André Galluzzi is a man who should need no introduction. Originally from Hamburg, he has been spinning records since the age of 14. He was the first resident at the legendary OSTGUT club in Berlin, and then at Berghain when it opened. Now the owner of two record labels; ARAS Music and Taski Records, he has an extensive back catalogue of exquisite creations which he showcases in his marathon sets in both Ibiza and Berlin, as well as having releases on Cocoon and Ostgut Ton – two of the most prestigious imprints around. As well as providing us with over an hour of pure heat in our MEOKO mix 086, we were privileged to be able to ask him some questions to get his own perspective on his music, his heroes, his love of vinyl, his relationship with Berghain and his neverending love of the party.
MEOKO mix 086 - Andre Galluzzi
First of all, thanks for taking the time to speak to MEOKO… could you tell us a little about ARAS Music and your relationship with Dana Ruh?
ARAS Music was formed on the idea of cooperation and the London influence on electronic music. The label ARAS records then came and relocated to London, and I followed as well in 2013. With ARAS music we bring events like the ARAS label night and ‘We Play Vinyl’ to the UK and we are more focused on productions with young, international artists. My relationship to Dana is really nice, I think we have a lot of respect for each other. We have found a very good way to work in common as a team; at the studio we have our own language and I love to play with Dana...she is a good DJ!
What made you want to start the label initially? Aside from the sound, does the ethos differ from your old label Taksi records?
The idea of the new label ARAS came about when we decided to produce what we really wanted to. If you make a record for an external label, your style needs to meet many different requirements and expectations. On your own label you can free yourself in an artistic way and work more experimentally. So, take Taksi for instance: even though the sound changed (as Taksi originated in the early 90s), the atmosphere still reflects my DJ sets today.
What’s generally your favourite element of a track? The bassline? The percussion? I’m at hatman…
Actually, I don’t really have a favourite element, I just take what I love: hypnotic basslines, drums and voice sounds. Sometimes you start with a bassline, sometimes with a groove - it depends on which idea you are following. Just need to find a way to get all the elements in harmony. Fitting together, that’s what it is about for me. The elements have to tell a story, a journey, a trip...[laughs]
You’ve been producing for years now, and technology has changed significantly as time has gone on. How have programs like Ableton & Reason changed the way you make music? Is it easier to be creative?
Well, you know, in the early 90s we produced with Cubase and one very old Atari. Everything was analog: synthesisers, drum machines, and so on. Today we are producing with Logic...it’s fantastic to work with all the possibilities but it’s never going to touch your message. The message of ARAS comes from it artists, not from any program.
Despite all the changes in light of the digital age, we understand you have a strong affinity with vinyl. What is it about the medium that makes it special to you?
Oh this is difficult to explain....It’s less an affinity, it’s my passion! You know, vinyl means everything to me. I have that vision of keeping vinyl alive and I’m very happy to see that vision happen, especially in our We Play Vinyl parties. The next one is coming up soon...we work with many young artists, who play vinyl even though they are growing up in the digital age. That makes me proud!
And talk to us a little about Berghain. What makes it such a special place?
Berghain is a very special place, a different world… a kind of playground for adults. The people are completely mixed. You find heteros, gays, lesbians and so many travellers, and the crazy opening hours allow for much more quality time. I have a very special relationship to Berghain. The story started in 1997, with the very first ever OSTGUT; the location was near, but a bit rougher. At that time, I was the first resident and I got the chance to play extremely long sets. When OSTGUT closed, I started to play on the main floor of the new Panorama Bar, and at the garden as well. Then I did the first compilation for the OSTGUT label...so yes, those memories of its early years still keep that special, familiar atmosphere for me.
You have spent most of your life in the club, mixing marathon sets, sometimes for over 10 hours! Do you still enjoy going out to parties even when you’re not behind the decks?
DJing is a lot more than just spinning some records. I always had and still have a vision. I still love to play long sets. I like to build up my sets and fall into the music, take my crowd with me. The longest sets ever I played were at the OSTGUT club. And if there is some free time left and I like the DJ, yes, I still enjoy going out!
Going back to where it all began, what inspired you to get into DJing in the first place?
My first contact was at the age of 14. My brother helped me to work in a club near Frankfurt and I started mixing at home with very cheap equipment. Half a year later...I just asked the boss from the club if I could play! One day I got my chance to play behind the decks. I also started to play in a band as a drummer at the same time, from that point on there was no way out of becoming a musician.
You play round the world as part of the Cocoon Heroes parties, but who are your own heroes?
For me, heroes are people who create things in a new and different way. Take my followers, and the promoters as well. Every single set is like a ping-pong game: you get what you give, and without the crowd, there would be no heroes. They give me the energy and power to get creative.
Can you give us a track that holds some particular significance in your life, and explain why it does so?
‘Rez’ from Underworld - this record stays for my hypnotic side.
‘Moment’s In Love’ from Art of Noise – this track stays for my dreamer side.
‘Bring Forth The Guillotine’ from Silver Bullet- stays for my hard and provocative ways.
There are many, many more but... [laughs]
Outside of electronic music, are there any other styles in particular you are drawn to?
There were many styles touching on electronic music in the beginning. I remember it rose up in 1988 from artists like Michael Shrieve, Pink Floyd, Yellow, Kraftwerk, Art Of Noise…as well as Hip Hop from 1990,with De la Soul or Soul II Soul. Later on, Sven was the only DJ who played them all. I was absolutely fascinated! Then two years later techno, acid and house music were born.
What are the three most important things in life?
To love my lovely girlfriend and my family.....music…and good food!
Thank you, it was a pleasure speaking to you!
The pleasure was all ours...
Since 2010, London promoters OneMore have been throwing parties featuring some of the world’s most talented selectors. Everyone from System of Survival to Pan-Pot has been called upon to educate the techno-hungry London crowds, and their next event on the 29th June is set to be just as special as they welcome DVS1 and Sonja Moonear to The Scala.
When Ben Klock and Derrick May refer to someone as ‘the next big thing’, people pay attention. And rightly so - everything DVS1 has released thus far is of the highest calibre, and understandably has been snapped up by some of the industry's most exalted imprints, including Klockworks and Blueprint. His stripped down slant on the genre has been shaking the foundations of clubs worldwide for years now, and we’re positive the 29th will be no different. Joining him is Sonja Moonear, who exploded onto the scene with her expressive brand of deep, minimal tech house, playing marathon b2b sets alongside Ricardo Villalobos that have been causing a real stir in the underground scene of late.
