Federico Aubele & Nickodemus
I'd never been this deep into the city before- never been to 'the cut' of the town as they call it. But from what I had heard growing up in white-picket-fence, white-picket-person
This was a little bit different than the loft and arts districts however, as even those simple descriptively functional terms can be misnomers in themselves. We were much further east than I have ever been, heading to a factory basement full of heads just like us, or so we hoped.
Upon arriving, we all paid our cover and headed in. Much to our chagrin, we were admitted and then stopped at a rope leading to the club downstairs. 45 minutes they held us in this make-shift bar/loft area. Someone clearly lived there. I could tell by the roller coolers of tecate for 5 dollars and the 'whatever booze we have & cranberry' that was served in smaller than airline sized cups. The place had the feel of 'The Pit' from PCU; dirty wooden floors, awful amateur abstract art and dim track lighting. 30 minutes they said, 30 minutes then we'll let you in.
So we waited. For a while, we wondered if we'd even get in. My fellow friends all shaking their heads, I could tell everyone was a bit peeved that I'd lead them on a wild goose chase for great house music, only to seemingly come up empty, downtown, and music-less.
Not so though! Finally, after a tumultous wait, we were admitted downstairs. And it couldn't come soon enough. After all, we had gotten an email about the show a week earlier...you had to rsvp to get in, and it seemed very hush hush. But why then, had they rented a huge space, and wouldn't let the 30 of us get downstairs to join the fun.
Well, like all good things in life, the sweet is never as sweet unless you've tasted sour before. The wait almost served as a build in anticipation, hearing the music bump against the floor; knowing we were hearing Federico Aubele kick off his set with grooves that could have blown Arlo Guthrie away.
As we walked downstairs, I realized we were in for a treat. ESL never disappoints...almost every record I've heard from their label is top notch. And after movies like Garden State, virtually everyone is familiar with Thievery Corporation's song "Lebanese Blonde." A lot of their catalog stays in the same vein, exploring the subtleties in Brazilian, Argentinian, and Portugese music.
The general population might call that music 'world music' or 'stuff my parents listen to.' Others in
And that's the thing...music like that flows so well together, it almost feels like you're caught in a single moment; as if time ceases for just one second, and you get to revel in one little snapshot of culture. This night was no exception.
After a short while, we congregated at the bar, and the rest was history. Once Nickodemus came on, we saw a large shift to more dub based sound...maybe some palm wine or afrikaner with echos of spanish polka and reggae. Those terms don't even do it justice. But what did was seeing the throng of people- all getting along, all left in peace, and all there to dance.
The night, as a whole, will forever be left in infamy. My friend, and DJ to boot, said it best when he commented, "I'll never go to another house DJ in
"No Scotty, it's because it will never be that good again."
If you're interested in either of these artists, or Eighteenth Street Lounge, here's what I reccomend:
Federico Aubele- Gran Hotel Buenas Aires
Nickodemus- Endangered Species
Nickodemus has also been featured in a new itunes commercial recently, which I've attempted to link below...we'll see if it works. Anyway, the track is called "Mi Swing es Tropical," and it's a hot tune...