Electronica/Dance

[bennyhana22]

7 hours ago, MadDog29 said:

Im guessing theyve managed to salvage what was left of it, maybe even altering it into something of equal stature would be welcomed.

I definitely enjoyed the bus as id say i saw some of the best sets of my Glasto 23 there namely leeon, Ouissam and Partok, that being said unless you are front and center i agree the sound just isnt good enough and is not even comparable to the real OG Genosys

Bring on the return of the Genosys!!! 

Partok is soooo good!

From the very brief mention of Genosys by Gideon on NTYS, my impression is that they've managed to, essentially, refurbish and rebuild it. So, I think we're going to see it in all its previous glory.

Just the thought of seeing the fantastic, mind-melting video-mapping on the top of the structure (I particularly love the rotating air conditioner fans...) when spangled is giving me goosebumps.

Ben

[bennyhana22]

8 hours ago, Supernintendo Chalmers said:

Caught Chase & Status' live show in Cardiff last night. Been following them since 2009 and No More Idols. They've always quite nicely traversed the line between pop and the roots of jungle/drum & bass (sometimes really good, other times not so), but last night was a really interesting show. Immediately upon arrival, I was amazed by how young the crowd was. As opposed to the likes of the Chemical Brothers, The Prodigy, Orbital, Underworld, etc, they've obviously managed to stay relevant to a predominantly younger audience, probably because of the crossover with grime and pop...not to mention a recent resurgence thanks to that fecking Baddadan tune. There's a part of me that wants to get snobby and complain about how commercial it's become but then when I thought about it, it can only be a good thing. Last night there were large groups of teens having the best time. I spoke with a woman who'd brought her 13/14 year olds to their first ever gig (in fairness they spent the entire gig filming it on their phone, but they'll learn) and I realised that making electronic music accessible to the kids is so important. My first exposure to it came in 1993, 7 days after my 16th birthday, pretending to be 18, getting into a club to see Easygroove, Ellis Dee, Donovan "Bad Boy" Smith and MC Ribbz. That's all there was. Getting turned away initially, walking to the back of the queue and successfully trying again in twenty minutes with the same bouncer.

So, after a some initial weirdness, feeling a touch out of place at a gig for the first time since NASS in 2019, I remembered this was me 31 years ago. This is my tribe, just 31 years later. But I think that's it for me for certain "electronic" shows now though. At least I hand over the baton to a generation of enthusiastic ravers all as wide-eyed (ok, maybe not exactly that wide-eyed) and excited to feel part of something. 

Back to the show itself, they've upped the production value and the stage setup was impressive. Sound on-point. Big tunes, all the hits. I'm not sure if they're set for Glastonbury this year, difficult to know what stage to place the live show on these days. In fairness, they could do a lot worse than put them in a similar slot to Pendulum in 2011. Come on, you know you want to hear it on the Pyramid..."baddadan, baddadan, baddadan..."

Beautiful report, pal, laced with nostalgia and memories of a life well danced.

Ben
x

[Supernintendo Chalmers]

38 minutes ago, bennyhana22 said:

Beautiful report, pal, laced with nostalgia and memories of a life well danced.

Ben
x

Thanks, Captain. Still got plenty in the legs yet, my friend. Just at events more suited to my taste and demographic. 

Did you see the Sofia Kourtesis news? Two sets, Friday 28th, San Remo and West Holts.

[Twiggy553]

Anyone into Weval here? Spotify has been throwing a few lovely tunes at me lately and noticed they’re on the undercard (quite far down tbf) for Max’s High Light gig in May

[bennyhana22]

On 2/23/2024 at 7:59 PM, Supernintendo Chalmers said:

Thanks, Captain. Still got plenty in the legs yet, my friend. Just at events more suited to my taste and demographic. 

Did you see the Sofia Kourtesis news? Two sets, Friday 28th, San Remo and West Holts.

Sofia on West Holts should be a hoot. Her set on Sonic was absolutely bonkers. I'm sure she was completely off her tits and it was joyous!

