Night Bass 3rd Anniversary
Insomniac presents Inception Saturdays:
Night Bass Third Anniversary:
Mike Skinner (The Streets)
+ special guests
Purchase Tickets: http://ticketf.ly/2jAtmY4
Music begins with an idea—perhaps from a dream—but here on the dancefloor is where it truly comes to life. Join Exchange LA and Insomniac on Saturdays in Downtown Los Angeles, and rekindle your psyche with the best of house and techno, served up by an all-star roster of dance music artists from across the globe.
618 S Spring St.
Los Angeles, CA 90014
21+ // Doors open at 10pm
Jack Beats have a plan. That plan involves taking the very best, most spectacularly effective pieces from a vast array of different musical genres and blending them together into an irrepressible force that detonates on contact. When you lay it out like that it all seems quite simple really, doesn’t it?
“It’s all in the influences,” says Niall Dailly, the Scottish half of the band. “There’s always room for a drum n bass breakbeat, or an old rave riff, or a vintage house sample.”
“It might be a hip hop loop, some unlikely, twisted up dubstep bassline or a more minimal techno feel,” says the other half of the band, Ben Geffin. “All these ideas are fed into what we do in the studio. And suddenly…”
“Suddenly it sort of works!” laughs Niall. “We just love hybrid music. So now we’re making our own brand of hybrid music and shaking it all up a bit.”
Niall and Ben describe the release of their mini albums as a “summing up” of everything they’ve experienced to this point. “They’re a showcase of everything that we’ve got going on,” says Niall. “We’ve really got the bit between our teeth here. We’re always trying to be original and do something different. That’s the hip hop side of us; because in that culture, if you weren’t being original, if you were biting other people’s ideas, you’d be out of a job.”
Through their six singles and a string of monstrous remixes for the likes of Skream, Beyoncé, Aloe Blacc, Big Boi, Florence & The Machine and La Roux they have formed a relationship with an increasingly hungry audience.
“We’re in a world of our own,” Ben says. “We’ve always made music that’s quite forward-thinking and different. So much so that, sometimes, we’re not sure whether anyone else is even into it. There’s a bit of fortune-telling going on in what we do, but we both have patience, we never release anything until we know it’s absolutely right.”
For Niall and Ben the joy in music is in the idea and its execution. They’re relentlessly moving forward and they’re intent on bringing us all with them.
“There’s nothing more satisfying than when we’ve done something that we think might go over everyone’s heads and six months later everyone loves it! It gives you more confidence in the weirdness of your ideas…”
It’s that weirdness of ideas that has propelled Niall and Ben since they put out their first Jack Beats track in 2007. They’re both multiple award winning DJs; in a previous life Niall was DJ Plus One from Scratch Perverts while Ben was a founder member of The Mixologists. Serious turntablists, the pair inhabited a world where endless hours were spent practising scratch routines.
“But we would mainly talk about music, get drunk and go to clubs,” admits Ben. “It’s such a nerdy boys’ thing, it becomes your whole world.”
“I was going pretty insane by the time I finished,” laughs Niall. “I found that I wanted to be in my studio more than practising. After winning the DMC title in 2001 I decided to buy some kit and start making music.”
The pair ended up working together on a Dirty South hip-hop track called ‘Fame And Money’ and that is where Jack Beats really began. “I was a straight up raver at mid 90′s raves for years, and me and Niall both religously went to Movement in the jungle days,” says Ben. “We both used to go together to shit like Plastic People back in the early 2000′s with the beginnings of dubstep…sublow grime days with 100 peeps in there.” However, both were in to bass music too and began making it with the new sound emerging from producers like Dave Taylor AKA Switch.
Grime and dubstep and rave and bass music were all developing rapidly and Niall and Ben started to create their own music that drew on them all. Their ideas were honed in years spent DJing together in clubs, after-parties and raves and by 2007 they had forged a unique style that exploded with the release of their mix of AC Slater’s ‘Jack Got Jacked.’
It was the American crowd that initially picked-up on the guys, with US blogs going crazy for the unique style they heard on Jack Beats’ mix of Jack Got Jacked. “‘Jack Got Jacked’ was the first time we chopped everything all up and dropped straight into a huge bass line,” smiles Niall. “That sound became synonymous with us – that was how we do our shit.”
“That was when everyone turned their heads towards us,” says Ben. “And it got blogged about like crazy. And we did that tune in about two days, which is weird, because we take about two weeks on each tune now…”
The follow up, ‘Project Bassline,’ tore up the Miami Winter Dance Music Conference then the ‘U.F.O’ EP secured Jack Beats’ reputation, defining the fantastically multi-stranded sound that’s all over their music. Those early releases also drove a huge demand for their out of control DJ sets and ever since 2008 the pair have been touring the States with artists like A-Trak and Diplo. Their American status has led them to collaborating with Skrillex, 12th Planet and Example on tracks for the forthcoming Jack Beats mini albums.
