Liquid Vinyl Review

by Czarina Mirani | Published March 2008 | Features Archives

In the past few years we've had the honor of having four movies dedicated to the subject of dance music: Maestro, The UnUsual Suspects, The Godfather of Disco, The Chicago LP/DVD and now Liquid Vinyl. The latter, directed by LA-based Taylor Neary played in February at independent film haven Facets to very little fanfare.

Originally premiering at the 2005 Slamdance Film Festival, Liquid Vinyl focuses on the progression of DJ culture via dance music. And while the other three movies had a House Music base, Liquid Vinyl covers DJs from various genres of music such as Techno, Trance and Drum N' Bass. Some of the lead talking heads were Frankie Knuckles, Carl Cox, David Morales, Louie Vega, Goldie, Marques Wyatt and Tony Humphries.

A comprehensive cast of turntablists pontificate on the history, culture, technology, spirituality and future of the music. Beginning with the Garage days of Larry Levan (who is regarded as the first superstar DJ) to the underground rave scene, all the way to the overly commercialized mega-club scene in the '90s, the film gives a very accurate timeline of this movement in the past 30 years.

The main focus of the movie is the evolution of the DJ from "a human jukebox" stuck in the corner of the bar, to inflated, overpriced demi-gods that Frankie Knuckles jokingly says "raise their arms like this - they're not even doing anything - and the crowd goes wild!" With that said, all DJs agree that they have a strong responsibility to their dancefloor, to create an environment for dancers to fully express themselves, where no matter what country you are in the music is still the universal language. One of the best parts of the film was the discussion about the spirituality of the dancefloor, those certain "a-ha" moments in the music that take your breath away. As one DJ put it, "There is that profound healing that the music brings you."

From DJs as producers and vice versa, the scare of digital downloads, the roots of the Winter Music Conference - the film leaves no stone unturned. Yet for some reason, it seemed to lack a kind of cohesiveness. With Maestro the focus was on Larry Levan, The UnUsual Suspects was Ron Hardy and the Chicago scene, The Godfather of Disco was about West End Records' Mel Cheren. Liquid Vinyl has no real core to come back to - you feel like you are just floating along in an unfinished narrative. The footage of the dancefloors were often those of big, ravesque style parties, the dancers looking more drugged out than really feeling the music. There were some photos of Tony Humphries' Zanzibar nights, but every other club shot looked like a hyperactive trixie club. Rather than leaving me reminiscent, the moving images left me cold.

But all in all, I would still recommend this film. Any kind of documentary is important in our continuing education about House Music. We may have preferences about how the stories are told, but regardless, there is always value in keeping an open ear.

+ More: liquidvinylmovie.com

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