Ben

[fred quimby]

17 hours ago, Twiggy553 said:

Anyone into Weval here? Spotify has been throwing a few lovely tunes at me lately and noticed they’re on the undercard (quite far down tbf) for Max’s High Light gig in May

Yep, think may have been Spotify for me, or maybe bandcamp recommends. Either way loving what they do

[Supernintendo Chalmers]

Not my picture and not much point other than just to say, it's gonna be so good having this behemoth back again this year

[mjfromthelane]

Went to C&S at Drumsheds on Friday night and was pretty underwhelmed by the whole experience - and having looked on social media that looked like the general feeling too.

The majority of it was caused by the venue itself. Doors opened at 6 with the curfew supposedly at 10.30. We turned up at about 7.10 after getting away from work. By the time we were past the various queues / security lines, it was 8.15 when we were actually in. Not a great start when it was already a short night - and then it looked like we were barely getting 2 hours of music. The queues obviously weren't helped by everyone turning up in a tight time period, but surely they could have different / more entrances. Some of the funnels were ridiculously narrow when you're expecting thousands of people to pass through within 90 - 120 minutes. I thought maybe we had just timed it badly but I've seen comments from people getting to the venue at 6 and basically missing all of Lens' (warm up DJ) set anyway - I don't think she finished until 8.

By the time we got to the main room it was about 8.30. We saw 15 mins of Flowdan which was pretty flat - think everyone would have just preferred some drum & bass. He finished at 8.45. There was then 30 mins of set up / emptiness before C&S came on, with no music and spells of boos/whistling from the crowd as everyone frankly got bored. C&S come on at 9.20 and we're then thinking 'are we only getting an hour?!'

The set itself was decent and they couldn't have done much better pulling out some old classics and getting guests like Becky Hill, Tom Grennan, Ardee on. The new front man/MC isn't a patch on Rage though. We stood about 3/4 back in the centre for the first 30 minutes and the sound was pretty terrible - I'm not sure if it was a mixing issue but we all noticed how tinny it was and the tracks weren't coming through properly. We then moved a bit forward into one of the side channels which was a lot better, but still not as good as Printworks. I was at Wembley Arena last Saturday for a gig and even the sound there was levels above Drumsheds.

C&S ended up playing past the supposed curfew, up until about 10.50. Getting out of the venue and back to Meridian Water station then took over an hour, moving at a snails pace before repeatedly getting held in the last alleyway to 'regulate' train and taxi queues. When we finally got to the station we just missed a Liverpool Street train that barely had anyone on it. On the train home we then realised we had spent as much time queuing to get in/out of the venue as we had being in there. There were a few others on the train who had the same experience and loads more on social media by the looks of it. Not to say those nights aren't a lot more difficult to manage than all-dayers but I think Friday night will have put a fair few thousand off from ever going back...

[gfa]

On 2/23/2024 at 10:40 AM, Supernintendo Chalmers said:

Immediately upon arrival, I was amazed by how young the crowd was. As opposed to the likes of the Chemical Brothers, The Prodigy, Orbital, Underworld, etc, they've obviously managed to stay relevant to a predominantly younger audience, probably because of the crossover with grime and pop...not to mention a recent resurgence thanks to that fecking Baddadan tune. There's a part of me that wants to get snobby and complain about how commercial it's become but then when I thought about it, it can only be a good thing. Last night there were large groups of teens having the best time. I spoke with a woman who'd brought her 13/14 year olds to their first ever gig (in fairness they spent the entire gig filming it on their phone, but they'll learn) and I realised that making electronic music accessible to the kids is so important.

I think this is mostly due to genre - there's just not really been any acts to follow up the four you listed. Similar artists that are even older like Andy C have also remained very popular

Dance music in general is very popular right now - mostly spear headed by complete shite like Ben Hemlsey, Patrick Topping and your Hedexs etc but it is good as eventually people do seem to learn about other stuff!

