Pulling back the sheets on Brisbane’s Talent

Glitch-Dubstep-Grime-Glitch-Nu-skool-Jungle-Glitch-DnB-2step-Big Beat-Hip-Hop-Russian Dancehall-Greek NRG: with such genres on offer, how could one’s curiosity not get the better of them? Add the promise of local DJs and Hi-Grade’s encouragement, The Moonbar at the Empire certainly seemed the place to be for a Friday night.

I arrived to the resounding beats of DJ Seamless whom I immediately recognised as the artist formerly known as DJ Ragit. This discovery was astonishing, for I had been trying to follow up my admiration of such a talented DJ from my first glimpse of him back in July. This encounter was thus a pleasant one, and his music was indeed another spout of delight to my ears. Seamless, in spite of the name change, had not changed very much in terms of his musicality. His enthusiasm remained quite prominent throughout his set. In fact, there was such an infectious happiness to his music, it was directly infused into the atmosphere. People were on the dance floor responding to his fists stabbing the air as he released noxious syncopated rhythms.

Seamless immediately established his preference for double time (2 minim beats per bar) rather than the staid and usual common time signature of 4/4 (4 crotchet beats per bar). While the difference between the two time signatures appears relatively minute, it is actually where the accents fall that marks the dissimilarities and thus outlines the oceanic gulf that lies between them. 4 crotchet beats to a bar appear the standard beats in Dance Music. It allows for stable placement at each beat and is easily discernable. Double Time, however, is a far more subtle application (and too often, easily confused with 4/4). A time signature thoroughly espoused by Jazz enthusiasts and orchestral musicians, the accents of Cut Time fall on beats 1 and 2 (or if one were to apply to 4/4 for easier comprehension – at beats 1 and 3), thus allowing for a much greater freedom of musical movement. Whether this is a conscious treatment made by Seamless or not, either way, for one as musically inclined as myself, I remain impressed all the same. Seamless is cut from the same cloth as the natural musician and the remainder of his set did not need to convince me of this. Seamless enjoyed exploiting the depths of the basslines, their fullness wholly exposed and trimmed. He enhanced the depths of the bass by incorporating synthetic octaves from the keys, the enharmonics superbly outlining the intensity in textures. His preference for the toms also added to the thickness in consistency, whilst he ensured the surrounding colours further served to add another dimension in the music. It was like releasing a rainbow, so beautiful were the tints of his sounds. In fact, the buildup in his music was so intense that at one point, I could visualize the act of him tearing your heart out and then gently stand aside watching as it pulsated amongst his acquisitive fingers. It was indeed a true Indiana Jones moment; well designed to capture our attention and our bodies. Each corner of the room reverberated to the pleasantly aesthetic sounds of his beats. A true talent, Seamless is one DeeJay I encourage you to keep your eyes on and your ears out.

Funkedub quickly assumed the throne. There was no gentle slide as he assumed his rightful position at the decks. His presence was immediate and abrupt, grabbing you by the roots of your hair and pulling. Introducing 90s inspired hip hop rhythms, his melodies were penetrating though moreso in the background as his beats took centrestage. The bare dancefloor actually served well to enhance the strength and concentration of his sounds. I immediately established Funkedup as a storyteller – though he was able to unwind 3 or 4 stories at once. With some very disco oriented inspired bass lines, Funkedup would often cut back on textures to dispel any surplus energy and then buildup on textures again. It was a continual wave of impacting rhythms, serving to hit you full in the face. At a particularly moving climax, the image of the centre of a nuclear bomb blast came to my inner eye. The inward rupture as his music frantically reached its pinnacle, exploded in the room, causing maximum debris and damage all round. I was well disappointed at the punters for not showing enough enthusiasm, for the music was certainly quality and inspiring. But what can one do when a musical genius intimidates and overawes? Vivaldi never received the acclaim he deserved in his day either.

A highly enjoyable night. Thanks to the efforts of the Empire and Hi-Grade for ensuring quality local acts reach our ears. Support your musical community Brisbane: There is much to unearth. Pull back the sheets – you will be pleasantly surprised at what you uncover.

Love and Kisses, Lady Lex