Animaux | UK

Nuage – ‘Wild’ Review

May
24

A follow-up to his 2015 widely acclaimed album ‘Neida’, St. Petersburg’s Nuage has devoted a year of complex production and travel to the opposing ends of the earth to create the seemingly complete and more mature LP Wild on the consistently marvellous Project Mooncircle label.

Wild, in many ways, contrasts and challenges itself, often in the same moment. Starting track ‘Occur’ eases in with a strong and ambient introduction; the album continues to flit between feelings of warmth, world and leftfield-tinged instrumentals that breathe fresh remnants of summer, and cooler climates, delving downtempo; the first frost of winter is just about as crisp. Nuage at times comprises self-styled drum and bass, yet at others indicates brisk moments of tribal origins, broken beats and deep house rudiments.

Wild by name, Wild by nature – in its entirety, the album expresses several boundaries of mood, playfully explores within and often merges each limit. ‘Arrival’ immerses and dreamily gravitates, while ‘Habitat’ combines cut up vocals with a deeper bass, with a classic synth sample and joyful fleckles of organic instruments. The album is stunningly vocalic throughout, still keeping itself to a lofty signature, rolling up and down, in boundless kaleidoscopic motion.

You can buy vinyl, digital or stream it by clicking here.

Top Six Things To See At Boomtown 2016

Jul
29

Lions Den -­ The UK’s Biggest Reggae Stage

Rising up on the edge of the woods, this colossal Mayan-esque temple looks like an immovable relic from an ancient past. On closer inspection, however, there are signs that this is a place of very different rituals. Surrounded by a vast amphitheatre of a hill, a formidable array of speakers bulge from the time hardened masonry, vivid lasers pierce the sky while eruptions of flame turn this venerable shrine into a living, breathing roots leviathan. Carrying on his father’s infamous legacy, Damian Marley flies in, continuing to spread the message with his celebrated roots / hip­hop blend. Joining him in a line up as gargantuan as the stage, are the internationally renowned Fat Freddy’s Drop, their jazz-filled dub reggae is more than capable of causing a groove frenzy within the Trenchtown walls and begs for a venue like The Lions Den.

Bang High Palace -­ The Nine-story Behemoth

Erected last year by Comrade Jose, as an imposing symbol of power, this nine-story phosphorescent landmark looms high over the rest of Boomtown. Its formidable spire pierces the skyline as bursts of seismic activity and fire give this whole structure life. It’s bellowing electronic drum & bass voice echoes for miles while the ground palpitates to the rhythm of its beating heart. The palace was erected as a monument to the new totalitarian alliance between the brainwashed ‘Comrade Jose’ (formally Mayor Burrita José) and ‘The Sheriff’, and it worked. Right up until the end of the four days, when a speech by ‘Comrade José’ was hijacked by a masked figure heralding the beginning of a new uprising and a new revolution, the tantalising cliffhanger for the this year’s chapter in the Boomtown legend. Whispers hear mention of this year’s revolutionary prophets, Dj Hype, Dj Hazzard, Mefjus, Critical Music and Full Cycle are just some of the names that hint at a biblical alliance of bass the likes of which are rarely seen on such an epic scale.

Sector 6 ­- Chapter 8’s All New Industrial District

As rumours of revolution bubble over throughout the alleys and dark corners of the town, unexplained rumblings can be heard from Boomtown’s new nuclear power station, sitting in the centre of the recently completed Sector 6. Guttural roars and deeply resonating gurgles can be heard in the quiet of night. Many have heard whispers of heavy garage and grime, others say dubstep, but all say they’ve felt the tremors of palpitating bass. The facts remain to be seen, but propaganda has been circulating, suggesting potential sightings of UK garage emissaries So Solid Crew and DJ Barely Legal within the Sector. Bass representatives Gotsome and Deadbeat UK are also thought to have been spotted in the shadows. Whether the rumours of revolution hold any substance, we will have to wait and see, but one thing is for sure, Sector 6 will not go quietly.