10 minutes ago, mjfromthelane said:

Went to C&S at Drumsheds on Friday night and was pretty underwhelmed by the whole experience - and having looked on social media that looked like the general feeling too.

The majority of it was caused by the venue itself. Doors opened at 6 with the curfew supposedly at 10.30. We turned up at about 7.10 after getting away from work. By the time we were past the various queues / security lines, it was 8.15 when we were actually in. Not a great start when it was already a short night - and then it looked like we were barely getting 2 hours of music. The queues obviously weren't helped by everyone turning up in a tight time period, but surely they could have different / more entrances. Some of the funnels were ridiculously narrow when you're expecting thousands of people to pass through within 90 - 120 minutes. I thought maybe we had just timed it badly but I've seen comments from people getting to the venue at 6 and basically missing all of Lens' (warm up DJ) set anyway - I don't think she finished until 8.

By the time we got to the main room it was about 8.30. We saw 15 mins of Flowdan which was pretty flat - think everyone would have just preferred some drum & bass. He finished at 8.45. There was then 30 mins of set up / emptiness before C&S came on, with no music and spells of boos/whistling from the crowd as everyone frankly got bored. C&S come on at 9.20 and we're then thinking 'are we only getting an hour?!'

The set itself was decent and they couldn't have done much better pulling out some old classics and getting guests like Becky Hill, Tom Grennan, Ardee on. The new front man/MC isn't a patch on Rage though. We stood about 3/4 back in the centre for the first 30 minutes and the sound was pretty terrible - I'm not sure if it was a mixing issue but we all noticed how tinny it was and the tracks weren't coming through properly. We then moved a bit forward into one of the side channels which was a lot better, but still not as good as Printworks. I was at Wembley Arena last Saturday for a gig and even the sound there was levels above Drumsheds.

C&S ended up playing past the supposed curfew, up until about 10.50. Getting out of the venue and back to Meridian Water station then took over an hour, moving at a snails pace before repeatedly getting held in the last alleyway to 'regulate' train and taxi queues. When we finally got to the station we just missed a Liverpool Street train that barely had anyone on it. On the train home we then realised we had spent as much time queuing to get in/out of the venue as we had being in there. There were a few others on the train who had the same experience and loads more on social media by the looks of it. Not to say those nights aren't a lot more difficult to manage than all-dayers but I think Friday night will have put a fair few thousand off from ever going back...

What a horrendous trio of guests - would rather they didn't bother haha

Heard many complaints about the C&S night - for Bugged Out last year which wasn't sold out there were zero issues as it wasn't too busy.

It seemed they had technical issues with the screens from what I noticed

its the first event there of the year so hopefully will be sorted for next time

On 2/23/2024 at 12:54 PM, AndyL16 said:

same - reckon theirs a decent chance they turn up as well - one for arcadia maybe

Live show on Park with a bit of luck

[bennyhana22]

56 minutes ago, mjfromthelane said:

Went to C&S at Drumsheds on Friday night and was pretty underwhelmed by the whole experience - and having looked on social media that looked like the general feeling too.

The majority of it was caused by the venue itself. Doors opened at 6 with the curfew supposedly at 10.30. We turned up at about 7.10 after getting away from work. By the time we were past the various queues / security lines, it was 8.15 when we were actually in. Not a great start when it was already a short night - and then it looked like we were barely getting 2 hours of music. The queues obviously weren't helped by everyone turning up in a tight time period, but surely they could have different / more entrances. Some of the funnels were ridiculously narrow when you're expecting thousands of people to pass through within 90 - 120 minutes. I thought maybe we had just timed it badly but I've seen comments from people getting to the venue at 6 and basically missing all of Lens' (warm up DJ) set anyway - I don't think she finished until 8.

By the time we got to the main room it was about 8.30. We saw 15 mins of Flowdan which was pretty flat - think everyone would have just preferred some drum & bass. He finished at 8.45. There was then 30 mins of set up / emptiness before C&S came on, with no music and spells of boos/whistling from the crowd as everyone frankly got bored. C&S come on at 9.20 and we're then thinking 'are we only getting an hour?!'