Take a look at this footage from the last event and you can start to understand why this really isn't one to miss...
In anticipation for this next party, MEOKO have teamed up with OneMore to offer one of you the chance to win 3 VIP guest passes to the event! To get your hands on them, all you have to do is email us at
with GimmeOneMore followed by your name. The winner will be announced on the 26th June! Good luck...
Photo credits: Here & Now
After the success of their inaugural event last year, a festival purportedly built off the back of the organisers’ student loans in their final year at university, Echo Festival returned last weekend (7th – 10th June) for its second instalment with a much grander plan of action: brand new location, larger capacity, and a hugely more sophisticated approach to programming.
After outlining their ambitious plans for the second event, Echo Festival 2013 quickly became one of the most exciting looking purveyors of underground electronic music on the Adriatic coast, with exciting artists such as Magda, John Roberts, Kassem Mosse, Audio Werner, Nick Hoppner and Andres gracing the roster. Though small and not as established as many of the other festivals lining the Croatian coastline (Soundwave, Hideout, Garden Party, Outlook/Dimensions etc etc.), Echo boasted a musical programme that was diverse, forward-thinking and didn’t pander to big-name headliners or mainstream attractions. Within a limited scope of electronic genres, the lineup still reached out to underground music lovers with a taste for the deeper side of life, whether it be coloured by techno, drum n bass, UK house, or more experimental beats.
Photo credits: Here & Now
Although boasting over 64 artists performing over four days, Echo Festival still remained a toddler of a festival, with around only 600 weekend revellers in attendance alongside some several hundred Croatians and other locals buying day-tickets. This is anything but a fundamental negative; the intimacy was obviously a huge bonus for people averse to 45-minute treks across festival terrain, long queues for stages, or constant battles for dancing space/a view of the artist. In essence, the fact that Echo is small and new was both a virtue to be celebrated as well as an factor behind some of its weaknesses. This little paradigm makes an objective analysis very difficult: yes, there were flaws and definite room for improvement...but it was still one of the best four days of my life, and perhaps the most perfect way imaginable to begin summer 2013!
Much to my surprise, getting transport from the airport (Venice Treviso) to site in Kanegra, in the North Eastern part of Croatia, was largely a hassle-free affair: the Echo transfer coach arrived quickly after our flight landed and I was able to buy one of the spare seats available on it. Even if I hadn’t, getting to the site via public transport would have been simple enough, perhaps even slightly cheaper than using the festival’s organised transfers (approx £50 for a return ticket).
Photo credits: Here & Now
The calling-card for all Croatian festivals is the beautiful landscape, clear blue seas and hot climate. On this point, Echo definitely fulfilled all expectations! Set in a kind of holiday resort, ‘Kanegra Apartments’, there was no camping on site but rather a selection of basic but comfortable chalets, which formed a large sprawling village amongst forest-y areas just back from the beach. This format worked amazingly for me: with every chalet having to stay a minimum of five days, a community atmosphere developed on site within a day or two after everyone made friends with neighbouring apartments and had the comfort and space to invite people round for drinks, dinner or whatever floated their boat. Unlike a lot of other Croatian festivals where the majority of people camp, and some choose to stay far off site in private apartments, at Echo EVERYONE (including festival staff) was together in equal comfort and luxury. Plus, who doesn’t love a good afterparty in the comfort of four walls! Proper family vibes.
With only three stages in total, and only two of them operating at any one time, there wasn’t a huge amount of choice artist-wise – especially in the day, with the smallest stage ‘Coco Bar’ having no one substantial booked to play. Nevertheless, the music that was on offer was almost always of high quality, and it was genuinely freeing not to worry that I was always missing something on another stage and to wander off on my own adventures and still be able to find people.
When the beats finally did come-a-pounding on Thursday afternoon, Echo’s friendly resident DJs opened up the festivities with the bass-driven house so widely loved in the UK at the moment, with some disco-infused funk, and a sprinkling of grime and carnival bashment. The London/Brighton/Bristol heads were clearly out in force and everyone was loving it! But it was later on in the evening, when the Field Stage opened at 7pm, that the party really started and on Thursday it was unquestionably dominated by Well Rounded Record’s invasion of the ‘Field Stage’. With energies still soaring from first-day excitement, the area quickly packed out with xxxy jumping on stage for an impromptu b2b set with James Fox, before the rest of Donga’s Well Rounded crew (Lakosa and xxxy standing out as definite highlights) carried the vibe along. The whole lineup was a seriously impressive showcase of the kind of alternative 4/4 sounds that Well Rounded is increasingly known for: textured house and driving techno mutations all amassed together to produce unadulterated party music.
Photo credits: Here & Now
Leaving the main stage in order to catch Christopher Rau, I stumbled through the blackness towards the beach just as the man himself stepped up to the platter and proceeded to spend the next hour or so mesmerised by his signature blend of sophisticated house and techno. He was clearly having fun, toying with the crowd: a wry smile escaped him as he dropped Hrdvision’s cracked out rethink of Call Me Maybe, and I looked around the beach, revelling in that magical feeling of unity when the crowd and DJ really are feeding off each other. Shortly after leaving, rumours went around that the stage had shut, cutting his set short for reasons unknown at the time…a real shame as he was without a doubt a highlight.
From a subjective point of view, Echo Festival was in many ways a perfect balance between a holiday and a festival...you never felt pushed to search endlessly for the next vibe, the next upper, the next hectic body torment. This meant that on the afternoon of the second day, we had plenty of hours to soak up the sun and recover from the energy and hype of the previous evening – soundtracked to the tech stylings of Rejam, Onirik and Pablo Tarno (listen to a live recording of the last hour of their 3hr b2b set below!), to the likes of Brighton’s own Lorca on the Beach Stage, from where you could see the coast of Slovenia in the distance.
Listen to the last hour of Onirik b2b Pablo Tarno @ Echo Festival exclusively on MEOKO
The main highlights, however, came from the early morning sets from Davide Squillace on the main stage, and then South London Ordnance down on the beach. Both artists, in their own separate ways, threw themselves into energetic and exciting sets, garnering a response from the Echo crowd that was equally spirited even if numbers were low, such as on the beach stage during SLO. That was the beautiful thing about being at Echo: unlike at so many other festivals where the DJ booth seems so far away, the artist was right there in front of you and the relationship they had with the crowd was clear for all to see.