Into the Forest -­ The Woodland Raves

The woods and forests skirting the edges of Boomtown are an ever-present intrigue lurking on the periphery of the madness within. They loom on the fringes like mysterious dark boundaries, occasionally bursting with a diffuse green and blue light which pulsates from underneath the canopy, tempting the residents with a hypnotic tribal rhythm. Here, in these dense and secluded woods, the explorer is always rewarded, woodland parties and forest raves are a growing culture for Boomtown’s more rural residents. Celebrating all things psychedelic with a bit of everything thrown in, three such gatherings have made their name in previous years; Psychedelic Forest, Tribe of Frog and The Rave Yard all gaining reputations as some of the most magical places to lose yourself under a canopy of green.

Vamos -­ Boomtown’s Newest House And Techno Venue

Vamos is a brand spanking new venue to hit the loudly exotic streets and bouncing favelas of Boomtown’s carnival district ­ Barrio Loco. Bringing together an intoxicating mixture of fresh blood and experience this fledgeling venue is set to be an exuberant hive of house and techno, and looking at some of the names ready to christen this bad boy it’s one that really can’t be ignored. House legend Derrick Carter, rightly renowned as one of the best DJs in the world sets up alongside; Drumcode’s Alan Fitzpatrick, electro trailblazers Simian Mobile Disco and joining what is already a scorching collection of talent, the highly revered eclectic spinner Jackmaster. Considering this will be its first year at Boomtown, it’s pretty clear that this is a stage that won’t be pulling any punches.

Whistlers Green Mastercrafted Relaxation

Boomtown is a hell of a festival, famed for its detailed approach to immersion and its untameable energy, but there is also a side to it that and be as calming and tranquil as a lilo on an infinity pool, on a cloud, with a brew, and cake. Whistlers Green offers the weary, hungover or curious a vast variety of chilled out activities, workshops and experiences. You can try your hand at jewellery making, blacksmithing, and even chainsaw carving. And for those a who don’t want to get so hands on, you can get your morning yoga in, go for a skate, get a massage, or just chill by the fire. There are also two stages nestled within the tranquillity of Whistlers Green, both providing the perfect soundtrack to this secluded oasis. New to the green this year is the Windmill Stage, a mecca for Reggae, Folk, Funk and Soul, with Radio 6 funk and soul maestro Craig Charles stepping up as well as global electronic innovators Banco De Gaia. Floating Lotus is back as well, showcasing some of the finest singer-songwriter and folk performances around, including The Rubber Wellies and Rhain.

You can read our full guide to Boomtown here or check their website for more information.

Preview: Dekmantel Festival 2016

Apr
28

Dekmantel Festival is back to the Dutch capital with its fourth installment and it is a doozy – they promise over 150 artists spread out their day and night programs as well as the opening concerts. Have a quick gander at the very stylish video they cooked up:

Dekmantel are heavily expanding on their opening concert idea and offering not one (like last year) but nine (!!) concerts spread out across Amsterdam’s beautiful city-centre locations. All venues are linked with free ferry services and promise an additional free cultural program. These range from James Holden’s dreamy techno ventures with a live band to Alessandro Cortini’s (Nine Inch Nails) live electronica experimentations. You can check the full opening concert line-up over at Dekmantel’s website.

August fifth marks the first official day of the festival in the stunning natural surroundings of the Amsterdamse Bos park and it is hard to describe the amount of musical talent spread out throughout the weekend. Just the first day sees the likes of Jeff Mills, Ben UFO, Surgeon and Moodymann among many other very talented folk. And this theme continues throughout the weekend – I can hardly imagine what it will be like deciding if I should see Dixon or Aux 88, Roman Flügel or Daniel Avery on Saturday and picking between Palms Trax or Motor City Drum Ensemble on a Sunday afternoon just seems cruel. To top it all off at Amsterdamse Bos, the organisers promise: “We aim high with everything we do, but the festival terrain is an exception. We want to give our visitors an open view on the landscape, and thus the decorum will incorporate no skyscraping elements of any kind.” You can check the full day-by-day line-up here.

