There was a unique electricity in the air in Cleveland’s intimate Beachland Ballroom & Tavern Saturday evening. The place was packed for opening local support Jae Andres, which attests to the DJ/producer’s talents which are primed to erupt from within “The Forest City.” It wasn’t just the future-bass of Aaron “My name is Bleep Bloop and I am from the internet” Triggs that filled the room early, but two of Northeast Ohio’s finest: David Timko (aka SLAVE) and Sure State label head Dave Tucker (aka Thunder St. Clair).

As the night transitioned to Thunder St. Clair, the beats took a turn toward the wobble of minimal tribal dubstep with DMVU’s “Canyon Echoes”. The performance would go on to highlight two Pittsburgh residents as well, the progressive trap of Buku and experimental bass/grime courtesy of LeMoti. Leading into SLAVE and Bleep Bloop, the intent of Thunder St. Clair wasn’t to dust off deep bassline tracks or rinse off throwback jungle cuts (which he is also certainly capable of doing) but to get the straight-up house party vibes started. Closing with the Flume Remix of Collarbones’ “Turning”, SLAVE was primed to dive head first into one of his most varied live performances to date.

Warming up the room for one of bass music’s most eclectic figures, SLAVE brought a new selection of low-end theories to the atmosphere. The young local staple even challenged himself to deliver the “weirdest” set the revelers had ever witnessed. Departing from his recent cinematic electro-house solo productions, this set was an opportunity for SLAVE to explore the wonkier fringes of bass music normally reserved for West Coast Bass Culture and transformational events.

For those unaccustomed to these new sub-genres, a Bleep Bloop show isn’t far removed from the dubstep revolution of 2010. Before the over-mechanization of North American “brostep” there was much more exploration and psychedelia within that growl. And Bleep Bloop is all about keeping his sets trippy. So, while the original verse of Moksi’s deep house single “The Dopest” might be immediately recognizable (“We are the dopest and the raddest motherfuckers on this planet”) his tricks on the drumpad/controller make every night a new Bleep Bloop experience.

What looks to the layman like simply button-mashing a light-up children’s toy actually allows Bleep Bloop to make inspired transitions between grime, hardcore, rave techno and hip-hop throughout the nearly two-hour set. Bleep Bloop developed a sonic exploration that creates a great divide between his live sets and those of his more genre-specific contemporaries. When he wasn’t dropping those edits, Bleep Bloop made a point to spin and shout out the discs from his closest collaborators, Space Jesus and G Jones. He and G Jones’ “Mind” transporting the room to an entirely new level of analog disorientation.

After spinning a few tracks after last call to calm the clamor for an encore, Triggs worked his way around the room to engage with all the weary souls that survived the evening. A series of thank yous reciprocated by both sweat-drenched artist and fan alike. For all those tired of the same dubstep/jump-up sets but looking to recapture the energy of an era when Skream had yet to latch onto house and disco, a Bleep Bloop show is requirement for 2016.

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