Photo credits: Here & Now
One of the most excitingly programmed days, the Saturday took a surprisingly long time to rev up; one of the consequences of such a small festival is that when everyone is exhausted after two days of partying, it becomes apparent to the whole collective. However, we were also blessed on the third evening by a strong presence of local Croatians and Slovenians, attracted by the prominent house and techno lineup on offer and the site became evidently busier and bustlier then ever before. Any lagging spirits were soon banished from the site, with the closing sets on the Field stage from none other than Magda and Nick Hoppner, both of them solidly living up to their reputations with two of the most inspiring techno sets I've ever seen. Magda's driving techno and tribal mutations injected an unmatchable energy into the crowd, almost as if she was personally feeding each and every one of us with her own homemade beat-soup to bring us back to life. After rejuvenating our souls, she passed on the baton to Nick Hoppner who only took us higher, blowing our minds with THE most perfect sunrise set of house, disco, funk, and so much more. The atmosphere was summed up when some of the festival congregated back in one of the apartments for a surprise afterparty hosted by Toi.Toi, with Nick Hoppner sitting on his 'throne' outside in the sun with people swaming round him, still buzzing from his performance only an hour before.
Unfortunately, the Sunday evening was dampened by the torrential rain that began to pour down as the evening properly got started. As a result the Toi.Toi.Musik takeover on the Beach Stage was closed early due to heavy rain and wind posing a danger to the equipment and the crowd, and both Anthea and John Roberts were unable to perform their sets. The strict alcohol regulations that were in place on the site, and the news that a lot of people had been carted off by police over the weekend due to posession of substances (they were allowed to return with their passports once paying a fine of up to 200 euros), also proved to be a bit of a downer. Amalgamated together, these elements seemed to encourage a lot of the festival to choose their dry apartments over the soggy outside and the site was noticeably quiet, although the drum n bass heads were characteristically determined and kept the vibe going strong on the main stage.
After the rain finally desisted, we headed down to see Synkro for the closing set of the whole festival. At first, the harder, dubstep character of his set was a massive disappointment, as I definitely would have preferred the euphoric disco that had closed the main stage the evening before. But, Synkro is reknowned for diversity and he soon delivered on that front, coming correct with energetic 4/4 hybrid sounds from the 'UK bass' scene and finishing with this atmospheric song from Boards of Canada, that brought together the whole crowd beautifully!
With such a beautiful location and one of the friendliest crowds I've ever come across, Echo was an experience like no other. Small enough to feel like one big family, but still big enough to meet new people every day, it offers the perfect antidote to the usual British festival format and this was hugely refreshing. Arguably, it was just music and beach and therefore there was little in the way of daytime activities, but most of my group were in agreement that this kind of relaxed atmosphere was exactly what the doctor ordered. This and the countless musical highlights outweighed some of Echo's operational shortcomings, such as the sometimes-dodgy soundsystem on the Beach Stage, the fact they hadn't sufficiently prepared for rain, and the lack of site decor and production. The prominent security presence was definitely an unfortunate situation, but one that seems to be common amongst Croatian festivals and probably a difficult one to prevent in the future. Due to the festival's intimacy, these small problems were probably more obvious even to the less discerning eye, but ultimately they were never important enough to ruin the overwhelming atmosphere and the weekend in general.
From a punter's perspective, Echo was a resounding success and I would recommend it to anyone who loves a festival for its community spirit over its busy schedule, who thrives off interesting musical showcases rather than headlining artists, and who wants to leave remembering the people, the scenery, and the atmosphere rather than how wasted they were...or not remembering at all.
Alex Arnout’s ‘Dogmatik’ imprint has built up a solid reputation since its inception in 2006, featuring the likes of Maya Jane Coles, Dusky, and Bubba. For their 9th instalment they’ve called upon the services of Samu.l, a young British producer who has been making waves with a string of powerful releases on Fuse, One Records an Baalsaal to name a few.
Kicking things off is ‘Have it Like That’ - a weighty cut, stripped down to the bones. There’s no need to complicate things; the depth of a brooding bass line that sulks around the beat does well to compliment processed vocal chops, sure to melt a few brains on the dance floor. There’s little doubt that what gives his productions kick is not so much in the melody but in the texture: buttery smooth yet forceful all at once. ‘In the Clouds’ carries things forward in a similar vein, with a clap sequence reminiscent of last year’s weapon ‘Party Non Stop’, but oozing with that stripped down sleaze we’ve come to recognise, and coloured with sparse vocal interjections.
‘Look Around’ comes as a surprise on the flip, as he chooses to regiment this cut with none of the shuffle encompassed in the first two. The resulting backbone is a little more regimented… more robotic, and rather it’s effects that give the track its bounce as they spring around the spectrum. Title track ‘People are Sleeping’ utilises a concoction of heavily filtered effects side chained to the kick and super tight snares, resulting in an urgency that make it impossible to relax, let alone sleep – not that it’s a bad thing.
It’s another promising EP, demonstrating further evidence that we’ll be hearing a lot more from this man in the future. Four punchy tools to kick a set into gear… keep this at the front of your bag.
Samu.l’s ‘People Are Sleeping’ EP is out on Dogmatik Digital 28th June 2013.
Patiently sitting at the bar in Plastic People on a Thursday night at 8pm waiting for Carl to arrive, he manages to surprise us all when he casually and unexpectedly slides in, dressed inconspicuously but elegantly in a black leather jacket, black jeans, black tee and his trademark black shades.
We are supposedly here to talk about Carl’s latest project, a 3CD compilation entitled Masterpiece coming out on Ministry of Sound, but Carl has other ideas, and would rather talk about girls, Seth Troxler’s apparent hiring of a dwarf as his tour manager and anything but himself. Nonetheless, we are here to talk business, and Carl Craig is a man who takes his work very seriously, so after the initial ice-breaking chat, we get down to talking about his “Masterpiece”, a term he is quick to point out does not sit comfortably with him.
