Animaux | UK

Review: Farr Festival 2016

Jul
26

Farr festival, now in its eighth year, has grown considerably since its beginnings as a small party for friends. With a very affordable ticket price and many big names on the bill, a visit to Bygrave Woods this year was a must. I headed down with 5000 other dance music fans to check it out.

Thursday evening was a fairly quiet affair, with only three smaller stages open and music finishing at eleven. Nebraska played an enjoyable live set followed by Detroit Swindle who treated us to ‘Edit Channel XXX’ by JV, the early finish was a little disappointing but understandable for a Thursday.

Image Credit: Michael Njunge for Here & Now

Friday gave us a chance to check out the site in its entirety. Upon entering the arena you find food stalls and attractions (no sign of the dodgems that were advertised on social media) in a field just outside the woods. The woods are where Farr really comes to life. Five stages are dotted around the woodland and real attention has been put into the ramshackle decorations, it really is a wonderful setting for a festival.

Having got our bearings we headed over to the Hidden Palace for a varied set of chilled house such as Pepe Bradock’s ‘Deep Burnt’ along with some funkier stuff from Funkineven. Towards the end of his set he took to the the mic saying, “This is one of the best festivals I’ve played this year so far.” The crowd seemed to agree.

Image Credit: Michael Njunge for Here & Now

Having left to go to the bar I was told the stage was at capacity, this seemed odd to me as I had just been in there and there was plenty of room. After standing around for ten minutes, I found that the place was practically empty. I’m all for safety but this seemed to be overkill and was slightly ruining the atmosphere at the Hidden Palace.

The festival really got going with the brilliant decision for Joy Orbison, Ben UFO and Midland to play a 6-hour back-to-back set at the terrace. It was a great combination of styles and although I had intended to spend more time at other stages I just kept getting drawn back to them. I did drag myself away to see Move D, however, about an hour in, a power cut brought his set to an abrupt halt.

Upon returning to the terrace for the last few hours of the three-way b2b we did notice a serious lowering of volume levels. Fortunately tracks such as Four Tet’s Kool FM edit of ‘God Made Me Phunky’, Boddikas ‘Mercy VIP’ and Bizzare inc.’s 1992 hit ‘I’m Gonna Get You’ kept energy levels high. Hunee closed out the evening at The Shack, playing one of the wide-ranging sets he has become well known for, dropping Kiki Gyan ‘Disco Dancer’ a personal favourite of mine. With a great light show bouncing off the tree canopy above The Shack has a lovely feel to it and Hunee’s selection made for a quality conclusion to day one.

Image Credit: Michael Njunge for Here & Now

On Saturday having enjoyed sets from Maurice Fulton and Young Marco I would have loved to catch Gilles Peterson but due to the hidden palace being at capacity I was unable to. At ten we headed to The Shack for an excellent performance from Palms Trax dropping ‘Music Sounds Better With You’, which went down a storm. He then mixed that into ‘Women Beat Their Men’ by Submission it was a great transition and a standout moment of the weekend.

I was completely blown away by Helena Hauff who played two hours of relentless hard-hitting acid techno that went to show why she has become such a sought after booking these days. Again as the night wore on volume levels at all the stages were a real problem, I had to get really close to the speakers in order to avoid music bleeding in from other stages. As some of the stages are quite close together it may make more sense to reduce the number of stages and keep them further apart to avoid this.

For the final hours, I moved between Optimo and Mike Dunn and finally settling on John Talabot for the closing moments. Towards the end of his set he dropped Midland’s ‘Final Credits’ this was the fourth time I had heard that track over the course of the weekend. Finally bringing the festival to a close with ‘Everybody Dance’ was a nice touch and went down well with those of us still dancing.

Image Credit: Michael Njunge for Here & Now

Farr festival is great value with an intimate feel, however, more food stalls in the campsite would help sooth morning hunger and volume levels can be a little frustrating. These problems aside, the small number of attendees, delightful setting and well-curated line-up mean Farr is certainly one to keep on your radar.

Preview: Farr Festival 2016

May
26

On the 14th July, Farr Festival makes a greatly anticipated return to Bygrave Woods in Hertfordshire. The festival has always prided itself on being located just 40 minutes from London, and its handy location has proved popular with the fans it has amassed over its 7 years in the running. Although by no means a landmark UK festival, Farr has popped up on the radar of electronic music fans from across the country and really made a name for itself. The line-up for 2016 is stellar and makes Farr an unmissable festival this summer.

