Marble Bar and Freakish Pleasures present
Advanced tickets starting at $10 via Resident Advisor
Doors at 8, Music at 9
Every DJ would like to think themselves a real musical connoisseur, but Hunee really is — it’s not him that says so, but pretty much anyone else whenever the man born Hun Choi pops up in conversation. His DJ sets have of course taken him all over the world from Aus to Asia, America to Europe, but they take listeners much further. As likely to draw for a classic house record as he is a disco curveball, a boogie delight or mixing an African bomb into a techno record, each selection he makes is a thing of true passion – you can see it not only in his eyes, but so too in the eyes of those dancing along.
Reporting that he feels blessed every time he gets to play music for people, Hunee’s sole goal is to enrich the lives of listeners as much as possible. His own productions have always managed to do that, too. So far they have proven to be hugely considered and cultured things that have arrived on labels like Rush Hour, Future Times and W.T. Each one is different but each one has a certain kinked funk, true sense of soul or loveable house heritage that puts them up there with the best of the rest.
Along the way Hunee takes inspiration from people who “live it to the max, to the bone” and considers himself to be just part of the way along a never-ending journey. “I just try to do my own thing,” he says humbly, and no-one could argue with that.
Terrence Dixon, started making music at the age of 19 with his first release ‘Live in Detroit’ following two years later in 1994 on Utensil Records, after being discovered by Claude Young Jr. He went on to craft a second release ‘Unknown Black Shapes’ the same year under the moniker Population One on Metroplex. Terrence who describes techno as “Forward thinking ghetto electronics” is widely recognised for his incongruous, minimal sound design, authenticity and dedication.
Michigan born Rick Wade might not get the headlines of his more celebrated Detroit peers, but few have done as much to contribute to the house canon as he. For nigh on two decades ‘big daddy Rick’ has consistently turned out deeply channelled grooves that need every second of their often elongated lengths to have best effect. Peppered only lightly with strings, the odd breathy voie or some other delicate hook culled from the funk and soul sounds around which he grew up, Wade’s style is the perfect embodiment of minimum effort, maximum impact.