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Late Nite Social Club & The Lowbrow Present...
A SPECIAL 3 YEAR ANNIVERSARY EDITION OF SUPERNITE WITH SPECIAL GUESTS...
THE RAPTURE (DJ SET)
(VITO & DRUZZI)
THE LAST TIME VITO AND DRUZZI GRACED THE DECKS AT AN LNSC EVENT WE HAD OVER 400 CRAZY ASS PEOPLE LOSING THEIR MINDS TO AN AMAZING 2 HR SET BY THEM. THIS NIGHT WE PLAN ON HAVING A FEW SURPRISES AND SOME GIFTS FOR ALL OUR PARTY HOMIES!
ALONG WITH LNSC DJS
DOORS OPEN AT 10PM
EARLY BIRD DISCOUNT $10 PRESALE TIX AVAILABLE AT FOLLOWING VENDORS: INFO COMING SOON
The moment they released the international dancefloor hit “House of Jealous Lovers” in 2002, New York quartet The Rapture redefined the tip of the indie iceberg fusing the skronk and chaos of punk with the precision and funk of basement after-party disco beats. The Rapture opened the floodgates for many to float through on the wave of this fresh take on some vintage, party-forward sounds.
While it’s easy to pin the influence of Gang of Four, ESG, and Liquid Liquid on many of the followers, The Rapture’s territory of beat mining goes deeper further and wider. The band have shown respect for forbearers as diverse as ‘70s New York disco progenitor Larry Levan, ‘80s Chicago acid house innovator Marshall Jefferson, historic party staples like Happy Mondays, The Gap Band, Bizzare Inc and Incredible Bongo Band, as well as unlikely sources like Sun Ra and Uriah Heep.
The Rapture’s luck began to change after they played a show in 1999 in Washington, D.C. There The Rapture met James Murphy, one-half of the production team of Death From Above (DFA), which signed on to work with the band on their EP Out of the Races and Onto the Tracks as well as their debut album, Echoes. Early in the process, they cemented their future with the release of the undulating fireworks-and-champagne shout-a-thon single “House of Jealous Lovers,” which became a hit on dancefloors across the world shortly after it came out on DFA's titular start-up label.
Perhaps the best way to understand The Rapture is to stop worrying about genres and labels and simply get into the music. The first new single from their second album Pieces of the People We Love, “Get Myself Into It” is a sweltery dance floor cut fueled by a bobbing bassline and jagged guitar bursts, and embellished with sultry saxophone and echoey percussion that show The Rapture circa 2006 bringing the party forward and pushin’ the positive. “It reminds me of being at a big beach party on the Islands somewhere,” vocalist Luke Jenner says. “I used to have this idea that vocals were somehow valid if they sounded painful. But this time, I decided that I don’t need to hide behind that and that it’s okay to make something sound happy.”
And the beat goes on. “Whoo! Alright – Yeah…Uh Huh” rides a cowbell-infused drumbeat and monochrome vocals to a glorious place that’s so infectious even the most jaded 24-party people could not resist. ‘The Sound’ combines big beat drums like Tomorrow Never Knows the size of an ocean wave and buzzing, blaring guitars resulting in a blissful lightning bolt crescendo.
From the hook-filled keyboard-laden electronic pop song “Don Gon Do It” to the swaggering funk-pumping “The Devil,” from the mindbending guitars, distorted electronic drums and sedated vocals of “Calling Me” to the mellower album closer “Live in Sunshine,” Pieces of the People We Love has something for every mood, genre and party preference. The Rapture are on the verge of becoming as important to dance music as their greatest heroes. The album is history in the making.