The likes of John Talabot, Palms Trax and Jungle all appear in the woods this July. Palms Trax’s recent appearance in York was one of the best bookings of the year for this historic city and so seeing the German producer play again at Farr would be an experience not to be wasted. Hunee also appears at Farr after his brief but memorable stint in Fibbers this year. Festival organisers have cannily booked pop outfit Jungle to give a light touch to the otherwise more underground scene of Farr’s line up.

(more…)

Love International Reveal Full Lineup

Jan
19

In 2016 Love International continues the legacy left by The Garden Festival in Croatia, the region’s founding event and the one which inspired the now burgeoning scene of electronic music along the country’s stunning coast.

Making its debut on June 29th, Love International’s ethos might already feel a little familiar, curated by Dave Harvey and Tom Paine who have many years of experience working with The Garden Festival’s crew and shaping its artist bookings. Now they are realising their full vision, bringing back some old friends who have graced Tisno over the years and also introducing many of the world’s most revered DJs and producers for the first time to Tisno.

Five of the just revealed names are all amazing artists in their own right, each bringing something different to Love International. Eats Everything is quite simply one of the world’s biggest DJs and for the last three years he has blown Tisno away; for pure electric party vibes it doesn’t get any better. Bicep had a huge 2015 and the duo are all set to make this year even bigger, sculpting sublime sets across disco, house and techno, whilst Jackmaster played arguably one of the defining sets of last year with Armand Van Helden, their Boiler Room show skipping between French touch to garage and everything good in between. Roman Flugel is a Teutonic legend from the early 1990s crossing ambient, house, techno, electro and leftfield, and prime Swedish export Axel Boman is a bit of a young legend already; his Studio Barnhus label is a source of great material, and he has released and remixed on Permanent Vacation, Moodmusic and Hypercolour. The guys are joined by the already announced Dixon, Motor City Drum Ensemble, Ben UFO, Gerd Janson, Craig Richards, Joy Orbison, Midland, Horse Meat Disco, Prosumer, Hunee and Job Jobse.

Check this handy poster for all of the names:

Tickets and more info at http://loveinternationalfestival.com/

Why you should go to Gottwood Festival

Jun
19

“I definitely got a feeling of an underground vibe at Gottwood. Not only because of the limited tickets; as far as I know it grew naturally year after year. You get a different kind of spirit that way. It draws sensitive people who want to enjoy and experience something that is unusual, in an unusual space”Margaret Dygas.

Late Thursday evening, after rolling over yet another hill in Wales, we finally reached the Gottwood site. We were greeted by what looked like a 90’s rave scene – a seemingly random field, crowded with an assortment of cars, in the middle of nowhere.

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After a quick tent pitch-up we headed down the hill towards the main site. We entered through an imposing gate with the Gottwood logo proudly blazing on top. The thing that immediately struck me was the amount of art that was around – from the little shops selling everything from the usual festival attire, jewellery or henna and massages; to pieces of art, some of which was still being worked on (and continued being worked on throughout the weekend!) It was hard to wrap my head around the care and attention that had gone into preparing this festival site – did I mention an outdoor cinema shaped as a gigantic TV?

While we were ogling the weird sculptures and enjoying the swings, I couldn’t help but notice the bass thumping away in the distance… the Forest stage. A huge arena surrounded by massive hay bales, a few of them tossed in the middle for people to dance on. We were lucky enough to visit this stage just as Artwork started his set – probably the best way to be greeted at any festival. As we danced the night away under the trees, to a fantastic mix of newer and also older house rhythms, the stage gave one last surprise to close the first night off – a large array of CO2 cannons that went off in time to the beat of the music, to cool off the crowd, and to show everyone that the party was just beginning.

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The next day, after a quick recovery coffee (yep, in the middle of a field in Wales, there was actually more than one place to get coffee), we headed towards what was most definitely our icon of Gottwood – the stage by the lake. We were greeted by the Lawn stage – THE place to be during the day due to the absolutely perfect daytime grooves provided by a variety of DJs, selectors and bands (The Mouse Outfit were particularly memorable here). The music gracefully swayed from the usual offenders such as house and disco to hip-hop (live!) and towards the more abstract ambient (Ruf Dug is my new fave), always accompanied with a varied group of enthusiastic dancers in majestic attire, keeping with this years ‘gazzy’ theme.