The set itself was decent and they couldn't have done much better pulling out some old classics and getting guests like Becky Hill, Tom Grennan, Ardee on. The new front man/MC isn't a patch on Rage though. We stood about 3/4 back in the centre for the first 30 minutes and the sound was pretty terrible - I'm not sure if it was a mixing issue but we all noticed how tinny it was and the tracks weren't coming through properly. We then moved a bit forward into one of the side channels which was a lot better, but still not as good as Printworks. I was at Wembley Arena last Saturday for a gig and even the sound there was levels above Drumsheds.

C&S ended up playing past the supposed curfew, up until about 10.50. Getting out of the venue and back to Meridian Water station then took over an hour, moving at a snails pace before repeatedly getting held in the last alleyway to 'regulate' train and taxi queues. When we finally got to the station we just missed a Liverpool Street train that barely had anyone on it. On the train home we then realised we had spent as much time queuing to get in/out of the venue as we had being in there. There were a few others on the train who had the same experience and loads more on social media by the looks of it. Not to say those nights aren't a lot more difficult to manage than all-dayers but I think Friday night will have put a fair few thousand off from ever going back...

Thanks for sharing, @mjfromthelane - really helpful to have honest, unfavourable reviews, as well as all recounting great nights out. That sounds dreadful, and as someone with the attention span of a gnat and no patience (just patients, ahthangyoo), I would have been very, very annoyed! 

Ben

[Madyaker]

I found some grainy pics of genosys on my PC, this is from 2017 I think.

Edited February 26 by Madyaker

[Supernintendo Chalmers]

9 hours ago, gfa said:

I think this is mostly due to genre - there's just not really been any acts to follow up the four you listed. Similar artists that are even older like Andy C have also remained very popular

Dance music in general is very popular right now - mostly spear headed by complete shite like Ben Hemlsey, Patrick Topping and your Hedexs etc but it is good as eventually people do seem to learn about other stuff!

Yeah, those four I mentioned were the first DJs I ever saw. That was my hardcore/jungle tekno phase! 

To be fair, Andy C is slightly similar to C&S in that he makes very accessible D&B for the masses. He's changed his sound over the years to cater more for the kids than the heads. Which is why he can hold nights at Wembley Arena and the O2. He's still lauded in D&B circles, probably because he's been producing since 1992. Nuts to think he made Valley of the Shadows aged 16/17.

Hardly any of us start our electronic journey by jumping straight in to the likes of Tangerine Dream, Squarepusher or Aphex. More accessible music is where we cut our teeth. And that's where the majority of the kids are now. Sure, it seems like the masses are generally into nothing but tech house or jump-up right now, but most of them will soon get bored and start digging into the roots of electronica. I feel like that's happening a bit more in the US now. Around 2010 is was all EDM and nothing else. But they're starting to branch out a lot more.

There are so many sub genres in this scene, it's possibly the one genre that's always pushing the boundaries somewhere. I think that's why I love it all so much. It keeps moving, and even though some of it isn't for me, it's all good. 

[gfa]

13 hours ago, Supernintendo Chalmers said:

Yeah, those four I mentioned were the first DJs I ever saw. That was my hardcore/jungle tekno phase! 

To be fair, Andy C is slightly similar to C&S in that he makes very accessible D&B for the masses. He's changed his sound over the years to cater more for the kids than the heads. Which is why he can hold nights at Wembley Arena and the O2. He's still lauded in D&B circles, probably because he's been producing since 1992. Nuts to think he made Valley of the Shadows aged 16/17.

Hardly any of us start our electronic journey by jumping straight in to the likes of Tangerine Dream, Squarepusher or Aphex. More accessible music is where we cut our teeth. And that's where the majority of the kids are now. Sure, it seems like the masses are generally into nothing but tech house or jump-up right now, but most of them will soon get bored and start digging into the roots of electronica. I feel like that's happening a bit more in the US now. Around 2010 is was all EDM and nothing else. But they're starting to branch out a lot more.