The night programme returns to the Melkweg – which is one of Holland’s most well-known and iconic music venues. The large building is a former milking factory, and has been in full effect since the abandoned factory got discovered in 1970. It’s a perfect spot for an adventurous club night, offering you a chance to wander and get lost somewhere between the four separate areas, including the majestic Rabozaal, and the coiling hallways that lead you there. Some of the names throughout the weekend include The OrbTama SumoOptimo and Jackmaster (full night line-up here) and yet again, Dekmantel showcase their prowess in offering a huge collection of talent with focus on great music as opposed to specific genres or styles.

It is clear that Dekmantel are continuing their strive towards building the greatest city festival in Europe. It oozes quality – from locations to the talent, everything has been meticulously planned in order to create an atmosphere like none other and if you are one of the lucky ones that managed to grab a ticket, I salute you as we are in for a ride.

http://www.dekmantelfestival.com/

Review: Neana – NSWL020

Mar
11

Neana is no new kid to dance music, the youngster has been producing with his notorious crew for a couple of years and despite being a young kid in many people’s eyes, the lad has delivered as a DJ, producer and as a personality.

In November 2015 a documentary was released on him and his crew ‘Gang Fatale’ made up of big names like Trap Door and Ra Ra. Neana discuss their rise to prominence in dance music, the rise of tribe-tech and overall the viewer is astonished by how much a group of teens have achieved in such a short space of time. He started producing at 14 in Kendall in the lake district and eventually developed to create monster tunes like “Yeezus 2” “Hotel Vobez” and “42 Dunjunz”. He mentions how slowly time passes in his isolated village but he’s grateful for his rural upbringing as it influenced his early work radically. Neana recently released NSWL020, his second release on the London label Night Slugs who have signed people such as L-Vis 1990, Bok Bok and Jam City.

NSWL020 is a two-track EP with Neana’s own Nightshade and his remix of Bok Bok’s less well-known tune Foxtrot. Nightshade opens up as a relatively lo-fi and subtle tune with some really nice guitar sampling with some atmospheric texturing. The cover, a few deck chairs on a port by the sea is a great image which nicely symbolizes the vibes of the release, two tracks heavily influenced by central European techno and house with certain holiday-esque Italian or Spanish tones. The tune then at around 1:30 plunges into an absolutely filthy bass line. With a typically fast pace time signature and a tribal-esque bass line, this is nothing out of the ordinary for a Night Slugs release.

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After listening to Neana’s insane boiler room set god knows how many times, I realize this would not be out-of-place in one of his typically hard-hitting sets. This tune does lack the poppy, R&B and sometimes satirical sampling that we are used to hearing from Neana. The occasional Kanye line such as “STRAIGHT OUT THE SALON” or Three Six Mafia’s dirty vocal sample is chucked into his sets but this release has reduced tribe-tech to its roots: atmospheric, dark and almost atlantic backing with hard-hitting basslines and gorgeous snares. Neana’s Foxtrot remix deserves equally as much praise, it packs the bassey punch that Foxtrot so proudly delivers and in my opinion improves the original drums as well as having more interesting production. Overall a really impressive take on the genre from Neana and as the 12” sold out in a couple of days in late February I look forward to hearing more of him in the scene.

I’ve played Nightshade at a small block party and on a big sound system it sounds absolutely incredible, I prefer Nightshade due to its more creative sampling and original sound however for a remix Foxtrot is a highly impressive tune. Foxtrot was featured as a Boiler Room debut which came to my surprise, however after seeing Shamos’s tune “Ode to Lynch” and Commodo’s remix of Hi5Ghost’s “Nook Shot” I felt Boiler Room would deliver the goods for 2016, the year of the bleep. Neana has definitely made a name for himself over the past few months and this release has proved his competence as a producer which I am happy to see. Let’s hope Night Slugs deliver the goods on their next release, no doubt it will be a banger.

