Daniel Avery occupies an odd space amongst underground dance producers in the simple fact that he values largesse, channeling the anthem wielding; big room sounds perfected those such as the Chemical Brothers in the mid 1990’s. Avery’s ambition however, should not be mistaken with that of big tent festival super-producers. Avery cut his teeth as a resident at London clubbing institution Fabric and has since become a regular at techno powerhouse Berghain/Panorama Bar.
His sets borrow from the electronic sounds of the UK’s past, big beats, burbling acid house and riff-driven compositions.
Daniel Avery has had a massive few years. His debut LP ‘Drone Logic’ was released late in 2013 on Erol Alkans ‘Phantasy’ label to reviews that were unanimous in praise. A relatively young face on the scene, Avery has since received nods of approval from UK legend Andrew Weatherill and gear geek KiNK amongst many seasoned others.
Avery’s Australian tour was highly anticipated and not only by kids that frequent the techno scene of down under. Avery’s more accessible take on techno has gained himself a well-respected place in the conscious of a much wider audience.
The Sydney leg of Avery’s tour was held at Manning Bar with a secret after-hours show at The Imperial just down the road in Erskineville.
Motorik, a bunch of promoter slash warehouse enthusiast from Sydney that also run a techno record label under the same moniker, were on hosting duties. These guys are no novices to throwing a party, with techno legends such as Tiga, Brodinski, Gesaffelstein, Thomas Von Party, Jon Convex, Maelstrom, Louisahhh!!! and Harvard Base on their bill whenever they visit Australian shores.
Support came from local acts Cosmonaut61, Linda Marigliano & Vivi plus The Finger Prince, a techno duo known separately as Gus the Hoodrat and Francis Xavier.
The Manning Bar was packed well before Avery graced the stage a definite nod not only to the excitement felt by the punters, but the respect they held for the techno-wizards on support duties.
I weaved through the tumultuous, heaving, sweaty crowd just in time to see The Finger Prince handing over to Avery, a guy dressed entirely in black with a mop of blonde hair covering his eyes.
The Manning Bar, a venue well equipped for big name acts, had installed a light projection that cast real time, shadowy images of Avery’s every move onto a 10-meter high screen behind him. The kaleidoscope of colours that illuminated the blanket of mist created an apt mood for Avery’s futuristic sound.
Avery knows the secret to keeping people dancing; he keeps them guessing. The beat may have remained steady but those incessant beats were spun together with elemental, melodic sounds and playful hooks. The crowd moved in unison, each with a similar grin on their faces.
Highlight tracks from the night include the Karenn remix of Jon Hopkin’s “Collider”, an onslaught of rushing bassline and gigantic kicks, as well as the closing track, Avery’s own “Naïve Responses”.
The Manning Bar begun to wind down once Avery left the stage, with Cosmonaut61 returning to close the night with a more ambient, melodic set. The crowd began walking the short distance, through the drizzling rain to the after-hours party down the road.
The Imperial Hotel in Erskineville was already packed with new set of faces that hadn’t attended the set at The Manning Bar. Avery had beaten the majority of straggling walkers to the venue and was already plugged in, behind the decks playing a set that felt appropriate to Berlin’s Panaroma Bar. This was locked in, early morning, weird and dark progressive techno.
Leaving the venue well after the sun had come up, my feet aching, my ears ringing I couldn’t help feeling a rush of pure joy. It was as if I had taken a trip and flown across the world, starting the night in London’s Fabric and ending it in Berlin’s Panorama Bar. It was a special feeling and a special memory, one that could be only created by a master like Daniel Avery.