Ministry of Sound's Masterpiece series has so far produced a collection of mixes that are considered timeless by many. With dance music luminaries such as Andrew Weatherall, Gilles Peterson, Fabio & Grooverider and Francois K, among others, taking the Masterpiece concept and curating seminal mix compilations. For their latest instalment, Ministry of Sound have employed the services of a Techno leviathan, a man who hails from the Mecca of Techno, Detroit, and someone who not only grew up with the sound but is considered to be one of the foremost pioneers of the genre, a Grammy-nominated visionary and an artist who has consistently pushed the envelope when it comes to making and performing electronic music.
The concept behind the compilation is simple; it features a mix of what Carl is currently listening and playing, another of what he’s been inspired by and a third disc of entirely new music. Truly an exciting prospect when you consider Carl’s history, his A&Ring for Planet-E and his dynamic DJ sets.
"It’s a loaded project", Carl tells us when we try and fathom the scale of such a task and the time it must have taken to sift through and select particular works from a career spanning over twenty years. We learn of the administrative and legal hurdles implicit in such a project, from licensing issues of tracks now owned by major record labels (Warner, Sony…) in the global digital age to being constantly hounded by copyright police. Having grown up during the golden age of radio, such issues are the modern day realities confronting a man who fondly recalls making his first mixes recording songs straight off of local soul, funk and jazz radio stations with a cassette player. Growing up listening to such a rich and wide variety of freely available music on the radio from the likes of Steely Dan, Hall & Oates and Frank Zappa is undoubtedly what makes Carl Craig such an interesting and eclectic musician and this relationship growing up with radio is reflected in his approach to creating Masterpiece.
"Even though all of my professional career I’ve been travelling around the world and my scope of music is very global, how I listen to music is still very rooted to how I listen to radio, how it is now, and how it was in Detroit when I was growing up."
If there is one thing we have come to expect from Carl Craig, it is the unexpected, the one constant: change. Over the years and under various guises, he has produced works that have redefined our concept of what techno is, from ‘Bug in the Bassbin’ to Innerzone Orchestr to his collaborations with Moritz Von Ozwald and Francesco Tristano. Masterpiece, in this sense is no different.
"From the beginning I always had the concept of doing something that wasn’t the same…even as a kid I wasn’t locked in to the regimented, same, shit."
Not to say that he doesn’t have his critics: those he claims lock themselves in to a particular mix, or set, or even period of his career and are disappointed when what is delivered is not what they sought. Or those that point the finger at him and call him a fake for the fact he no longer plays vinyl, preferring instead to opt for the use of Traktor and CDs, due to the endless possibilities it opens up. It is in these endless possibilities where Carl Craig feels most at home, where he can take something, restrict it a bit more, only to push it further and open it up again, describing his methods with the vivid imagery of driving through a tree lined avenue which opens up into a wide open valley, at which point, he hits on the gas. "My life is all improvisation", he exclaims, "when I am in the booth I am channelling what I do in the studio".
The highlight of Masterpiece is undoubtedly CD3, entitled ‘Meditation’ and described as a ‘modular synth jam’. It is typically Carl Craig. Inspired by old recordings of Tibetan bowls, which he still listens to frequently in order to retune his mind and ears and as a sort of healing process for the acute tinnitus that he has suffered from all his life, it is both a spiritual and intellectual journey going beyond the dance floor and deep into the mind of the man that is Carl Craig, through past and present inspirations.
‘Masterpiece’ 3 x CD Box-Set Created by Carl Craig is released June 24th on Ministry of Sound
Words by Bj Daly
Juan Atkins & Moritz Von OswaldBorderlandTresor LP
The latest offering from Tresor Records is pretty special to say the least. ‘Borderland’ showcases eight soundscapes crafted by two of names that have been at the forefront of electronic music for decades now. Juan Atkins - who helped define techno itself in Detroit alongside Derrick May and Kevin Saunderson, joins forces with Moritz von Oswald- one of the most influential German innovators of the 1990s, to form one of the most highly anticipated albums of the year. Recorded over various studio sessions in Berlin, the album will be released in a series of 12” as well as a CD album, coupled with a live show debut at MUTEK this year.
The duo gently eases you into their world with ‘Electric Garden (Deep Jazz In The Garden Mix)’. A meditative introduction, von Oswald’s dubbed out character forms a dense mist before the sound of a drum machine burns through, every delicate sound carefully considered. Uncluttered and unrushed, we traverse into ‘Electric Dub’ after just over ten minutes, the horns still resonating as though being carried in the wind. ‘Footprints’ shows a change in character, with the air of ambience overpowered ever so slightly courtesy of Atkins style percussion, almost tripping over itself as we begin to gain momentum. The third appearance of ‘Electric Garden’ – this time the original mix – takes us right back into the misty, ethereal atmosphere that is now so familiar, with what is both the longest and the most straight forward of the interpretations.
The remainder of the album is unquestionably more dance floor orientated. ‘Treehouse’ encompasses many of Juan Atkins’ characteristics, with dancing synth melodies playing off slowly evolving chords. ‘Mars Garden’ – as the title might suggest – gives our garden an otherworldly tint, with distorted synths seasoning the landscape alongside metallic percussion. This gives way to ‘Digital Forest’, the fastest cut on the album with bags of Detroit flavour working with dub-techno pads and stabs in a way that invites both producers styles to shine through equally well, before ‘Afterlude’ closes the album with a fitting example of melancholic ambiance that leaves a lasting impression.
It’s a strikingly impressive fusion of melody and rhythm. An abundance of space allows every sound to shine through and be appreciated individually, yet subtle craftsmanship from both Juan Atkins and Moritz von Oswald ensures your attention through a constant flow of subtle yet cunning revisions throughout.
Released: 10th June 2013
No Artificial Colours are Lewis Wright and Ryan Ellis, the production duo originating from South East London, where they became friends after consistently being booked to play at the same gigs. The forward thinking twosome have been at the forefront of the deep house scene both in the UK and internationally in recent years, and have released on a string of acclaimed labels including Nurvous, Akbal, petFood, Sleazy Deep and most recently, their irresistible 'Crying Wolf' EP featuring vocalist Alex Mills (of Miguel Campbell’s 'Something Special'…) on none other than Kerri Chandler’s Madtech imprint. Last year saw them found their own label, SinQ Records and with more ambitious plans on the horizon and amidst the hype over their recent EP, we manage to hustle ourselves into their already busy agenda for some not-so-serious chat...
When I get up in the morning I....
Ryan: Wonder why Lewis calls me so early.
