The figures from Australia’s crime bureau and statistics states that Breaks and Enter are on the rise. One could easily lay such culpability at the feet of The ADICTS crew – if one were indeed to go by the figures that were in attendance in the GPO Lounge on this evening.

I turned up quite early to ensure I didn’t miss a single addictive moment. Devastatin Dave greeted me at the door, whoops of his delight preceding my entrance. The whoops were directed toward the many bodies already permeating the recesses of the GPO Lounge – and many of these bodies were gorgeously clad in lovely dresses or beautifully cut jeans and shirts. There was no specific demographic – all and sundry with excellent taste in music had chosen to infiltrate this clandestine ADICT operation. The now familiar, Grand Theft Auto-inspired banners hung loftily from the rafters; their presence a stunning enhancement to the austere though charming atmosphere of The Lounge. The Decks was flanked by a slender step which served as a stage with comfortable lounging chairs placed strategically around the room. There wasn’t too much space thanks to the dominating company of the bar; which was heavily in operation as alcoholic beverages of all forms were passed between hands – including a dodgy ripped $10 note minus serial number hidden amongst my change and leaving me less than impressed. I wondered what innovation The ADICTS crew would come up with to include their famed breakdancers. Already, the dancefloor was well full of smiling faces and moving bodies.

Leading the way in establishing the perfect ambience was the always-funking R’Daza on decks, featuring a beautifully hatted and dressed Darren Skaar on trumpet and a rather attractive latino Stephen ‘Elmo” Elmosnino on percussion. Many could see this set as a stunning backdrop for a laidback Funk/Latino atmosphere. But if one knew of the album “TuTu” by Miles Davis, one would immediately feel as though they had been teleported to an (American) East Coast club. The ambience was electric – R’daza’s wonderful mixing skills providing a delightful foundation for the trumpet and percussion. Alternating between poignant female vocals and minimal melodies over sporadic bass lines, R’Daza’s hips moved in time to his munificent beats. Latin subdivisions collided superbly with Disco; House with rolling spurts of Electro. R’daza’s face was set in concentration as the strength of his superb musicianship added a profuse vibrancy towards the instrumentalists. The rustic notes of Darren Skaar’s trumpet pierced R’Daza’s rhythmic fabric, the reverb nicely balancing the mix. Darren’s sound was sharp and intense, definitely knife-like in that closed atmosphere. Oft times, the trumpet was a tad overbearing; but this seemed more so an issue with the PA system, than the musical skill. It’s a testimony to Darren’s superb musicianship that he could control his sound under such difficult circumstances, keeping the resonance brilliant and his technique at the forefront; leading melodious tones through vigorous beats and scorching textures. Stephen’s percussive subdivisions were a lovely addition to R’Daza’s throbbing beats, keeping the movement filled with energy and all textural layers at a premium. The percussion’s sound was well mixed, with Stephen’s percussive offerings penetrating the few remaining frequencies that the R’Daza and Darren could not. All three musicians were truly in sublime musical harmony and this was indeed an excellent beginning to the evening’s events.

Verner usurped the decks from R’daza, quickly succeeding the vibrant atmosphere. A fascinatingly garbed Matthew Robinson aka The FluteMan also took to the stage, the metal from his Flute catching radiantly in the light. Matt Robinson has been a significant feature in Brisbane’s NuJazz scene, so I was duly impressed to see that the ADICTs crew had managed to garner his immense talents. While many punters (the male species especially) may view the Flute as a bit of a sissy and girly instrument, Matt Robinson deterred such thoughts immediately. Launching instantly into double tongued flutters and overblows, Matt continued swinging out the party vibe; his tones perforating Verner’s sharp beats insistently. Verner’s textures were unfussy yet complex; parading around the Flute’s high frequencies with a balance of bass heavy grooves and chunky beats. Synthetic patches worried at floating melodic textures, while deep resonant bass lines surrounded the buoyant flutters of Flute; those intense tones piercing the delightful structure that Verner skilfully maintained. Matt’s charisma as a showman and an entertainer assisted marvellously in preserving the party atmosphere; for by now, the crowd had increased to a heady throng.

Sangers and Mash took over the room with Mash bounding every which way to avoid the feedback issues that were in abundance. It was only when Mash was in the foyer to the room of the Poker Machines that his vocals came across the speakers crisply clear. The cordless microphone made an acute difference to his agility, and it was very pleasing to see him infiltrating the mass of bodies; his energy and charisma prominently adding to the sway. Sangers’ wonderful rhythms undulated throughout the room; their textures full and layered with meaning and courage. Sangers’ fortitude and capacity for bass lines were immense, giving way to a precise Disco character and then traversing through a myriad of spectral subdivided rhythms and beats. He allowed strummed bass lines to run rampant, bounding off walls and surfaces in that wonderfully expansive room. Pretty girls stared fascinatingly towards Mash as he rapped and rhymed effortlessly; his chocolate skin shining enigmatically under the lights. The quality of Mash’s vocals are wonderfully stimulating: chocolate and syrupy in consistency; a smooth delight to the ear. Though of a gentle and charming character, Mash’s undeniable skills prop him up as a formidable musical soul; the essence of his talents glowing starkly for all to see. Sangers and Mash work wonderfully together, and the results were for all to see as the lounge chairs remained empty – aside from my lone presence.

Precision Cuts took to the decks, amidst whistles, hollers and claps from the crowd. The ADICTS crew slapped palms with him and each other, enjoying the success of such a momentous evening. Dave still remained whooping with delight in the entrance, his enthusiasm at such victory rolling across the crowd to the decks. That this small newly-birthed squad of Breaks Aficionados could attain such a level of success was immediately felt by the crowd. All in the room were clad in a gossamer vibe of celebratory exhilaration and gratification. And in the midst of such exuberance, UK’s Breaks master Precision Cuts discharged atmospheric vocals over a slender structure of percussive beats and vociferous bass lines. With a slow beginning that was intended to overwhelm and then manipulate our souls, Precision Cuts, in the manner of his namesake, precisely built up wonderful bouts of anticipation. There was plenty of characteristic English restraint in the nature of this beast, but underlying this gentlemanly spirit lurked the essence of a disturbed soul. Veiled rhythms tussled benignly alongside jaunty melodies, laden with wonderful ruptures of percussive textures and bass heavy sorties. The mix was so pristine and clean, I immediately understood how the gentleman had come to be so named. He slowly but surely moved towards an overwhelming of the senses. The dance floor remained filled to capacity; bodies moving energetically to the wonderfully stimulating rhythms. Precision Cuts amassed a turbulent ball of musical energy, often pulling back and restraining our sanity, then obstinately pushing our reason to the borderline, holding it with sadistic pleasure and culminating in an orgasmic commotion of powerful beats, throbbing bass lines and emotive melodies that wandered the gamut in range and frequency. This wasn’t a devastation as such (one must leave such destruction to the likes of Devastatin Dave); more a clambering enforced sensual furore that permeated the very heart of the crowd; sub-consciously overwhelming and irresistable.

Amid the forceful beats and textured rhythms, I floated from the doorway of the GPO Lounge into the night. I felt on such a high and so happy to be a fan of such a worthy crew. GPO has been seeking credibility within the Dance scene for some time as a venue of quality Dance. Taking on Breaks and Enter is a definitive sign that GPO may well be entering their Dance age.

Love and kisses, Lady Lex