Over the course of the two mini albums, recent single ‘End Of Love’ features a Leonard Cohen sample that the man himself approved, while Example appears sounding quite unlike he ever has done before on the track ‘War.’ Ben points to the brilliant ‘Revolution’ – taken from the second mini album – as a piece that embodies the sentiment of their music. “It has this hyperactive, hard electronic edge, but it’s really melodic. And it goes off!”
“For me it’s all about ‘Hooligans’,” says Niall. “That’s a big club tune with a wicked intro – we love a big intro! That’s a pure hands-in-the-air rave moment…”
The title track of the first mini album, ‘Careless,’ seems to be taking Jack Beats in another direction again.
“Definitely,” smiles Ben. “The music’s developing really quickly and it’s getting very hard. These days, wherever we’re playing in the world, kids just want it to slam. Wherever we play, whatever place we’re playing, it could be a club for 100 people or festival with 10,000 people, the tracks that get the biggest reactions are the ones that are just slamming. Pure bangers!”
“It’s exciting when music goes into a period like this,” Niall says. “It’s so different with so many new things happening and influences start to pan out in interesting ways.”
Ultimately, Jack Beats have got a mass of ambitions, the main one being to get their music to as many people as possible.
“If a year ago someone had said our music would come out on a major label across the world I’d have fallen over laughing,” says Niall. “We began life as an underground crew making tunes for Sunday night hardcore clubbers. Suddenly it gets to this level ands it’s shocking, but we’ve been around enough to know that we’re here on the merit of what we’ve done. We’re not trying to be something we’re not.”
And that is the key to Jack Beats, that’s why their plan works. They are making exactly the music they want to make and the world is coming to them.
“It’s exciting because we’re already way past where we thought we would ever get,” says Ben. “And we’ve got here by staying true to the people we’ve always been.”
“We’re still striving,” laughs Niall. “Still looking for the next goal to achieve.”
AC Slater has begun a lengthy career for himself by fusing elements of house music with the dirty basslines of UK garage and sprinkles of old-school rave synths and breaks.
AC Slater's career kicked off with a bang in 2008, with his seminal remix of "Turn the Music Up" on Trouble & Bass becoming an instant anthem. Moby listed it as one of the best 10 tracks of the decade, declaring it a "perfect song." AC has collaborated with influential underground artists such as Nina Sky all the way to chart toppers like Far East Movement, and has done official remixes for the likes of Big Sean, Moby, Robin S. and many more. A quick look at Slater's Beatport page reveals well over 100 tracks and remixes over the last five years, including his best-selling Jack Got Jacked EP, a blatant declaration of the invasion of house music by all things bass (and the start of a lengthy friendship with Jack Beats).
Fast forward to the present, AC has toured the globe several times and his tunes have been played at every major festival and club in the world by DJs including Skrillex, Diplo, 12th Planet, Jack Beats, and so many more. Slater's tunes and guest mixes can regularly be heard on major radio stations across the world, including the UK's BBC Radio 1 and Rinse FM and Australia's Triple J. His crew Trouble & Bass and his own record label Party Like Us continue to release some of the most groundbreaking and forward-thinking bass-heavy dance music in the underground.
Mike Skinner is the man behind the musical phenomenon that was The Streets for ten years. In that time he won an Ivor Novello, a Brit, and changed the sound of UK music forever. Now that he has retired the moniker of The Streets, Mike continues to push things forward with his genre bending DJ sets. Reflecting his love of cutting edge sounds, Mike's musical selections are as eclectic as his production capabilities. From screwed down house to old skool hip hop via drum and bass bangers and peppered with his own, up the minute refixes, and classic tracks, Skinner never fails to ignite the party spirit.
Having built up a huge online fanbase for his Skinimix series of podcasts, there has been great demand to bring Mike's DJing skills into the clubs. Mike's personality as both an entertainer and a musical trendsetter has never been bigger. 'Original Pirate Material' was recently adjudged the album of the decade by The Guardian newspaper and similar accolades were afforded both 'OPM' and 'A Grand Don't Come for Free' by the NME.
Two of Skinner's protégé's from his record label The Beats, Professor Green and Example are now tearing up the charts in their own rights and his production talents have resulted in hits for such luminaries as Kano, Giggs and numerous remixes for people as varied as Ellie Goulding, Bloc Party, Sparks, Major Lazer and Benjamin Francis Leftwich.
All these production skills, and Mike's talent for spotting new musical movements early are firmly embedded in every DJ set.
Virginia-bred and Los Angeles-based Petey Clicks knows bass music. He's been releasing underground bangers for years through a number of collaborations and aliases, and is finally stepping out to launch his first solo project. Signed to AC Slater's Party Like Us Records, Petey is dropping a series of EPs filled with his unique spin on bass house music: clean, crisp masterpieces designed to cross genre barriers and get dancefloors vibrating. Already garnering support from the likes of Jack Beats, Gorgon City, Salva, 12th Planet, AC Slater, Sinden, Plastician and Xaphoon Jones to name a few, Petey Clicks is poised to hit hard in 2014.