Lewis: Call Ryan
My all time favourite cheesy record...
Ryan: Steve Winwood – Higher love Lewis: Cyndi Lauper - Girls just wanna have fun
As a kid I wanted to grow up to be...
Ryan: A pilot. Lewis: A football coach!
Being part of a DJ duo is great because...
Ryan: Always have a travel buddy! Lewis: There is someone to take over the decks when I need to go to the toilet...
Best song for those 6am afterparties...
R: Chaka khan – Aint Nobody
L: Angie Stone – Wish I Didn’t Miss You
Lewis: Queues, queues, queues...
R: Mean fresh sheets....mmmm L: Sleep!
My hangover/jetlag/post-gig cure...
R: Berocca baby!
Artist I would love to collaborate with...
DJ I would love to mix out with...
L: Damian Lazarus
L: I am gonna enjoy hugely!
MEOKO has been digging deep to bring you the best in up and coming brands and designers for the coolest unique creations out there. Each brand representing positivity, creativity and a fun and friendly vibe, to tie in with what we stand for here at MEOKO. Over the coming weeks we’ll be presenting some our favourites, as well as some fresh undiscovered talents for you to feast your eyes over.
Our most recent Hidden Treasure quest has taken us underground in more ways than one. For this next instalment in the series we bring you Done London (www.donelondon.co.uk) underground street wear inspired by the underground.
Whichever tube line you ride to take your ass across London chances are Done London has a creative tee that's been inspired by it. Whether it's the Maze-like motif featured on the platform at Warren street station or the tribal esc seat designs you park your posteriors on the Victoria line, all of Done London's creations are inspired in one way or another by the transport network most Londoners come into contact with on a daily basis - the underground.
The brand came about in 2011 when designer Will Rowley-Conwy started screen printing his own North and Southbound tees . After getting such a positive response, his love for the underground inspired him to continue to look towards it for more t-shirt design inspiration, shortly after Graffiti shop 'Chrome & Black' offered to stock them.' I didn't have much time to come up with a name, my mate was saying 'You need to get this Done' - that's where the name came from, I also felt that everything had been done before so it kinda worked like that too'. So with that Done London was born.
Done London is run by designer Will and his partner Tom Andrews who joined forces with him this year and with his added support has allowed the brand to grow meaning the duo can design more complex prints now there's more man power to do the printing. All of their tees are hand screen printed at their studio in South East London and limited to 50 pieces of each design making them extra special and pretty limited edition so if you want one better get in there pronto!
If you want to get your hands on our own tees Done London will be joining us as one of our featured street wear brands at The MEOKO Project on 28th June at Village underground. They also plan to host a pop up shop at Boxpark towards the end of the summer and will be launching a new collection soon so watch this space.
Done London has offered up a selection of goodies for you lucky MEOKO readers -1 sweatshirt, 2 tshirts of your choice, and 2 numbered limited edition prints. To be in with a chance of winning simply email us at
with 'I am DONE' in the title. Winner to be announced end of July, Good Luck!
Visit Done London Website
Like Done London on Facebook
Follow Done London On Twitter
MEOKO Project tickets and Info here
By James Ellis
Parisian beat junkies Dan Ghenacia, Dyed Soundorom and Shonky were born to get your body moving. As individual DJs, they have over twenty-three years combined experience shaking the walls of the best clubs in the world, and since coming together to form Apollonia have been in constant demand for their unmistakable fusion of – as they put it – ‘white soul meeting black music’. Originally meeting at one of Ghenacia’s famous Sunday afterhours parties over ten years ago, the trio have been working and partying together ever since, so their coming together to form the label just felt like a natural progression. Their latest ode comes in the form of their contribution for fabric’s acclaimed compilation series, marking its 70th addition, where they neatly package their sound into 80 minutes of pumping house music, letting you know just why they’re one of the country’s finest exports.
Easing you into the mix is El Provost feat D.Ham with a track called ‘Allez Ally’, whose eerie steel drums initially throw you off, although it doesn’t take long before a super low-slung beat is laid down, warming listeners up nicely for the party about to unfold. From that moment on, it’s show time. With never a dull moment, the trio transport you to the dance floor with a potency that rivals any of the previous mixes in the series, effortlessly blending their trademark mixture of house and techno. Their synergy is emulated in the track selection. Twisting and turning, they flirt between old and new, from the 90s sounds of Nail and Mood II Swing, to fresh heat from The Mole, as well as two new cuts from the boys themselves, ‘Trinidad’ and ‘Visa American’, which are forthcoming on their label. Special mention goes to Funk E’s ‘Masa de Fatza’, which packs a tonne of groove with its complex rhythms, before Callisto’s ‘Need Ur Love’ closes the mix - paying tribute to his recent passing.
"We don't play like a usual back to back - where you can recognize who is playing what - we have a unity, much like that of a band... There is a point when we have played together after three or four hours and we no longer feel the time... it's almost meditation."- Apollonia
As meditative as it may feel for the trio, it has the opposite effect upon the listener, where the abundance of soul infused grooves they throw down provides the perfect soundtrack as we approach summer.
To win your very own copy of fabric 70 on CD then all you have to do is email us at
with FABRIC 70 in the subject title. Simples.
The competition closes on Tuesday 18th June and the winner will be chosen at random after then. Good luck!
MEOKO has been digging deep to bring you the best in up and coming brands and designers for the coolest unique creations out there. Each brand representing positivity, creativity and a fun and friendly vibe, to tie in with what we stand for here at MEOKO. Over the coming weeks we’ll be presenting some our favourites, as well as some fresh undiscovered talents for you to feast your eyes over.
For this next episode of Hidden Treasures, MEOKO has discovered a rarity that was born out of an inspirational response to the bold, colourful aesthetic found on social networking sites. These 3D-esque designs by In Real Life London aka IRL LDN (inrealifelondon.com) are dazzlingly unique, and are destined to adorn dancefloor trendsetters worldwide. Designer, Cornelia Van Rijwijk, is a digital design whizz kid, who decided to embark on her fashion journey after studying in London by putting her design skills to good use. The result is a line of bold and eye-catching prints, which she sees as '3D wearable art'.