Boomtown Releases Its 2016 Mainstage Line­ups

Feb
07

So it’s coming to the time of year when everyone starts crawling out of the gym wondering what the hell happened to January. We’ve just spent a month trying to reverse what a couple of weeks binging on Aldi’s finest booze, and sugar riddled treats can do to our otherwise, I’m sure, trim and sculpted bodies. Nevertheless memories of sunnier and happier days start to filter through, hazy flickering memories of a time when being outside didn’t mean wearing more layers than a family sized lasagna and when sitting in a field listening to music was not only possible, but a pleasurable experience at that.

Yep you guessed it, it’s time to think about festivals, and Boomtown is one I have been itching to see a line­up for. It’s a festival which is well-known for its rich atmosphere and freedom of expression. It even comes with its own warped dystopian storyline, one that develops year on year, with last years saga seeing the union of the brainwashed ‘Comrade Jose’ (formally Mayor Burrita José) and ‘The Sheriff’. A move that led to the building of the ‘Bang High Palace’, a huge, nine story fire-breathing behemoth of a main stage. Erupting with vicious drum and bass, the palace was erected as a monument to the strength of the new totalitarian alliance, and it worked, right up until the end of the four days, when a speech by ‘Comrade José’ was hijacked by a masked figure heralding the beginning of a new uprising and a new revolution, the tantalising cliffhanger for the next chapter in the Boomtown legend.

Never pinning itself down to any specific genre, Boomtown really rewards the wanderer, you can find yourself raving in a hidden wood one second then skanking on a sun drenched amphitheatre of a hillside the next. Quite literally, the nine different districts making up this brilliantly peculiar pop up city each boast its own flavour of musical delights, from the Latino carnival mood of ‘Barrio Loco’ to the futuristic neon drenched buildings of ‘DSTRKT 5’, a stroll around boomtown is as spicy and unpredictable as a liger (Editor’s Note: Liger) in a curry house. So all in all I don’t think I can be blamed for my, let’s be honest, childish anticipation for the “immersive audio­visual joyride” that is Boomtown. Especially when you look at the wide variety of well known names hitting the many stages this year.

Damian Marley, reggae legend in his own right, returns to the UK’s biggest reggae stage ‘Lion’s Den’, alongside the Kiwi seven ­piece Fat Freddy’s drop and classic skank merchants Madness. In the centre Boomtown’s self proclaimed musical “melting pot” ‘Town Center’ looks to be living up to its reputation this year, setting up to host electronic dignitaries Leftfield and Parov Stelar alongside the ‘Fun Lovin’ Criminals’’ eclectic mix of hip-­hop, funk. Over in ‘DSTRKT 5’ ‘Bang Hai Palace’ is back and immense as ever, looking ready to blast its drum and bass propaganda to the masses with Roni Size and DJ Krust reuniting to mark 20 years of Full Cycle Records, as well as a b2b from DJ Hype and DJ Hazard. Boomtown wouldn’t Boomtown without it’s vast menagerie of hidden spaces and secret stages, and this year looks to be no different. Names like the unpredictable Glaswegian house, disco (and.. well, everything else) connoisseur Jackmaster, renowned for being “one of the most talented and versatile DJs there is” lining up alongside Radio 6 funk and soul stalwart Craig Charles to grace some of the more enigmatic stages sprinkled around Boomtown, the spirit of exploration is clearly still alive.

But anyway, here it is, the first major line­up announcement for Boomtown Chapter 8.

Animaux presents: Chris I’Anson

Jan
07

Vous êtes tous des Animaux.

We are taking over The Falcon Tap‘s bunker for this and bringing our good friend Chris I’Anson back – who can forget his blinding set at our second birthday?! For those uninitiated, Chris is the man behind Slipstone Records as well as wildly successful night in Leeds – On Rotation. This man knows his stuff so do come and experience some quality music with us.

