The Strange Harmony of Lost Paradise

The Lost Paradise 2015 lineup was well… confusing. Diversity in activities, culture and crowd has clearly been a defining theme for this festival's short history. But was Lost Paradise opening itself up to too much music variety this year? Could Daniel Avery fanatics happily co-exist with Angus & Julia Stone diehards?

Glenworth Valley, New South Wales is home to green pastures, clean air and one over-hyped fucking swamp (river apparently). By New Year's Eve, every body fluid known to man, could probably be found in that river. Skinny dip on New Year's Eve anyone? ST-I don't think so. While the skinny dip my have been a hard sale on my friends and I, there were plenty of other activities at Lost Paradise to keep us occupied. Namely like tucking into our favorite Yemen Melllawach from Ya' Man at 2AM . Prices were high for some things like food and alcohol as expected, but unnecessarily inflated for other attractions like the Lost Flix & Chill tent ($20 for movies you could watch at home) and the Lost Feast ($65 for a sitting).

The 2015 edition has so far been remembered for many of its antics on the Arcadia Stage including Jamie XX and his crowd dividing live set, and Jon Hopkins and his multisensory performance. Undeniably, the Lost Disco stage is where my lasting impressions were made. Hosting a peculiar culture of complex costumes and kaleidoscopic key frames, this stage earned my unbinding loyalty. And it had the lineup to match the spectacle. Apart from a standard trip to the Paradise Club Bush Doof at 2AM, the Lost Disco stage holds my fondest memories.

In what had now become true Lost Disco etiquette, everyone lifted their drinks, staffs, and masks as a tribute to Motor City Drum Ensemble as he approached the stage. A direct dive in to MCDE's groove arsenal was met with a stampede of instant approval. His set was an audacious experiment of sonic chemistry. From the fluttering melodies of 1970's disco to the acidic basslines of 1980's Detroit techno, MCDE would make it look easy. Even though his finish was cut abruptly by a premature channel change by Four Tet, MCDE delivered on his world renowned reputation.

Four Tet provided a mix of his own downtempo and afro percussive cuts, including a fan favourite "Glassbeadgames". He then progressed into the more familiar soundscapes of UK dubstep and Berlin techno. While he explored his ever-spanning discography, it was the Justin Timberlake remix that caught everyone by surprise. Many were delighted by this decision. I hated it. All those that had now returned from Jamie XX after being "disappointed that he didn't play any of his music" responded most loudly to this JT .

In a sea of sunglasses at twilight on New Year's Eve as competition thickened on who could boast the tallest, most ridiculous man made staff at Lost Paradise, Ben UFO took the stage. Just like his Dekamantel performance, Hessle Audio's homeboy slammed down straight away throwing the crowd into frenzy. Known for his concentrated and composed demeanour, he glided through a banquet of afro-beat and dusky techno without a flicker of emotion. His track selection was reminiscent of his recent A-Side Rush-Hour tape recording with ADE. Staffs bounced in the air to the rhythm of his low end locomotive.

The euphoria of new year excitement pulsated along with Âme's crafty selection of hollow house and European trance. The kaleidoscopic light glistened on each hi-hat and erupted at every successive drop. His inextricable cohesiveness with the visuals operator was a privilege to observe.

Photos by Voena.