There is something so inviting about an event run by Bad Taste House Collective. I’ve come to expect thoughtfulness in all regards, from their design of physical space to their curation of sound and visuals, and it’s this attention to atmosphere that draws in a community of loyal and appreciative partygoers. Their latest offering – an 8 hour set from Norwegian duo Sex Tags, held at The Shed on 21/04/2023 – was a continuing of this reputation.
Sex Tags are DJ Sotofett & DJ Fett Burger. Between them, they have carved an identity though their work as producers, graphic artists and their extended, evolving sets. Their label, Sex Tags Mania, foregrounds a diversity of music; dance, techno, house and beyond. This wasn’t their first time with BTHC either, having previously delivered a trademark 7 hour experience a few years prior in Milton’s well-loved warehouse.
The Shed was a new venue and fresh canvas for BTHC and Sex Tags – quite literally. Prior to their set and in the light of the afternoon sun, Sex Tags took to spray painting an exterior wall in a vision of red and turquoise. When I read that Sex Tags would be doing this, I said to myself ‘Oh, right, because tags. Sex Tags.’ The scent of it was still heavy in the air as I rounded the building a few hours later, stopping to greet friends and decipher the highly stylised lettering. It was illuminated by a heat lamp in the darkening night, and, as all good graffiti should be, mostly illegible.
Such illegibility did not extend to behind the turntables, in what proved to be a cohesive soundscape that rose steadily in energy. A smattering of early arrivers stood before the decks, leaned against walls and gravitated toward the panels of glowing red lights that framed the room. Sex Tags could be seen in the dim light alongside their extensive record collection, grooving in unison with their observers to the jazzy tunes that floated across the space.
With warm atmosphere matched with warmer sounds, it was clear this evening would be an opportunity to witness a well-paced and exciting evolution. Conversations unfolded and there was a sense of intimacy; an environment that was mellow, comfortable, considered. The laughter of nearby friends often echoed above the music and across the room.
At 9pm, the pace was picking up. Trails of smoke were caught in the laser overhead, a singular cylindrical beam that slowly warped into a straight line and back again. My ears were met with glimpses of hip hop. As I steal my friend Cam’s vape for the tenth time, he tells me it’s ‘trip hop…like, instrumental hip hop’. I take his word for it.
The set moves in proportion to the crowd, gaining energy without dominating. The smoke machine is making more of an appearance, and Emily leans in to tell me that that it sounds like the hiss of spray paint cans, in time with the music. I feel like this is kind of poetic, so I write it down in my notes app, but now I don’t have anything more to say about it.
I’m standing in the carpark some time later when Lucas passes by. I’m in interviewer mode, having decided that if I gather enough quotations, this write-up will write itself. Lucas comments that the event is ‘really tasteful. A responsible choice. Time appropriate’. Then, he disappears into the night.
When I returned to The Shed, people had well and truly amassed at the forefront of the smokey space. Standing amongst them, I heard occasional comments made on the music, including:
“It’s getting a little chunky!” – Chris, 12.21am.
“Dooka dooka” – Cam, 12.39am. I asked him to elaborate please, and he said that’s what it sounds like. “See how the baselines kinda doing that?”.
“Bouncy” – me, 12.45am.
“Percussive. Droning. Disco and house. But more house than disco. Deep droning percussive breaking on house beatz” – Emily, 1.37am.
Sex Tags finished on a high, bringing the evening to a close with the sounds of 80s disco. BTHC has become a guaranteed good time for many, and this event was nothing short of that.
Upon departure, I was told what the graffiti said. ‘Stetz’. It doesn’t really mean anything either. But it looked great.
Photos by Chris Love and Katy Chan Dyer.