There are so many sub genres in this scene, it's possibly the one genre that's always pushing the boundaries somewhere. I think that's why I love it all so much. It keeps moving, and even though some of it isn't for me, it's all good. 

out of upvotes but well put mate

[cgall]

Anyone else been to The Cause in East London?? Been to a few events there and think it pulls in some great names, but the whole venue is just a bit strange. Felt like i was walking through a school corridor in some parts 

[gfa]

1 hour ago, cgall said:

Anyone else been to The Cause in East London?? Been to a few events there and think it pulls in some great names, but the whole venue is just a bit strange. Felt like i was walking through a school corridor in some parts 

We thought that at first but i think it actually used to be an office block - it does seem like a college though at first!

Great venue i think

[cgall]

2 minutes ago, gfa said:

We thought that at first but i think it actually used to be an office block - it does seem like a college though at first!

Great venue i think

Agreed! doesn't suprise me it's a former office!  All Day Chaos in the CBD last year there was brilliant , as was HAAi's all nighter. Speaking of those two, i'd absolutely love them back on the farm this year. Think HAAi is a safe bet - seems to be staple in recent memory? Though not sure i've seen Chaos on the line up for a while!

[mjfromthelane]

23 hours ago, cgall said:

Anyone else been to The Cause in East London?? Been to a few events there and think it pulls in some great names, but the whole venue is just a bit strange. Felt like i was walking through a school corridor in some parts 

Hoping to get there this summer for either the Critical Sound or 1985/Alix Perez all-dayers.

[Acid Loafers]

On 2/12/2024 at 12:56 PM, bennyhana22 said:

Alright, here we go.

I arrived in London at about 2pm on Saturday, meeting one of my best Glastonbury mates who had travelled down from Rossendale in Lancashire. We set off into the city and went to 5 or 6 small art galleries (he's an artist, and so responsible for my cultural education) which were pretty fab. After something to eat (Franco Manca sourdough pizza right next to St Paul's), we walked up to the Barbican Hall. The concert was Alessandro Cortini (keyboards and electronics wizard from Nine Inch Nails, for anyone unfamiliar), supported by Joseph Kamaru (aka KMRU), the Nairobi-born, Berlin-based current Golden Child of ambient and drone.

Firstly, the sound in the Barbican Hall is off the scale good - almost as/as good as the Symphony Hall in Birmingham, which is breathtaking. The seats are comfortable and the banking of all levels means that there are only good views of the stage. They dim the lights to almost nothing and so KMRU played his set in near darkness most of the time (perfect for this kind of enveloping, immersive music), the only light into the entire auditorium coming from the big screen projections, which were ever changing., swirling black and gold abstract patterns, controlled by another guy stood next to him, on a designated laptop. It was really nice to know that the visuals were being manipulated and chosen in real time to complement the tracks. I have to confess that KMRU is one of my 2-3 most favourite artists over the last few years. As I've bored you with so, so many times, my firm belief is that in any/all musical genre, 95% of what is produced is average at best and downright rubbish at worst. Our mission is to seek out the 5%. For me, pretty much everything KMRU touches musically turns to gold. His quality ratio is unbelievably high. So, it'll be no surprise to hear that I was as excited to see him as I was il signor Cortini. Joseph's 40 minute set was just phenomenal. It flew by, with the standout track being the title track of his recent record Dissolution Grip, a track he'd promised me he would play when I tweeted him a week or two ago 😆. I was enraptured. He got a fantastic response at the end and seemed very touched by the appreciation. For anyone who fancies giving him a go, I'd recommend starting with Dissolution Grip, then progressing to Peel, an album of droning ambient loops that is, IMO, his finest moment to date. What a start.