The Falcon Tap is a proper pub so expect a variety of beers, ales, ciders as well as a new cocktail menu. We will, as always, be showcasing visuals and are bringing a massive rig to the tiny bunker.

We are also running a like & share competition to win a pair of tickets which you can find here. 

Here’s a podcast that Chris did a while back for us:

Animaux Podcast 04 – Chris I’Anson by Animaux on Mixcloud

You can find the event over at Animaux presents: Chris I’Anson. Tickets are £4 via Resident Advisor, Earworm Records, The Nook, Bison Coffee Shop, The Falcon Tap or directly from our reps (numbers are on the event page).

See you on the dancefloor! 🙂

The Warehouse Project, unique every time.

Nov
17

For the past few years, since my interest directed itself towards the clubbing scene, there has been one event everyone around me has been talking about. The annual line-up announcements are preceded by weeks of chatter; booking speculations and defiant statements of intent, swearing attendance to this apparently momentous occasion. I never quite understood the hype, the cynic that I am, associating excitement with inevitable let-down; and so with mixed emotions I made my way to Manchester, home of the Warehouse Project, to see what the fuss was about.

One of the most historic Warehouse Projects yet, showcasing the final stand of the 50Weapons label, with Rødhåd, Siriusmodeselektor, Truncate, Dark Sky, Clark, Addison Groove, and the rest testing British build quality. The label’s end has been lamented as the biggest tragedy of dance music this year, as saying goodbye to ten years of service and an all-star roster can be, but there were no tears shed at this event.

The venue is hidden away near Manchester Piccadilly station, the entrance a gap in a wall under a bridge. I say hidden, but it was hard to miss with the amount of security set up outside – from pat-downs to dogs – methodically ushering the crowds into the dark innards of the bridge. There was a feeling that I wasn’t supposed to be seeing this location, hidden in plain sight, that hundreds of people unknowingly walk past every day. Upon entering the structure I was immediately lost in cavernous red-brick (as if you can tell in the dark) rooms full of bustling ravers, all facing two stages at opposite ends of the venue. The light shows were impressive and unique to every artist, each performance is clearly separated from the last, making it seem like a kind of honour for the artist to be present. Surprisingly, I found gourmet food being served in the smoking area and a variety of affordable cocktails at the bar. This is an event that is prepared for anything its patrons might desire, leaving it hard to not have a good time. After a short wander around the space the fuss friends, strangers and acquaintances had been making was explained.

Even more impressive was the religious following of this event, as it seemed people had travelled from around the world for this night. These were not just students or young professionals living in Manchester, they were people who had travelled from France, Switzerland, Spain, even Germany (a Berghain regular proclaimed his love of the event to me) just for the weekend, or even the night. If this is the crowd that attends every Warehouse Project, then it is a crowd that has invested hundreds of pounds to live it up on this one night, undoubtedly contributing to the unique atmosphere.

Of course, the system and the music did not disappoint. I was particularly surprised by Clark’s live set, beginning with the somber melodies that define him before ramping up into, what must have been over, a 140 bpm marathon set. From this Truncate made his appearance on the main stage, delving into what a bystander announced to be “sounds of scratching metal”, in a set showcasing the best of 50weapons techno. From the gloom of Truncate, Modeselektor built up to a live-set with Siriusmo. The performance was unbelievably varied, moving from left-field house to dub before the crux of German Clap and Evil Twin. The level of interaction with the crowd was incredible, Gernot Bronsert grabbed the microphone and began cheering “modeselektor” before breaking out the deep vocals of Evil Twin, joining the crowd’s cheers. Last but not least, I enjoyed Rødhåd’s militant thumping, that I’m sure we are all acquainted with by now, adequately placed in the closing slot. I remember the bitter-sweet, minor-key synths escorting me to my 4.50 am train.

