Live Review fromUnderground Electronica #2:
In contrast to the previous set, which had many styles in it, Beatnick’s was more consistent in its idea. It seemed to me to have the same idea behind it as doing variations on a theme – to explore the possibilities and nuances of a musical idea in detail. An idea which, to me, has great artistic merit. The downside of this is that, at points, it does become a little repetitive (which, by its very nature, it has to). But, if you can get past that, it’s a very interesting exercise – which Beatnick’s set certainly was. He started off with an almost jazzy sound, featuring lots of variations of beat combos, and moved on to adding voice samples with increasingly heavy bass. The voices were interesting in that they seemed like they were from R&B songs at points, but escalated into an almost choral arrangement, before the breaks suddenly entered. He then proceeded to take the music into electropop, industrial and nearly Latin soundscapes, and a little bit of what sounded like reggeaton to me. At one point there was something that sounded like the pan-flute in Shakira’s Whenever Wherever to me, which was quite funny. He finally, moved into a more grinding sound that he contrasted with lots of high accents, and gave the set a well-defined ending. At all points, to me, the set was interesting and made me wonder where it’d go next. I liked the continuity, because that’s hard to do, and Beatnick did a commendable job.
– Shashwati Kala
Beatnick是一位來自新西蘭的音樂製作人，這次他在Underground Electronica #2讓觀眾體驗他那富有神秘感的靈魂音樂。他的音樂以較為幽靜開始，再以扎實的鼓聲穩定著音樂的節奏，再奏出一種柔和的音樂，使人彷彿進入一處神秘之境，是仙境，是樂土，但又像令人迷惑的迷宮。
— Eva Leung