Electric gardens festival 2018
The other installment of Sydney’s electro bash celebration descended once again in the lavish surrounds of Sydney’s C Parklands, a great idyllic area and arguably one of the best inner-city festival sites in Nsw, featuring formal gardens, ponds, grand strategies, statues, traditions buildings, showing off fields and a diverse flora and fauna that make it an ideal backdrop for the three periods and the various artists that Electric Landscapes hosted in 2018: Neighborhood group DIGITAL THERAPY offered a level situated in an inside tent featuring some of more prominent labels on the progressive scene with the last 30 years: Sasha with his peerless control of dance floor sensibilities wonderful skilful hunt for beatless soundscapes, Hernan Cattaneo, who performed at Electric Gardens intended for the second period, took us on a intricate voyage through genres, feelings and noises, Eelke Kleijn heavy about anthemic floors fillers and Tel Aviv based Man Mantzur, co-owner of the Munich-based label Plattenbank, weaved his hypnotic songs to a carpet that asked to space out on.
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The CODE techno arena returned with Hot Creations as well as it is sub-labels Emerald City and Hottrax boss Jamie Williams at the sturzhelm, channeling his iconic audio that paved the way for a more comfortable, more melodic, deeper area of techno to come up. ME sent his unsecured personal blend of Techno and soulful House and Brazilian given birth to and Barcelona based OULD – had the dance floor going with her seductive but heavy-hitting make of techno and tech-house. The MIXMAG key stage kept the crucial house top quality Mark Knight bouncing via genre to genre, invoking feels which range from tropical by way of frenetic including times merely letting it tear by puling on the audience’s guilty delights, knocking out a thumping set of property, tech and progressive.
British electronic digital dance duet Basement Jaxx brought the best beats towards the House (see what I would there? ) and centered on what they do finest: Fueling and providing the soundtrack to partay. It might have been an excellent addition to the festival to find out them in their element with a full broken, colourful frequent production of theirs just like a traditional DISC JOCKEY set it is hard to compete with the wacky costumes, unique dancers and overall fun carnival which makes their performances fun.
Swedish subject act Eric Prydz went back to Aussie shores the first time in three years. Being equally one of the planet’s most in demand underground spinners and makers of residence tracks with the last decade, he had taken on the spot that in 2016 was reserved for Fatboy Slender. Prydz functions three brands, each which serving as a launch cushion for his own various productions, which he launches under ficticious names, e. g. Cirez M under which usually he stations his more traditional techno emissions, the more melodic Pryda imprint focusing even more on the fusion of hooks and largemouth bass lines plus the hard edged Mouseville Information. His functionality which was knowledgeable by all three streams of his creative sources again underlined the breadth of his ouvrage that goes considerably beyond of what he is known for to the mainstream along with his commercially many successful party anthem “Call on me”. His performance was presented and emphasized by a light show that could have made Albert Speer happy as the lasers created a dome of light.
With a refined approach, Electric power Gardens has been doing it once again: A great, various festival within a fantastic site based on mindful effort to provide a great encounter to a different crowd.