Needless to say, I will be attending the Warehouse Project again. If you haven’t been you should go, there aren’t really any excuses especially if you live in England and enjoy dance music. This is the closest you can get to a festival in the winter months, without the inconvenience (to some) of having to camp out. Those Europeans were having the best time, and you could be too.

More info on the rest of WHP shows: https://www.thewarehouseproject.com/

Review: Grimes’ newest venture “Art Angels”

Nov
11

Since about late 2012 until last Friday I have been ready to slate this album. After she quite rightly gained international stardom with Visions (2012) Grimes kept hinting at a move to pop music, so we knew her fourth full album would be a pop one. I took this perhaps a bit too personally – Grimes has acted as an inspiration for thousands of people, in particular young women (like myself), to become involved in electronic music so her move felt like a betrayal. Pop doesn’t need you, I do. But after 3 years of saving up lots of ideas of mean things to say out of spite Art Angels is not actually deserving of it.

Claire Boucher

No, it isn’t revolutionary or brimming with brilliance, but it isn’t a bad album. Claire Boucher remains a talented musician and has creating some catchy enjoyable songs that I’m not embarrassed to say I listen to. At first I was convinced that Art Angels is carried by the obvious singles of the album. One frequently noted qualm is that a lot of the songs fall flat and are soon forgotten, so I wasn’t the only one with this fear. However, after giving myself the weekend I have come to accept that it is a grower. No one would claim it is an album full of hits, but the more you listen the more you find the songs have something that pulls you back.

So what can you actually expect? The first thing you notice in the orchestral opening track laughing and not being normal is she hasn’t forgotten her ambient tones that helped build her and we do see her unique personality continually in Art Angels – it isn’t the cold, straightforward pop album so many feared. Hell, most people probably wouldn’t even call it a pop album. Too much weirdness for that. The second thing you notice is that it has a build in “fuck you” to everyone like me who spoke ill of Grimes for changing. The second track, California, is the first where you can actually make out her lyrics and opens with:

“This, this music makes me cry
It sounds just like my soul, oh
Oh I’m not ready to win
Oh lord cause I don’t wanna know what they say
Cause I get carried away
Commodifying all the pain

Well now I just feel bad. Sorry…

The third thing you notice is just how much variety there really is in this album. There’s some Americana sounds, K-pop, guitars, violin, ukulele. Much more than the synth-heavy songs of previous work. This increased diversity and globalisation works. It increases her appeal which, let’s face it, is just good marketing and it prevents stagnation. Grimes fans would be complaining more if she had stuck with the old ways. Turns out I quite enjoy listening to Grimes songs where I can’t do a direct comparison to Oblivion (considered song of the decade), which was probably the aim.

Finally, the fourth thing you notice is that a lot of heart and thought has gone into these songs. Layered, rich and well produced they are clearly objects of affection. Kill V. Maim, Pin, Realiti and Venus Fly (feat. Janelle Monáe) are probably the highlights.

Concluding remarks? I have to admit, I was wrong to judge so quickly and so harshly, I don’t hate Art Angels. It isn’t going to change the face of music, or even become one of my favourite albums, but it does what pop should do – have you humming along whilst you focus on something else.

Jamie XX’s ‘In Colour’ tour – Hackney and back again [Luxembourg]

Oct
23

Warming a chilly autumnal evening, Jamie xx visits Den Atelier in Luxembourg. His “In Colour” tour is elegantly designed to offer the world a taste of the UK’s clubbing scene and its heritage, as well as to challenge first impressions by exploring the vast and varied sound of his debut album. Jamie xx offered a surprisingly heavy set to a very demanding audience, occasionally dipping into the mellow sounds of “In Colour” that have so pleasantly painted our summers.