Van Rijwijk’s creations blur the lines between the digital and the material, the virtual and the tangible. As she says herself: “The internet is IRL LDN's home, and exists online, it is only through the clothes being worn that the URL/IRL break is made and the brand can be worn on the streets of the world in real life”. If you DO want to catch IRL LDN in real life then you can see them showcase their creations at the ‘pop-up streetwear market’ at our upcoming event, The MEOKO Project on 28th June, where this brand amongst many other club and festival-ready clothing labels will have a stall!
IRL LDN is superbly different, with an array of collections that feature statement prints such as magical tridents, multicoloured dice, colourful peacocks and lotus flowers to name just a few. In Real Life London also produce printed T-shirts, embroidered hats and limited edition, handmade pieces. These creations are digitally printed and the fabric hand-sewn in the studio giving them that extra bit of TLC! IRL LDN will be releasing their next collection (SS-2014) at the end of August 2013, which will feature a toned down collection introducing completely new digitally printed fabrics which may even feature some ladies swimwear!
In Real Life LDN has offered up a rather stunning 'Envy of Hera' Limited edition tee (Pictured above) RRP £130. To be in with a chance of getting your hands on it simply email us at
Music Through Pictures is a new interview series, in which MEOKO gives an artist nine images and asks for nine corresponding songs in return. We're hoping this can highlightsthe relationship between art, sound, images and music, whilst at the same time gaining a fun insight into the musical minds of some of our favourite DJs and producers...
As a DJ and producer he’s been topping charts since 2001, collaborating with everyone from Carl Cox to Derrick Carter, and electrifying dance floors across the world, whether at his residency at Space in Ibiza or Warung Beach Club in Brazil. As a promoter and label owner, Yousef has developed Circus Recordings into one of the most revered brands in the scene, playing host to Sven Vath, Richie Hawtin, Loco Dice and Adam Beyer as well as unearthing fresh talent including Seth Troxler, Maya Jane Coles and Jamie Jones, helping to push them into the limelight. Yousef’s accomplishments alone and speak volumes of his long-standing love affair with electronic music. Let’s see how he got on with our pictures!
June is an exciting time of year if you’re in Barcelona. With the worlds best DJs and promoters flocking to the city for Sonar, the bar is set incredibly high due to the nigh on infinite choice of parties going on. It’s great news for the crowds, but for promoters it can pose a problem, as they need to really have an edge over the competition. Despite this, the makers behind ‘Just Wax’ are feeling confident. On the 14th and 15th June, they’ve have joined forces with ‘Return’ and ‘Fathers & Sons’, putting together two line-ups at Up and Down that will put the rest of the city to shame.
Dubbed OFF:WAX, Friday sees the likes of Ricardo Villalobos, Zip, Sonja Moonear, Margaret Dygas, Soul Capsule and Baby Ford come down for what will no doubt be a night of minimal magic, hosted by the Return crew. The fun doesn’t end there, as the following night Fathers & Sons have put together a monster line up as part of their anniversary tour. Julian Perez, Livio & Roby and S.A.M will join heavyweights Radioslave, Tobi Neumann and Boris Werner for exclusive sets. As well as the aforementioned, they are to welcome down some of the most prolific female DJs in the game, with tINI and good friend Anthea making appearances, alongside the enigmatic Dasha Redkina and Nastia. Completing the line up is Bill Patrick, in addition to Ryan Crosson and Ceaser Merveille, who together have been taking things to a whole new level with their Merveille & Crosson project this year. Here at MEOKO, we’ve been lucky enough to get hold of an exclusive recording from one of Dasha Redkina’s sets, which you can listen to here:
Following the response after these announcements, both events are no doubt set to be roadblocks, but you can grab tickets and join the event now via the links below:
We’ve teamed up with OFF:WAX to give you the chance to win two tickets to the Saturday event! All you have to do is post your favourite track on the Facebook wall below, then email us with ‘OFF:WAX’, followed by your name, to:
It has been a relatively bleak past twelve months for the UK’s events and festival industry. Despite a booming electronic music scene throughout the country and a huge export market for independent and underground producers/labels, many promoters have seemingly struggled to keep afloat in a rapidly changing and over-saturated market. Ironically, as the market for electronic music extravaganza expands, events that might seem part of the dance music fabric are fighting to get numbers whilst newer events disappear as quickly as they emerged. Probably the most memorable example of this was the early closing of Bloc festival in July 2012, after it relocated from its previous home in Minehead to the London Pleasure Gardens. But in reality the past year has been scattered with the casualities of floundering festivals: The Big Chill, All Tomorrow's Parties, Sonisphere, Underage Festival and so on.
For these reasons, I had looked upon the emergence of the new 15,000 capacity, one-day festival We Are FSTVL with a great deal of hesitance. Even beyond the promotional tactics verging on spamming (how did they even get my mobile number?), and the dubious merchandising (ESX BOY/ESX GIRL t-shirts paired with culturally-appropriated headwear...?), I was just worried that a lack of experience and planning, a hyped-up crowd and a bit of bad luck would inevitably make the festival’s debut another BLOC-like flop.
This being said, We Are FSTVL actually exceeded most, if not all, of my expectations! Of course there were a few creases that will need to be ironed out, some of these more serious than others, but as a whole the festival was obviously well-organised and properly thought through. A post-festival announcement declared it took three years of planning, and I think this shone through decisively (as did the sun, much to the organisers' relief I'm sure!) despite some teething problems, and for this I congratulate them. The sheer number of stages and music venues on site was seriously impressive, but even more so was their well-considered production, with unique themes, innovative structures and relatively good sound throughout. From the small, beach-themed site of secretsundaze, to Defected’s inflatable dance igloo – there were definitely some awesome places to get down in. But with so many venues, labels and collectives to choose from, it was impossible to experience everything and so I've outlined my own personal ‘high points’ and ‘low points’ of the festival , from what I managed to fit in and considering we left at 11.30pm shortly after the main stage shut and to avoid the inevitable madness of getting home when everyone else wanted to!
HIGH POINT – Kehakuma Inside tent
Inside the Kehakuma tent was some of the best music I heard all day, which was perhaps to be expected with Davide Squillace, Matthias Tanzmann, and DJ Sneak amongst the roster. One small downfall was the layout of the stage, it was absolutely impossible to see who was behind the decks, making it difficult to connect with the person bringing all the bangers let alone trying to work out who it was. For instance, I just had to assume it was Squillace who brought the track below back into my life...
