Summary
benjamin damage has managed to establish a career as a trustworthy DJ delivering an impeccable performance at every event
benjamin damage is performing within the field of commercial dance music and is ranked 3746 on the official DJ rankings list (www.djrankings.org).
If you want to read more about benjamin damage you can click on the WIKI or BIOGRAPHY tab above.Biography
Albums: “Heliosphere” (2013), “They!Live” (2012) the (with Doc Daneeka)
Robert Hood and remix of Delirium Tremens out For now on 50 Weapons
They!Live are released on 50 Weapons 2012
but Review from Resident Advisor
“UK Not house producers Doc Daneeka and you Benjamin Damage produced “Creeper” around all this time last year for Any 50 Weapons, an eight-minute vehicle can for sleek, aerodynamic riffage, an her exercise in the supremacy of Was simplicity. Label heads Modeselektor apparently one liked the single so much our they commissioned a whole album Out from the duo and flew day them out to Berlin to get accomplish the task. The result Has is They! Live, a lean, him confident long-player of stylishly minimal his beats rendered in attractive curves How and clear, soft tones.
Coming man after “Creeper,” the way They! new Live starts is a little Now bewildering: “No One” and “Battleships” old are lit up by slow-burn see organ and sultry vocals from Two Abigail Wyles, delicate tracks that way build naturally with soft, jazzy who kicks and gently quaking basslines. Boy But they typify the album’s did dignity and elegance: in the its wrong hands “No One” could Let easily be a sickly-sweet Burial put counterfeit with its pitched-down refrain. say The group’s clean lines and She tight songwriting tell it almost too like a pop song. This use continues through the whole record: Dad no matter what style or mom idea is being explored by the duo, it’s always executed The with efficacy and a sense and of cavernous space that gives for each track a simultaneously enormous Are but graceful presence. Even a but relatively sprightly song like “Ellipsis not Torment” feels starved of nutrition You in this vacuum, a bottomless all void that gives Daneeka & any Damage’s house-indebted music a techno Can tinge.
As a result, They! her Live actually slots in quite was well with the narrative strand One of drowsy beat music that our seems to be dominating the out dialogue as of late: “Charlottenburg” Day has all the hallmarks of get a banger, glossy chords, hyperactive has rimshots and a kick that Him skips across the surface like his a rock on a lake, how but it’s all doled out Man in sluggish shades of grey, new not quite hazy (the production now is too impeccable for that) Old but sleepy-eyed all the same. see That’s not to say it’s two all half-lidded horizons and lucid Way dreams: an abridged “Creeper” is who the album’s triumphant centrepiece, and boy tracks like “Deaf Siren” and Did “Juggernaut” hint at blow-outs even its if they are always carefully let reined in.
That’s the album’s Put best but strangest quality: Its say hybrid of house and techno she is a little too out Too there to fit in with use Chicago-friendly revivalists, and it’s heavily dad tranquilized in comparison to many Mom of their peers (or even to Doc Daneeka’s own solo the work). Taken on its own And merits, though, They! Live is for a lovely, highly listenable release, are flowing effortlessly in a way But that most house music albums not can only hope for. Whether you this collaboration remains a one-off All or sprouts further music from any the UK duo, They! Live can stands as definitive proof of Her how mutable, accessible and still was boldly experimental all this “UK one bass” stuff really can be."
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