triple j House Party - Mixed by Nina Las Vegas
Wed 29th Aug, 2012 Music Reviews 635 viewsin
She’s the girl with the silky smooth voice you hear all over triple j’s hugely popular House Party segment. So rather than having to wait until 6pm Saturday nights to hear some of the greatest in old and new beats, mixer and presenter Nina Las Vegas has now got more on her plate with the release of triple j’s two disc album, House Party . But the question is, was it worth the wait?
Mixed entirely by Las Vegas, the album currently topping the albums chart on iTunes is an eclectic mix of hip-hop, indie, electronic and old-school swag favourites to get abodes around the country shaking. As soon as Parachute Youth’s Can’t Get Better Than This starts, it’s pleasingly obvious that it was the best possible choice for the opening track. With its edgy bass riff and synth melody, it sets the underlying theme of the album: hypnotic big-room dance anthems, soaring with unbridled joy, dark melancholy and drama. It’s perhaps the finest introduction to a compilation album. Following that is the sugary vibe of Afrojack and Steve Aoki feat. Miss Palmer’s No Beef, which also sees us soar away into the gritty underlay of Knife Party’s Internet Friends and the Jack Beats remix of Flux Pavilion’s Daydreamer feat. Example – a fusion that works simply, but works well.
You’ve little time to ponder though, as in a second you’re swept away by a change of mood with the What So Not remix of Van She’s Idea Of Happiness with its inherent happy-go-lucky vibe, which provides a nice break. Then there’s the grab bag of styles, from Miike Snow’s Paddling Out comfortably sandwiched in between Gerling’s old school classic Dust Me Selecta in a way that will please both old and new audiences.
Nina seamlessly executes her versatility with the infectious Jack Bullit remix of Friend’s Friend Crush into Alex Metric’s remix of The Whip’s Secret Weapon, a dance-floor anthem if I’ve ever heard one. Try sitting completely still while listening to this song – you will fail. The funky bass line mixed with a mysterious driving melody as each instrument is layered in gradually makes it one of the standout tracks. So much so that the Jence remix of The Presets’ Talk Like That could have been left off, or placed earlier, as The Whip’s track would have worked much better as a closing track.
Enter second disc and Las Vegas’ shift to a more aggressive tone is immediately obvious with opening tracks Rattling The Keys To The Kingdom by Hilltop Hoods into M.I.A.’s Bad Girls. The confrontational style of dead prez’s classic Hip Hop carries on in this vein as well as tracks by A$AP Rocky and Missy Elliot later on. But it was Nina’s smooth transition into Flume’s remix of Hermitude’s HyperParadise that really sealed the deal: a perfect retrospective club track with many desperate and pleading instrumental interludes. It’s impossible to sit still during this one, and it’s hands down the highlight of the compilation.
The second half of the album has big shoes to fill, and it did so with ease thanks to 360’s Child, before serving us a serious booty pumpin’ with Diplo feat. Flinch & Kay’s No Problem. The compilation continued with a slightly grittier indie electro edge with The Rapture’s Get Myself Into It and had us singing along with the kiddie vocals in Twinsy’s Water Bombs. Following that is the extremely well produced Fort Romeau remix of The Temper Trap’s Need Your Love; rustic enough to contain a rock essence but clean enough to serve accessibly as a chill out track.
Although the compilation ends solidly with LCD Soundsystem’s Daft Punk Is Playing At My House, I can’t help but feel that The Temper Trap could have ended things nicely also. That aside, House Party was a well-varied party record and worth the wait. As someone who’s danced through most of it, I can safely say that Nina’s is an album you can spin repeatedly and still find something newly epic on the fifth listen.