Jamie XX

Just as days shorten rapidly and the October skies turn grey, suddenly invaded by uninvited clouds, Jon Rust opened lulling the crowd into a colourful flashback, bathing the room in countless shades of blue, red, and green. He welcomed the swelling crowd with sounds reminiscent of summer and spring. His opening set leaped from mellow ambient tunes to house bangers, before eventually introducing the audience to the characteristically rich basslines that thump in London clubs every weekend.

Acclaimed by the impatient pack of 800, Jamie xx cheekily announces his arrival on stage with his own “Stranger In a Room” and quickly follows with Radiohead’s ethereal “Everything In It’s Right Place” to produce a misty, tense atmosphere. The haze quickly dissipates, however, as the unsuspecting mob was thrust deep into what was to become the body of Jamie’s performance: an all-round guided tour of the unique sounds of British clubs. A tour regularly punctuated by an encompassing selection of Jamie’s own repertoire, exploring the malleability of the tunes that we have become so accustomed to hear since “In Colour”’s release in late May.

Throughout the night, Jamie xx provided a hand-picked selection of the sounds that define British nightlife steering the set through years of morphing musical realities, meshing UK garage with house, grime, and bass-heavy techno. All along the way, the set highlighted similarities between Jamie’s production and the varied genres that were touched. With imposing delicacy, the crowd was teased into appreciating the versatility, depth and complexities of Jamie’s top-charters. Complexities which can often go unnoticed given the ease with which the album flows from open to close, and the seemingly simple sounds that permeate every track, from “Gosh” to “Girl”.

As the bass subsided a little, leaving scope for more melodic genres, the room was again submerged in a colourful haze and tracks thought to be known inside out revealed new dimensions. Introduced by tribal percussions and jungle beats, and followed by the hottest grime tune of the night, the single “All Under One Roof Raving” morphed into a distinct yet identical version of itself, acquiring a new location in the spectrum of electronic music. “I Know-How There’s Gonna Be (Good Times)” was announced by The Persuasions’s 1972 tune that it samples, highlighting strong R&B vibes otherwise muted by more prominent features of the track. After flirting briefly with trap, dub finally fades over the tail of Popcaan and Young Thug’s lines: the beginning of the end.

Jamie xx leaves the stage after engulfing the room with Girl’s warm flow. Like his album, this fantastic musical journey could only have ended with an ode to the cradle of Jamie’s unique and irresistible sound.

Gottwood Festival 2016 here we come!

Sep
29

Riding the end of the festival season like a wave that’s quickly dissipating, we haven’t got much ahead of us but months of free-floating through work and winter.  We will eventually get to the distant shores of the summer to come, in the meantime we drift through the months dealing with the flotsam of daily tasks.  Don’t despair, we’ve caught site of something on that promising shore: Gottwood Festival have announced the release of limited super early bird tickets.

What was definitely the Animaux crew’s best festival of 2015 have plotted a course for their return on the 9th of June 2016.  Although no line-up has been hinted at as of yet the Gottwood crew has instead detailed the expansion of their close-knit family of promoters. These include the Bristol based label Banoffee Pies and London’s highly regarded party organisers: Secretsundaze.

Find a full list of promoters below.

For those who didn’t attend this year, you missed out on some of the best names in electronic music: Panorama bar regulars Hunee and Margaret Dygas, the must see Ben UFO, everyone’s favourite Motor City Drum Ensemble and the list goes on and on (no really).  All of this showcased on a beautiful estate with dozens of intimate chill-spaces and clusters of art dotted around, a place where you can’t help but make new friends and have a great time.

With more people getting involved this year we, here at Animaux, can only assume the next instalment will showcase even bigger acts while, of course, maintaining the Gottwood promise of keeping it small and personal.

While I was writing this article the early birds sold out.  That’s how good this festival is, and yes it’s absolutely worth paying the full price.

We also wrote an article on Why you should go to Gottwood Festival which I think captures the spirit of the woods well.

We’ll see you there!

Website: http://www.gottwood.co.uk/

Tickets: http://www.gottwood.co.uk/tickets/