks add a sort of psychedelic luminescence to the whole experience; when I close my eyes I can see flashes of white and green, in time with the floor crunching Dubstep Seriaz Sound creates. His sound builds on the levels of excitement, which you can feel like static everywhere. The increasing heat and humidity of the venue doesn't slow us down, and it seems that sweat and glistening foreheads are all the rage. And I can't stop smiling while I dance. The music is full of those Dub sounds we came here to celebrate, and on the floor you can feel a wave of energy moving backward and forwards, as if the music has a heartbeat. Seriaz Sound is a German producer, who immersed himself in the music scene four years ago, and his love of ethnic & roots connected music, Dubstep and Jungle sounds led him on a series of encounters with producers and artists that have brought soul and body to electronic music across Europe. Currently the resident DJ at Dub der Guten Hoffnung in Berlin, he is now generating a Jungle atmosphere and sound-scape, in a town that sometimes feels so far removed from the busy modernity and urban growth of our neighbours across the sea. "i was lucky to have been involved in lots of alternative musical and cultural projects from the very beginning of my journey. As we were forced to always perform and create on the edge of legality, by playing warehouse parties or open air events'' (Seriaz SOUND) The dance vibes are multiplying after every break and rhythm change. I'm standing at the side of the hall, a pint in my hand chatting to a man about music, writing, and joking about something which escapes me, and to my left a mini bongo circle has formed, providing an alternative to the alternative- there's always something to surprise me at these gigs. The beats are infectious, and at 11:40pm Zenji takes control. This home grown artist brings some old school Dubstep and Glitch to the vibrating mass of people, coordinating all of the beats with the giant wave of heads bopping side to side. Everybody's movements are free, easy, and a few minutes into Zenji's set the tempo quickens so that the music completely takes over, and we are whirling into another Dub dimension, where inhibitions are replaced with movement and sound. Zenji came onto the scene in 2010 with an experimental force that has its roots in Glitch Hop, Dubstep, and Jungle beats. He has had success with his melodic creations that have brought him closer to the heart of original sounds in Galway and Ireland, producing music for labels which include Dub All or Nothin, Dubline Records, and LU 10 Records. "what motivated me the most was the fact that electronic music was seemingly infinite, so i just got stuck in and attempted to combine things like metal and dubstep or reggae and classical, i dunno, just weird experiments really'' (zenji) Standing up in front of a crowd in any situation can be daunting and nerve wracking. What I notice about each of the artists is that all of this seems so natural to them, and it helps that the crowd is not acting like an audience, but more like a group of friends you can be yourself with. After waiting in a long (but hilarious) queue in the girls bathroom, I'm eager to slide my way back onto the dance floor and catch the rest of Zenji's juicy bass blast, until 12:20 when Welfare paves the way for more thumping tunes. The Subversion Sound System was born in 2011, by the hands of Welfare, and from there it morphed and grew, adding more bass and sound enhancing elements to its body and personality. With the help of Destitute in its adolescence it became the heavy weight it is today, and is bringing good bass vibes wherever it travels. Now, Welfare gives us heavy Drum & Bass, with a flow that never breaks and keeps the floor bouncing on the chunky beats. Welfare has been in the music business for many years, and you can tell from the way he moves behind the decks, and flips a record like he's been doing it in his sleep the whole time, that we are witnessing something special tonight. The lasers and visuals combine with his body shaking creations, and everybody dancing around me is lost in the music. Welfare has been producing music for the Drum & Bass and Dub music scene since 2006, and in Galway he has become a well-known figure within the electronic culture, as well as leaving a trail of beats in Europe and beyond. There is something to be said for experience and passion, and this is evident in his music and in his history of live collaborations and affiliations; which includes DubCulture Records, and JungleBoogie! "when you go to these kind of gig, we're talking about dub, reggae, electronic- with a big sound system, it's a physical experience, so you go there...it can change your whole life'' (welfare) There's something heavy, and a bit industrial about the music around us, and sometimes I forget that I'm supposed to be writing a review and should be alert to everything going on around me, and I give myself over to it all; how can I resist? For the next forty minutes we're given some hard hitting Drum & Bass beats, and the rhythm is so powerful it makes me wish we could make this gig last for the whole night. I notice that when Welfare is getting towards the end of his set, the crowd starts to draw closer together and closer to the decks. The headliner Panda Dub is about to step up and everybody can feel the heat. He sets up his gear, his red turntable, and then it