Live Review: Sampology, Big Bubba, Meryl Creep, Nantale, LL Cool Dre

Audio-visual DJ sets are a relatively new thing, with the technology to execute one with a traditional DJ set-up only emerging affordably in 2008. When executed well they add an imaginative extra sensory layer to the already thick and vibrant experience of listening to an electronic artist, but without detracting from the sound itself; the clips from movie scenes and animated renditions of images from popular culture merge seamlessly with the sounds that are being mixed simultaneously in real time, and it has to be seamless to elicit the desired effect. These images can add hilarity to a scenario that is simply just groove, or an atmospheric overtone to what previously may have just been dark or moody. In a high quality nightlife venue such as Rocket Rooftop, which happens to be known to consistently book hot import acts from interstate and abroad, this combination can transform your night from something that has been tacked together into a very catered and crowd-specific evening, with punters free to switch between relaxing on the rooftop above Adelaide’s bustling Hindley St or returning downstairs to a dancing sea of thronging sensory enticement.

Similarly impressive was the line-up of supporting DJs, with DJs Big Bubba, Nantale and LL Cool Dre each presenting their individual styles respectively – though it was Meryl Creep who delivered the most satisfying set-list that was more or less a deep-seated exploration of an enormous sea of disco, deep funk and a never-ending display of gratuitous love for ‘80s throwbacks. The resulting groovy atmosphere left the dense collective of patrons distinctly moving to the pulsing bass. Meryl Creep has a residency at Distill and can be seen there every Friday at Au Haus.

Sampology’s late night set brought full credence to the AV phenomenon. Though relatively unchallenged, at least on Australian shores, it is clear why Sampology is a pioneer of the performance technique, intelligently syncing relevant imagery to a consistently high energy set as he smashed tracks together, with the audience moving at his whim. The visual accompaniment can vary between kooky internet trends to crudely animated sections and feels not only slick, but nice and high tech, especially when the equipment to produce this kind of performance used to cost upwards of $4000. It’s an interesting addition to the immense creativity already present in the electronic music landscape.