ENTRANCE FEE: ₩20 000
Note: I ended getting to vurt. later than I would have liked for this party, so unfortunately I missed Suna’s opening set.
One of the strange things about niche genres of music is how they seem to be constantly fragmenting and sub-dividing into ever more narrow niches. This happens across the musical spectrum – from black metal to acid house, industrial techno to neo-folk – but it seems especially prevalent in the vast and varied world of underground dance music. It seems like every other week a new sub-genre of one kind or another has emerged from the murk of the internet, the result of more and more artists trying to hone in and imitate a particular kind of sound. One of the reasons this compartmentalization of musical forms seems so prevalent of dance music has to do, of course, with the role played by DJs in driving the artistic development of club sounds. Your average DJ, looking to create seamless and continuous sets and mixes, has a need for tracks that resemble each other in some way or another, and so we end up with producers who, consciously or unconsciously, work within certain musical parameters in order to fill this need. This is a double-edged sword; on the one hand, the laser-like focus on particular styles and trends means that for every sub-genre of, say, techno music, there is an almost infinite supply of masterfully produced tracks that blend well with each other within the same set. On the other hand, it can be easy for producers and DJs to allow themselves to be stifled and constrained by the narrow boundaries of their chosen genres, killing creativity and resulting in a bland and monotonous musical landscape. The best artists, of course, are able to tread the fine line between the two, managing to work within the confines of a given genre while still remaining fresh, original and exciting.
What holds true for producers and DJs also holds true for the clubs in which they perform. There seems to be a greater and greater pressure placed on clubs and venues these days to specialise in their sounds, to narrow their musical palettes to one or two styles within a particular genre in order to appeal to the tastes of their target audiences and to differentiate themselves from their competition. vurt. is a successful example of this approach; the small but highly respected Hapjeong basement venue has staked out a claim for itself as the premiere venue in Seoul for techno music of a dark, mysterious and cerebral variety, it’s residents and guests spinning tracks that are more hypnotic and entrancing than they are abrasive or aggressive. The challenge then, for both the DJs who play there and for vurt. as a whole, is to find ways to ensure that the music played each night fits in with this unified core vision of what the club is all about, without becoming overly predictable or boring.
If anyone is up to this challenge, it is Tokyo’s DJ Yazi. He has a rich and storied musical history; he first burst onto the Japanese music scene in the mid-1990s, as part of the experimental hip hop collective Think Tank, with whom he co-founded Black Smoker Records, an abstract hip hop label whose eclectic nature is perhaps best exemplified by the fact that they have released records from both Ras G and Merzbow. In addition, he also performs as one half of live electronica act Twin Peaks together with Future Terror‘s Haruka, and in recent years he has begun to turn his attention to techno, launching a regular techno/industrial night at Contact alongside Takaaki Itoh (of Mord fame).
His set at vurt. this past Saturday night was a good example of how in the right hands it is possible to sound incredibly techno while not actually playing all that much “straight” techno. Had I heard them in isolation, I probably would have classified a lot of the tunes he played that night as electro, or IDM; dry, mechanical 808 percussion thumping and clattering in strange and unpredictable patterns, waves of subaquatic bass, and strange tapestries of digital texture sliced through the smoke-laden air inside vurt., very different from the heads-down techno I had been expecting. However, even though a lot of DJ Yazi’s selections were not “techno” in the typical sense (no 4/4 kick drum boom, sixteenth-note high-hats, industrial clangs ghostly atmospherics or any other such tricks of the trade), they nonetheless still felt like they fit in with the vurt. aesthetic; partly because the sonic palette, the textures and details in the tracks he played were still fairly downcast and dystopian in nature, and partly because DJ Yazi did an excellent job of weaving his more unusual tunes in and among a selection of more purist techno tracks; he would get the audience grooving for a while with some good, but fairly straightforward rolling dark techno before subtly blending it with off-kilter, dubbed-out left-of-field electronica. It was a high-risk, high-reward approach, the kind of thing that would have sounded incoherent in the hands of an inexperienced DJ and absolutely killed the momentum on the dancefloor, but DJ Yazi pulled it off and by the end of his set I was left with a fresh appreciation of just how far it is possible to bend the boundaries of a techno set.
Fittingly, DJ Yazi was followed by another genre bender, local DJ and frequent occupant of the vurt. DJ booth Siot. If DJ Yazi was channeling the sound and spirit of Drexciya for much of his set, then Siot was tapping deep into the UK’s hardcore continuum. His set of high-tempo, breakbeat-infused experimental techno reminded me on more than one occasion of drum and bass and jungle, and put me in mind of the recent production work of London’s Forest Drive West, who blends techno with jungle and bass music to earth shattering effect.
I began this review by ruminating on the narrow niche vurt. has carved out for itself as a purveyor of a certain style of dark techno; however, as both DJ Yazi and Siot showed on Saturday night, within the apparently narrow confines the club has defined for itself, there is seemingly endless room for experimentation and creativity. If they continue in this fashion – booking acts who are able to conform to the ethos of the venue while still managing to put their own unique spin on it at the same time – then I don’t see the club being in danger growing stale or uninspiring any time soon.
The crowd and staff left at vurt. at the end of Siot’s set pose for a photograph before heading upstairs and braving the light of day. Picture by Suna.