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10 Days Off 2002 - Day 8

What a night, what a night! Never before have we heard so many good acts on one night. If you went into another room the music was bound to be even better than in the previous one. Those who weren't there, were soooooooo wrong.
27 juli 2002, Vooruit, Gent (B)

Tekst: da volgaBabe

Publicatiedatum: 28 juli 2002

What a night, what a night! Never before have we heard so many good acts on one night. If you went into another room the music was bound to be even better than in the previous one. Those who weren't there, were soooooooo wrong. Here comes day 8.

Room 01:
The big room was the scene of splendid and powerful house and tech-house, courtesy of Attaboy. Si Brad put on one exciting houser after another, and he had enough rinsing climaxes and breakdowns to keep the crowd satisfied. He played a legion of his own productions and lots of releases on his Toko imprint. But, then again, that's one of the best house labels you can encounter, so no complaints on that one. Conclusion: a thrilling, emotional set with some of the most soulful sounds we've ever heard in a big room set. Swag, then, were a little bit of a disappointment at first. Too much nerve-splitting techno and a little bit bare on the fun-and-emotions front. Their specific mixture of hard beats, minimal percussion loops, and subtle sound layering (they played with multiple decks and a beat-and-effect box) possibly would have been more at home in Room Two. But after a while, they returned with a vengeance and started playing more party-oriented cuts, saving their set from imminent boredom with, amongst others, Carl Craig's brilliant remix of Recloose's Ain't Changin'. Room 01 was thus perfect for the big party crowd.

Room 2:
But it was, again, at the café where all things good gathered. The Bays, Jamie Odell's band, played an incredible gig. With a live drummer and bass player, they started out with slower, more ambient grooves, continued with fucked-up techno sounds, and ended their live set with what can only be described as live drum 'n' bass, albeit heavily influenced by '80s guitar rock in the style of Echo and The Bunnymen and New Order. Shouts to the incredible drummer for keeping the hi-hats and cymbals right during a full hour. What a concert! And things got even better when Mr. Scruff took his place at the decks. He started out with fat, blunted beats and hip-hop. Early in his set, he played an instrumental hip-hip joint, layed over an acapella of Brandy's What About Us? and then started scratching over it with Roots Manuva's Run Come Save Me. During an enormously diverse set, I overheard the likes of Far Out's Troubleman, James Brown, Ragga-electro, Banbara's original Shack Up, Coldcut, and so many good funk, soul, reggae and hip-hop, that we can speak of the absolute apogee of the 10 Days Off. He eventually ended his set with sexy deep house grooves (Colette's Sexuality mixed up with Osun Lade's Change For Me), and of course with the immortal Get A Move On, mixing up two copies to mark the end of an outrageously good set. And let us, please, not forget about the man's divine scratching skills. Jamie Odell, in his Jimpster guise, ended the evening with a surprising DJ set. He took off with breakbeats and house, continued with click-tech and straight minimal techno, and toward the end played Lil Louis' The Conversation, Paperclip People's Throw, and Pépé Bradock's Burning and Life. He, very fittingly, closed up the café with A Touch Of Jazz's hip-hop-style mix of Jazzanova's Soon. Without any doubt, the best evening in the café. Heavenly, heavenly! Thank god for Mr. Scruff. Real music for real people!

Room 3:
But things were equally chugging in the drum 'n' bass room. First, there was Teebee, one of the men who's said to have saved d'n'b from an untimely death. And we can safely adhere to that bold statement. His d'n'b was soulful and deep, rhythmically razor-sharp, and very original. Most cuts were electro-influenced in the Certificate 18/Teebee style, with a lot of soul-searching vocals and extremely warped but beautifully ice-cold sounds. And of course, he too had to pick along some of that Latin mood that's currently sweeping through d'n'b land. The best drum and bass we have ever heard without any doubt. And on top of that, the man was stirring the crowd like an experienced agitator, scratching records for more than a minute several times. Hope we see him again soon — very soon. As a consequence, at the beginning of Marcus Intalex' set, the room was so hot and smelly that the air was hardly breathable. Nevertheless, his set was even more emotionally charged. His style this evening tended toward more disco-influenced cuts, Peshay-style. Lots of diva-style vocals were crying their love and sadness over magnetically stirring breakdowns, albeit that the cheesiness of the vocals sometimes was a bit over the top. Conclusion: an all-star evening with no disappointments in earsight. For one time, those who weren't there, were sooooooo wrong.

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