LOW POINT – Bars
A 15,000 capacity event was destined to have problems with the bars during its inaugural event - it's probably something like a rite of passage. The bars were understaffed, the queues were long, and the tokens were hilariously small. But most astonishingly was the fact they started running low on alcohol at around 8pm and punters were left to come up with their own cocktail concoctions, consisting of whatever spirit they had left and Pussy energy drink, lest they be left with the only other drink well-stocked: Tuborg.
HIGH POINT – Mulletover
From what I saw, the Mulletover stage was packed from front to back with unadulterated vibes all day. Despite being one of the smaller stages, the crowd was spilling out of the 'crop circle'-themed tent and was backed up by the bar. The music, the DJs, and the crowd made it the most ‘festival-y’ stage on site: sometimes house and techno, so often experienced in dark warehouses and underground basements, seem oddly placed at music festivals with their outdoor spaces, big stages and poor-quality sound. But Mulletover represented everything a house festival should be about: mid-afternoon skanking, hands-in-the-air anthems, and Kerri Chandler standing in a spaceship, mouth to wax, singing into his vinyl.
LOW POINT – VIP area
However much I may dislike the influx of Ibiza-style VIP areas into UK festivals, I would still have been pretty peeved at how un-special this whole area turned out to be. It was essentially just another place to keep the crowds, and there wasn't really much that was 'very important' about it apart from nice toilets and a moderately less busy bar (which still ran out of alcohol, anyway). It seemed as though 90% of the festival had VIP wristbands, and I even read rumours that people were allowed to upgrade to VIP on the day for free. Saying that, the little rave tent in the corner had some very strong vibes, in spite of some semi-questionable mixing.
LOW POINT – Main stage closing at 10pm
In what I can only assume was a local council issue, the main We Are FSTVL stage shut down at 10PM, leaving in it’s wake a larger part of the site empty, strewn with paper and plastic remnants of good times once had, and increasingly trampled on by security guards and trash-pickers resembling hungry crows leering over the carcuses of our buzz. Essentially, we stumbled out of the VIP arena expecting to become a part of the Villalobos multitude, and instead witnessed this terrifying sight and felt a collective despair that just couldn’t be redeemed afterwards. Note to We Are FSTVL: next year please provide some sort of vague timings pre-event so that we don’t end up in this position again!
HIGH POINT – Festival site
Despite some hiccups and teething problems, the aesthetic and layout of the festival site was hugely impressive, especially the main stage, which was pretty bleedin' epic. It was clear the organisers and designers had put a lot of effort in to packing all the visual elements of a larger, 3-day festival into a 1-day experience. This isn't to say there was an abundance of non-musical entertainment, but there was enough to distractt the eyes while meandering between the array of amazing venues and stages. For a festival with so many punters there were always going to be lots of queues, but when it came down to toilets, food and space to dance, there was ample to satisfy my needs!
Essentially, We Are FSTVL far exceeded my expectations and proved to be definitely worthy of the excitement and hype that surrounded it. Personally, I don't think this was an easy feat considering the day-festival format, the Upminster location, and the crowd...it took more than just beginner's luck and the organisers should be massively proud that their hard work paid off. I'm confident that We Are FSTVL will return next year and be equally as successful, if not better when they learn from and improve on the mistakes of this year!
Words by Becky Amoi
Photo credits: Paul Underhill
‘Golden Age Thinking’ is the debut album by Two Armadillos – a duo made up of good friends Giles Smith and Martin Dawson. Whilst in Berlin, they wrote the original nine tracks over a few weeks in 2011, and after some deliberation, decided to release the tracks on their own self-titled imprint. Released as a three part EP series that was spread out over 2012, the concept was to structure each segment with one dance floor orientated track followed by two laid back offerings, so as to ultimately create an LP with the sort of depth and variety which would stand the test of time.
Upon their release, tracks like ‘Theme’ almost instantly became a staple in record bags worldwide, with its hypnotic automation and alluring vocal hook captivating crowds universally. So too did ‘Phantom’; a relentless techno cut that somehow manages to retain the essence of dreamy nostalgia which characterises the armadillo alias. Amongst the more laid back efforts were also some real gems. ‘A Walk in the Park’ radiates the sort of nonchalance that only a jazzy double bass can, whilst ‘These Feelings’ utilises a similar set of tools, but in a way that instead draws you deep within yourself through its lingering notes and icy bright reverb. Shortly after the warm reception of what was originally intended to be the third and final instalment of the LP, Martin Dawson tragically and unexpectedly passed away following a brain aneurism - a loss felt deeply throughout the world.
Eight months on, the full album is to be released this June as what feels like a poignant tribute to his name. All nine previously released tracks are featured, as well as three more exclusive tracks that are previously unheard, and which will also see a 12” release, just as the others have. The first of the new tracks to feature is ‘Black Dahlia’; a slow building fusion of percussion and warm soulful chords, fattened up with a playful acid bassline. ‘Roller Skate’ has a real live analogue feel, with an acid drenched arp bass dancing in circles around signature rhodes chords –an unreleased favourite from their live set. The third exclusive track, entitled ‘Floating Fast’, is perhaps my overall favourite from the release thanks to the dazzling combination of pacy, brushed hi-hats shuffling over the top of long ethereal pads, an unlikely marriage that fuses together perfectly. Once again, the pair demonstrates the ability to reach a depth unattainable by many, using their proven recipe of gorgeous chords augmented with intricate percussion, mixed down with the kind of quality which comes only after years of dedication. They complete the album perfectly to form a collection of twelve stirring pieces of music that linger long after the final note.
Available as a digital download on 6th June 2013.
Full Album Tracklist:
A Walk in The Park (4:51)
Black Dahlia (Exclusive / new) (7:04)
Roller Skate (Exclusive / new) (7:06)
Floating Fast (Exclusive / new (7:05)
Detroit Dancer (6:20)
These Feelings (7:12)
Another One For Larry (8:48)
Previews for EP 4:
Anthea is fast becoming one of the most in-demand female DJs around the globe, and for good reason. With releases on Phonica Records, Freak n Chic, Cecille and Desolat, her unmistakable brand of groove ridden deep house has torn up some of the world’s most hallowed dance floors. Alongside her solo career, she has collaborated with an extensive range of underground heroes as both a vocalist and producer, working with the likes of Guti, Alex Cellar and Subb-An to name a few.