Alessandro came on after a very civilised 20 minute interval and he too played a continuous 40 minute set, again with very nice screen visuals. His set was superb as well, tho this biased fan just gave the win to KMRU by a whisker. Such a great gig and a brilliant start to the musical aspect of our 24h in London. We had a little mooch around the Barbican building (really interesting, architecturally and historically...though I lived in London on and off for ten years, I really didn't know much about it - consequence of being sarf of the river, maybe...) and then headed off. My pal got a message from a friend (on who is really rather keen...) and so we decided to head up to Camden to meet her and her friend in the Old Eagle pub. We had a drink and a chat and then it really was time to be dancing. 

And so to FOLD. Firstly, it is a bit of a bastard to get to, depending on where you starting! If you're starting close to a tube that gets you onto the Jubilee or DLR, all good. If you're not...

This dancer was getting itchy feet by this point, and with TfL journey planner offering us FOUR buses as the best route from Camden, I thought bugger that and ordered an Uber. 40 minutes later and we were walking up from Canning Town station towards the club. First impression? That's a bloody long line at 1.15am! Got chatting to a couple of inordinately tall Finns in the queue, which passed the time nicely (the height thing was to become a theme - I don't think I've ever been in a 'taller' club! It was the Land of the Giants!). We got through security with no bother and headed up the steps and in.

What to say? Is that the best club I've ever been to? It very well might be. It's probably between that and The White Hotel in Salford. IT. WAS. f**kING. INCREDIBLE.

Phone cameras - how bloody refreshing to have camera stickers mandated (and at fabric). May this become the rule, rather than the exception in UK venues... Staff - really friendly and chatty, not at all intrusive, just lovely. Lockers - good, quick way of sorting your stuff, and nice to be able to popo and get something during the night if you want it, compared to traditional cloakrooms). Bars - quick enough, not ridiculously priced (comparatively). System (Main room - I only drifted through the Steam Room once just to have a wee look) - FLAWLESS. Perfect volume, perfectly balanced, clean and crisp. The ceiling-hanging speakers dotted throughout the main room give real body and depth and the percussion coming out of them was like listening to a high-end hi-fi system. Incredible. Layout of the main room is excellent - door at the back to come in, through way on the right to go outside etc. So never any traffic coming into/through the crowd on their way elsewhere, which is a real beef of. one in some venues. Lights - just perfect. Not fancy, but really well configured and controlled, creating really good atmosphere. Crowd - without question as nice as anywhere I've been. There was one guy who was slightly annoying early on as I think he was mashed, but he wasn't aggy. Everyone else was polite, friendly, keen to make friends on the floor, respectful and courteous of each others' space. Just LOVELY. We caught the last hour of Call Super's set, which was nice enough. But then...Courtesy. OMG. One of the best sets I've heard in a long time, and that true genius of creating a narrative to suck you in, even if some of the selections are not in your typical wheelhouse. She played 'everything' - jackin' house, some piano house (!), old school rave bangers with vocals that everyone but I knew 😂, trance, techno and at least one electro track. Flawless. Incredible mixing and transitions, and her track running order was sublime. I would love to see her again (Farm, anyone...?). We left there about 15 minutes before the end, as we wanted to get to fabric and it was a bit of a trek. But, thank you, Courtesy - you are one talented DJ.

Again, transport was not easy! We got the Jubilee line to Southwark and then, again conscious that any moment traveling is a moment's dancing wasted, we got a quick Uber to Farringdon. Getting into fabric was fine, though it does feel weird having your photo taken with your ID check twice in one night. That's some personal data capturing...

The lovely security lady asked me "have you got anything with her that you shouldn't have?", to which I replied "what, at my age?!" and it was cheeky grins all round. Dumped stuff in the cloakroom and headed down to Room 1 for about 7am. First impression? The whole place is enormous. So easy to get disorientated until you've walked around it a few times. Main Room was RAMMO. Craig Richard and Villalobos had two hours left of their monster set (after which Ricardo was doing another 3h on his own!). 

