Alternate Cuts: Marcell Dettmann House Set at Wire 24/03

Butter Side Up and Resident Advisor brought Marcel Dettmann, the man known for some of the best four by four hypnotic industrial techno, for an exclusive house set which is only performed once a year at Panorama Bar with Ben Klock.

It was part of a series of nights known as Alternate Cuts, which saw the brands team up with Absolut to showcase what these top elite DJs are capable of. The event is an interesting concept, especially due to the recent RA article ‘The Promoter’s Dilemma’ which describes the challenges clubs like Wire face in booking big names like Dettmann at an affordable fee.

But Wire and Butter Side Up are great examples of how small clubs and events should be run, always managing to bring well-respected artists to the 300 capacity venue. The recent RA short describes exactly how important a role the guys play in keeping the Leeds scene firmly on the map.

Absolut Vodka’s #AbsolutNights campaign was behind the Alternate Cuts series, which aims for clubbers to think beyond their usual night out. Part of this campaign was the lighting installation set up in Wire, which replicated the new Absolut Facet bottle. Absolut’s involvement in the night led to cheap drinks and cheap tickets, however it has to be said that it’s not the same experience of an underground event when you’re subjected to an advertising campaign.

Hamish Cole and Annie Errez warmed a full, but not over packed Wire club, beautifully building to Dettmann’s set with ethereal house tracks such as Bookworms’ ‘African Rhythms’. As the man of the night, who must be north of 6ft 5”, came on there was a change in my expectations. I thought he would carry on with the delicate and light house set which Hamish Cole and Annie Errez had created. However, Dettmann went down the minimal house route, as he displayed the likes of Levon Vincent’s ‘Arpeggiator’, then going on to explore deep house with Enzo Caprioli’s ‘Strasse’ and Ralph Falcon’s ‘Every Now And Then’, before moving into pretty much full on techno with Klockworkers’ release of Rod’s ‘Nitecollage’ by 2.30am.

It was disappointing to see this standard transition of minimal house to industrial techno. Furthermore, after the RA live stream stopped he only went further into the depths of his mind controlling techno, with a slight glimpse of synth pop with ‘Personal Jesus’ by Depeche Mode, which by that time didn’t really work with the techno set he had shaped. The night should’ve been a chance for him to explore his full collection and show off what he has in his locker. Although he is amazing at was he does, I had gone in expecting to see an exclusive Marcel Dettmann house set, and it was a shame that house only featured for a relatively short time.

Owen Ellicott

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