I was exposed to dance music through my mom’s workout music (90s cheesy stuff), and trips back here to the Philippines where my uncle Manolet Dario was one of the first proper house DJs.
I would listen to his mix cd’s and it got me hooked.
He has a very distinct style behind the decks, not really paying attention too much to genre-boundaries, as his DJ sets can range from classic Chicago house to afro, broken techno, italo-disco or electro.
We can definitely expect a good variety of track selection, brilliant mixing and a lot of vinyl.
Over the years he has had experience in Europe working for Richie Hawtin’s Minus label, as a DJ he used to run warehouse parties in London and has played everywhere from the US to Berlin or Barcelona and Australia, in addition to having shared the decks with names such as Jamie xx, Stacey Pullen, Kerri Chandler or Nina Kraviz to name a few.
Since being based in Manila, he is also a co-founder of the recently launched house and techno event series UNKNWN, and his drive and passion for pushing underground electronic music culture in the region has not yet fatigued.
Colored lights pulsed against the walls and the low ceiling as Madley Croft, in a black blazer, leggings, and boots, strode across the stage.
Sim, swaying his bass in the air, faced off with her, in a pantomime of confrontation and retreat that could have been a lovers’ quarrel or a taunting seduction.
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Open to the public for fifty-five dollars a ticket, the shows also drew the musicians Beyoncé, Jay Z, and Madonna, as well as the filmmakers Wes Anderson and Noah Baumbach.
After assembling in a windowless storage area deep within the Armory, a former military headquarters on the Upper East Side, ticket-holders were led through tunnels to a small, square room, built around a shallow pit where three unsmiling figures stood in near darkness: the guitarist and singer Romy Madley Croft, with dyed black hair in a geometric cut that fell over one eye; the bassist and singer Oliver Sim, a tall man with a blond Tintin forelock; and the boyish-looking d.j./drummer Jamie xx (né Smith), who stood behind a phalanx of samplers, keyboards, and percussion instruments.
For fifty minutes, the xx played a restrained, audaciously spare version of indie rock with a pronounced dance-music edge.