The Caravan stage was stationed directly opposite the Lawn, which played host to great artists such as Midland, Leon Vynehall and Soul Clap (among others). This seemed to be the place for me at least for the first night, sadly the weekend did not pan out this way. At the very start of Leon Vynehall’s set, a speaker blew and despite the best efforts of the sound engineers, it never really sounded great there. Which was a shame but by no means detrimental to the festival as a whole, this then lead us to explore the rest of the place a bit more and oh, did it deliver.

A brisk walk from the Caravan stage and over a little bridge we went, to be welcomed by a small queue next to a weirdly shaped tent. We did not have a map of the site at this point and as our interest was piqued, we headed in to what we would later discover to be the LZRDM. I have been surprised by many things when entering weirdly shaped tents (some good, some… interesting…) and I can assure you that I was not expecting this. It was a completely pitch-black room, with only a handful of razor-edged lasers cutting the sweaty air. A few strobe lights would flash to show a full room of dancers in complete euphoric awe, same as we were – a truly remarkable experience.

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After a little shimmy to the LZRDM resident’s set, we finally managed to find an exit (not that easy as when it’s pitch black), we headed towards the Trawler stage. Settled on a little hill on the shore directly across the lake from the Lawn, this was a night-time stage which housed (heh…) some of the very best at Gottwood; Margaret Dygas, Zip, WOLF Music and Move D, all graced the stage here with incredible performances left, right and centre with an amazing backdrop just behind (pictured below).

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After getting a little peckish, we headed to the main food area, overlooked by the Mother Owl stage. The food at Gottwood in itself deserves a mention – everything we had the pleasure of trying was fantastic; the quality, quantity and the price was always on point. The variety was huge too – from the usual pizzas and burgers (My Mate’s Barbecue requires a special shout!) to toasties, mac n cheese and a vast selection of different asian cuisines. Aforementioned Mother Owl always sported a smaller, yet seemingly always smiling crowd, which was grooved by the likes of Romare and my favourite there, Luv*Jam. Next year, I hope he gets a later slot time as he absolutely killed it. While having an enormous grin on his face. Oh and I just might start training in hula-hooping!

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The Barn – the bass bunker that hosted the likes of Om Unit, dBridge and 2 Bad Mice, also requires a special mention! I couldn’t shake a feeling of being at Beaver Works (Leeds) while in there with the smell of beer and sweat mixing together while everyone was jumping around to a mix of bass and grime throughout the weekend.

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And last (but definitely not least) – the Walled Garden. This was my favorite stage and it was a short walk from the main food area. After squeezing through the tiny passageway through a wall (thus the name), we entered a large stretch with its own bar and a massive tent which housed the artists and the crowd. Gottwood would not be Gottwood if it wasn’t for the little touches – a few small clouds were dotted around just underneath the tent.

Night after night, I was drawn back to the stage to see tINI, Zenker Brothers (!!) and the highlight of the festival for me Ben UFO b2b Craig Richards – a marathon 6 hour madness. FaltyDL was also scheduled to play. Alas, he did not make an appearance, however Zenker Brothers took over and truly delivered.

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A few other special mentions regarding the artists – a discovery for me, yet someone who I will try to see as much as I can from now on – Hunnee did a phenomenal job mixing absolutely ALL genres AND making it work. Weaving disco straight into 90’s rave and back to slower house grooves, while maintaining his explosive dance moves, was truly a spectacle. A shout to Motor City Drum Ensemble too, who closed the festival and was critical of himself as always. “I’m sorry; I’m feeling a bit shaky” – said in a strong German accent, even though he absolutely smashed it.

Honestly, I was not expecting Gottwood to be such a marvellous experience. I have heard time and time again about it, but only now do I understand. You can see the love, sweat and tears that has gone into building it through the years and how it has grown – the little touches speak for themselves. With no plans to expand as they are happy with the Gottwood family they have created (every festival band is proudly engraved with “You are part of the Gottwood family”), I am thrilled to be a part of it and I urge everyone to join. A truly magical place, in a magical forest filled with magical people. Something that I overheard and wholeheartedly agree with – “Gottwood is a place best friends go to, to make more best friends”. See you there next year, friends.

Don’t forget to check out our gallery for more pictures!