Room - big, slightly cavernous for me, but yeah, a nice environment. I like the bleachers at the back. Like in the Temple, that gives a good feeling of all being in there together. Sound - pretty spectacular, so I was not disappointed. I would say though, as excellent as it is, I don't rate it any higher than FOLD. Crowd - hmmmm. There may be lots of factors influencing this, but it was only 'OK'. Some perfectly nice people there, and no-one being a d*ck, but just not especially friendly. I wonder how much that is influenced by: end of a long night...many people would have been well over the peak of their refreshments by then and were maybe topping up trying to chase something that ain't gonna be available for a couple of weeks at least...? Type of set - it is something of a niche experience, and I wonder if there were lots of people there delighted to be at fabric (dare I say it, some so that they can tell people that they were at fabric 😬...sorry if that's w*nky), but not really into the 'challenge' of seven hours of Villalobos? I really enjoyed the two hours there, though it really was so rammed the whole time, that it made dancing 'properly' a bit difficult at times. But to get fist-bumped at just before 9am by some young guy saying "nice dance moves, mate" (no, he wasn't taking the piss, before you ask...) gave this old raver a nice little buzz at the end of what was an extraordinary day and night.

I shuffled my arse up to Euston to get the 10 o'clock train, with nothing but visions and sounds of a phenomenal time swirling round a somewhat addled brain. Magnificent.

Obviously I've rambled on in time-honoured tradition, so thanks for reading if you've stayed the distance!

I could really have done the whole thing with one sentence:

FOLD is one of the best clubs you'll ever go to.

 

Ben
x

Lovely read Benny.

Quite ashamed I still haven't made the trek to FOLD. It's just so awkwardly located for me that it's that off-putting for my lazy bones. Next poster I see that I'm keen on, I'm there.

[Acid Loafers]

On 2/25/2024 at 9:35 PM, Supernintendo Chalmers said:

Not my picture and not much point other than just to say, it's gonna be so good having this behemoth back again this year

Do we reckon it's a 1 to 1 rebuild (since some was taken by mold from what I read)?

or Genosys 2.0, taking inspo from the original with new ideas sprinkled in?

[Acid Loafers]

On 2/26/2024 at 7:59 PM, Madyaker said:

I found some grainy pics of genosys on my PC, this is from 2017 I think.

Grainy 2019 footage from my archives, HAAI dropping Nathan Micay - The Party We Could Have

Still stands as some of the most stunning 3D mapping I've been able to see.

https://imgur.com/a/ES7PwJp

[Supernintendo Chalmers]

9 hours ago, Acid Loafers said:

Do we reckon it's a 1 to 1 rebuild (since some was taken by mold from what I read)?

or Genosys 2.0, taking inspo from the original with new ideas sprinkled in?

Hopefully they still have the original plans but yeah, v2.0 sounds most likely. As long as it retains the same effect (and of course, sound), we'll be good. My only concern now is how busy it'll be. Another of the great things about was the space to be able to dance. Never too packed, never empty. Always felt right like the right balance at peak times.

[bennyhana22]

10 hours ago, Acid Loafers said:

Grainy 2019 footage from my archives, HAAI dropping Nathan Micay - The Party We Could Have

Still stands as some of the most stunning 3D mapping I've been able to see.

https://imgur.com/a/ES7PwJp

What. A. Set. That. Was 😮

Ben

[Talcroft]

Anyone know anything about Maribou State's new album - release date/tour dates etc? Would like to see them on the farm. 

[gfa]

I know people love og genosys but i hope that they go for a modernised version, keep the mapping but maybe make it a bit bigger or wider perhaps

[bennyhana22]

21 hours ago, gfa said:

I know people love og genosys but i hope that they go for a modernised version, keep the mapping but maybe make it a bit bigger or wider perhaps

I'm fine with that. Evolution, not revolution. As long as it feels like the ol' Green Monster, I'll be a happy boy. But, most of all, please, please give me that stellar sound back. I still have no idea how the sound on the bus ended up being so utterly ordinary, compared to the OG.

Ben