Martin Kemp? Spandau Ballet geezer? Eh?!
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Gammon Rave, first nosebag finished by 4pm, second nosebag arrives at 4.30pm, ogle at the woman from N Trance, have a shuffle to Judge Fudge playing mashups of Zombie Nation and Degrees In Motion, stick around for bit of Oakie and his Big Brother Anthems, hands in the air to Marshall playing Move Your Body, bed by 10pm.
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New Romantic set
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Mans not hot, never hot!
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Aw man this really is grim 
what happened to Marshall Jefferson! enjoying the company of absolute gammons. 
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hmm, i dunnoā¦ I donāt think its reception in the UK had an overt philosophy, unlike, say, the free jazz movement of the 60s which couldnāt be so easily disentangled from the civil rights and Black Power struggle.
I mean in a way that was what was so liberating about it compared to punk etc, that it was never really didactic.
Thatās probably why some of the shoom mob could never plunge into breakbeat hardcore/(techno) and go into the real anti-baroque, utilitarian, alien future! Weatherallās indie/punk background probably helped with that, and detroit techno always had more of a colder and austere feeling to it. I mean Trumpling was no Colin Faver or Randall was he? Entirely unsurprising that he started to sniff the rat encrusted camembert oozing out of some French hippieās rectum in Goa ā gargantuan 564th cascading arpeggiated pink floyd crescendo 'ere we go! Just say no to drug abuse, kidsā¦
I have Chicago, hardcore, acid and techno recordings that are just so messed up, in terms of samples going out of time, appalling mastering, things being massively out of tune etc. Itās fucking brilliant. Like a machine spitting out code. never mind the sacred and dive into the profane.
But yeh, Which is why I have never got the whole faith/back to 95/back in our day vibes of TF etc. House music is dj tools terence! Venerating this culture like it needs to be institutionalised and preserved as some showpeace is exactly against the spirit of house to me! I play a lot of old records, but I certainly donāt get invested in who/what/why made them. Itās also why Iām not so worried about AI on this account (I am, of course, worried for many other, non-musical reasonsā¦)
Anyway so this doesnāt degenerate into old geezer yelling, here is some detroit āardkoreā from 1988
Sampled by Holy Noise on hithouse of course, direct continuity.
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That is a truly terrible name for an event
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Not a Faith goer but I always thought them v different to Back to 95 / 88 etc in terms of they always had new DJs / classic DJs playing new stuff but with other focus on quality older stuff
(rather than Sabrina Johnson accapella over Show Me Love dub)
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Faith is definitely not a revival night!
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I never saw Faith as a revival night either. Always seemed like everyone who played was encouraged to play whatever they wanted to and not the hits of yesteryear.
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Seems mad to think its been lumped in with revival nights. Quick glance at the line ups at the very least would confirm it.
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Absolutelyā¦booked tickets for their next party immediately on the strength of seeing Musclecars most of all and going with my 28 year old daughter and her boyfriend as we have done before, but no matter whoās on the line-up, Iāve always found faith forward rather than backward lookingā¦
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As far as Rampling goes, was he a good DJ (technically/selection wise) in that 80s/90s era?
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IME selections better than technique w/o a doubt. Chopping new track in for old mostly - wasnāt just him tho.
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I kind of allow it with the 88-89 stuff as that could be tough to mix and people were still finding their way and all that. Guess he was more of a crowd pleaser that built up a big following?
I do have beef with those who were fortunate enough to make a name for themselves in the early days still living off that 10, 20, 30 years later and not having mastered the craft!
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I remember reading an interview with Oakenfold where he was asked if he practiced mixes at home. His reaction was one of total incredulity, along the lines of āwhat? actually play the music I make money from at home??ā
That stuck with me as I couldnāt imagine the alternative.
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yeh fair, i was tbf trying to respond to two-three posts at once and that made sense in my head but obviously came out wrong in writing.
I would still maintain that itās quite a sophisticated night though (not necessarily a bad thing as it means continuity and the maintenance of a vibe.) Love the music DIY play for that reason, no nonsense heads down deep house.
If someone played a hard techno song into some pitched up rnb into some halftime dnb into something off Sublime frequencies or Analog Africa I doubt the crowd at Faith would be very receptive. I went through adolescence listening to weird saturated techno, fuzzy pirate radio full of static, and dancehall djs with air horns etc, so a lot of seemless house music djing as technique is more for listening on the train, as warm up when entering the club, or at home. At the peak of a night I want to be zipped around the room like a bouncing ball. Iāve always been fairly avant-lumpen in that respect though.
or maybe itās the ADHD and LSD, who knowsā¦
Heās Clangrider for the superclub massif tbh.
Clang played really top tunes that not many others did at one point though, (I still spin his 91 eclipse tapes regularly ā trainwrecks notwithstanding) whereas Trumpling less so.
A well timed clang or 10 can be sublime in the club though. Case and point Jeff Mills when heās trying to play 50 records in 40 mins.
I never understood the cult of smooth DJing. Even Randall and Hype at their peak were tight as fuck but also ruff. Slipmatt also did some killer sets 91-93 but lost the plot in more ways than one - another one to be interned in the paradise Farage come the revolution.
But yeah, he was not ever a Paul Trouble Anderson or Eddie Richards.
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What the hell are you on about? What if Larry Levan played Rockabilly at the Paradise Garage? What if Grooverider played Oi at Rage? What if Shitmat played Dungeon Synth at ALFOS?
Oh right, as you wereā¦
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