starts. The visuals expand behind him into lines and aquares, and he brings in a warm Reggae beat, with a signature accordion tune behind it all, making sure everybody feels comfortable- this is short lived, as he surprises everybody with a quick Dub Funk set, with tunes and vibes that originate from his early work. He knows how to fill a room and get people moving, and he continues to mix and mingle some beauties from albums such as Bamboo Roots (2007) and Psychotic Symphony (2012). This French artist has been immersed in the European Dub scene for a few years, working with Original Dub Gathering Productions during this time. Panda Dub began in 2005, with a Reggae Electro-Dub style that he carries with him in all of his music, and has given the French Dub scene another layer of ethnic beats and rhythms to add to its growing repertoire. I find it easy to get into the swing of the music, and at this moment there is no doubt in my mind that there is no better medicine for the soul that the Electro bounce and Reggae feels that have filled this entire hall. At around 2am, I recognise a certain beat from Bamboo Roots, and almost jump out of my skin in excitement as he plays a much loved, and most infectious tune Rastamachine. And he keeps this Dub fusion alive for the rest of his set. There are some breaks in his music, but none in the movement and dancing of the crowd, and at about 2:15 Panda makes us believe that it is all over...how wrong we were. His final tune is an insane, heart-attack inducing masterpiece that gets everybody moving until I'm sure that my arms are going to fall off and my legs are going to lift me up from the ground with the speed they are moving at. This is like a wind-up Electro Dub toy, generating 1.21 gigawatts of pure energy; we can power the Delorian with this type of energy. Panda is giving us an experience that makes reality all the more real, like you can touch it. Galway, its dubbers and dancers, artists and music makers will always remember this night, as the night we lifted the Boat Club into the sky. Panda moves away from the decks, and Destitute brings things down to a halt with a few more minutes of continuous Drum & Bass, giving us something to catch out breaths to as we cheer for the music that brought us here tonight. The lights turn on, the visuals and the lasers stop their magic, and its smiles and sweaty hugs all round. What I love is that the bongo circle I noticed earlier is still alive and strong. A few more people add their hands to the skin of the beat, creating a pulse that nobody can ignore and in moments nearly everybody in the hall is off again, dancing and jumping to this ethnic rhythm. The party never truly stops when you have friends like these. Outside, I'm sitting on the curb by the gates as Panda gives me some of his time for a quick interview. He seems chilled out and pleased with the night, and we sit and have a cigarette on the edge of the crowd. "every time i play in a different place, in different situations, it is always wicked. and tonight it was cool because there was a lot of bass, and the crowd was ready to hear some music'' (Panda dub) In the middle of this a scuffle breaks out beside us, interrupting things for a few minutes. This is the only one I notice happening during the whole night, and I'm not surprised they are so rare at these gigs; people come here for the music, the crowd, and the experience. Things calm down, and I manage to get a photo with this friendly, relaxed and down to earth Panda. I cannot think of a better way to begin and end my first journalistic experience. Puzzle has been hosting gigs since Spring 2014, and each night and event has made this organisation grow and develop in the most positive way. Still underground and walking on a different path to the mainstream entertainment business, there is nothing I would change about it. Its creator, coordinator and captain is Munki, a talented producer, manager and nurturer of many things creative and original in the Galway electronic music scene. He began this venture in April last year, creating links between Irish DJs and producers that share the artistic and musical spirit that is the essence of what we saw tonight. "i'm beyond overwhelmed with the outcome of 'puzzlevents' over the past 14 months. We've seen it grow from the 1st night back in april...i know a lot of organisers and they'll agree, to be fair it's a bloody nuts job, you've got 100 things zipping on through your lil head every second, i'm chuffed to have the solid team i have doing whatever they can and more to ensure the puzzle gears keep turning. it's stressful as much as anything else but every night is worth it'' (munki) Moving on up in the world and in creative space, PUZZLEvents has made a niche for itself in this town and in the lives of all the shakers, dancers and dubsters in this family funk-tree. There is something about Galway that makes innovation flourish, and it most certainly has something to do with the unique, laid-back, and beautifully crazy people that make up its population. It's the reason I'm happy to live here; there's nothing more gorgeous than this.
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AuthorYvonne is an emerging writer focusing on the raw underground, and unique music scenes in Galway, Dublin and wherever else in Ireland this journey takes her. Archives
January 2018
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