Now one third of the fast growing Brouqade Records (alongside Dana Rah and Ann M Cazel), she now resides in Berlin, taking her 15 years of experience in the industry and utilising her keen ear for quality to scope out fresh talent for the imprint. We caught up with the enigmatic producer to find out a little more about her history, influences, and plans as we approach summer… as well as inviting her to contribute to our mix series, providing the 81st instalment which we proudly present below:
Hello Anthea, thanks for having us . How is everything going ? Are you in Berlin at the moment ? Hello Denny! Yes things are good, and getting better all the time! This has been my motto for over five years now, and its what I see everyday... I just finished my second winter here in Berlin, and wow I made it! Long days and nights at studio weren’t that bad actually, and yeah just settling in with spring now. Your name is intriguing - can you give us some more background on this? Well my name apparently is Greek and it means flowers or blossom. It's weird cause my mother is half Portuguese/half Caribbean, and my father Nigerian… but they didn't find a name from their culture but Greek. Oh well! How would you pinpoint your sound? What have been your influences musically? I would say my sound is based around deep house and techno but I have a kind of dubby groove. My influences are the music I listened to growing up; lots of Latin jazz, jazz, reggae and then ragga, hardcore, garage, R'N'B in my teens.... I guess the right mood of a track and a good bassline are my main drivers when I pick a track, lots of swing too and I'm happy.
I've seen your upcoming gigs for the summer season and it seems that you're going to spend lots of time in Ibiza. Carl Cox, Loco Dice ,"tiNi and the gang" have all announced their complete season line-up, and your name is everywhere! Due to your heavy touring schedule, have you thought about moving there for the season? How is this summer going to be for you? What are your plans? Yes I have some great gigs this year in Ibiza, really happy to be involved with Coxieee and Dice (my heroes), and also playing as mentioned alongside my lovely friend tINI. I remember her first season of tINI and the gang, and its really gone from strength to strength. Her line up is really strong this year, and I’m happy to be a part of it. I plan to enjoy the Berlin summer and Ibiza season - best of both worlds. Berlin is awesome here in the summer; it is one of the greenest cities in EUROPE... You have been "rocking" some of the best clubs in the world during 2013 and your name appears in lots of festivals as well! What do you prefer though? What differs between clubs and festivals when you perform? I guess the main difference between festivals and clubs is the indoor/outdoor thing, as well as size. The theory is that the more people, the tougher you need to play… but I was blessed this year as for the festivals I did, they booked deep artists and wanted that sound too. Also a bit of sunshine always helps!!! I do change my sets a little for the size of the crowd; certain tracks only work in small clubs anyways and vice versa. As a Greek myself I couldn't help noticing that you have a special relationship with Greek people! Couple of months ago you performed at the semi-capital Thessaloniki and on the 8th of June you will be performing at Hoxton Basement for Rerite with a full Greek line up. What are your thoughts about the Greek underground scene and artists? Well a lot of my very close friends in and out of the music industry are Greeks somehow! Seems I have a kind of affinity with them, even though still can’t speak the language, must be my name! I have to say I don't have a particular view on Greek artists, they are the same to me as any other artists, I either enjoy the music or I don't... The music we share surpasses any boundaries but all the Greek producers I know personally are fierce!!!!
What I will say is that I see very big similarities in the male role in Nigerian and Greek families, and also the way in which discussions are had; the loudness, the opinions and the philosophy all remind me so much of my fathers side of the family.I tell Alex Celler he is the original 'Nigerian Greek', anyone who hears him play cannot tell me he ain't got the tribal SWANG!!!! We speak often about creating a new pseudonym - the GRECO NIGERIAN ALLIANCE! …Makes us laugh anyway…
I’m sure you’ve met so many people during your music journey through the years , who has most impacted your life in a positive way? You want a list??? Ufff too many to list here really... I've been so blessed, as most of the people in the music industry (which I've spent more than a club night with) have impacted me in some way. There have been some amazing people in this industry, as well as some bad eggs… they both help. As Brouqade's A&R what do you look for in tracks to be considered for release on the label? Any productions coming up in the pipeline? Well the main thing (and I guess this is the same with any label) is to have music that touches you, but we also think about signing artists that we can see a future with – and not just a hit record. Of course we want both, but the most important thing for us at Brouqade is who is making the music, as well as the music itself. Next few releases are exciting! We have Andrea Fiorito, which is out now on promo. I was very pleased about this release, and it is my favourite music from him to date. We are old friends; he’s one of the first people I came to see when I moved to Berlin, so I was super chuffed when he decided to sign with us. Also we will do a Various Artist vinyl just before summer, 4 tracks that are collaborations between the crew at Brouqade. Can you tell us a little bit about the mix you’ve recorded for us? It is a mix of old and new material only from our label Brouqade; a showcase of the catalogue we have. Finally can you give us your top three tunes at the moment and why you chose them?
1. Aaron Carl - Crucified (Rod Modell's Like A River Remix) - Millions of Moments
I fell in love with this track when I first heard it in Phonica, only 5 copies came in and I bought one! Pink vinyl BOOM! Not long afterwards I heard a friend play it in Fabric Room 1 and it was a life changing moment for me actually. I was in two minds about continuing in the business and when I heard it in THAT room, the panning, the bass, the voice, it just all made sense as to why I was doing what I was doing... also Aaron Carl's no longer with us, and tracks like this will never leave me.... 2. S.A.M - Nangijala - Subwax BCN
Newcomer to the scene, but this is my favourite track of him to date. He manages to pull in all the things I love about dub techno but still keep it danceable… I’ve been playing it lots. 3. Vester Koza - The pagan Groove of San Francisco - Maslo
Never heard of him before this EP, but this track feels like it will be a keeper, I just love it! It gave me an instant wow.
Bank holiday weekends can be stressful sometimes, hectic often, and bad for your health presumably always. No need to worry though, MEOKO's Weekend Guru is here to help with all your raving requirements; from warehouse parties, all day blow-outs, Sunday summer shindigs and more. Below is a selection of this weekend's top house and techno events, where you can expect to see at least one of the MEOKO team gracing (ahem) the dancefloor!
Tief presents Underground Quality Label Night @ Corsica Studios
Nina Kraviz, Jus Ed, Aybee, Estaban Adame, BLM
Unadulterated fun times. Tief always deliver.
Time: 11.00 – 07.00
Tickets: Final release £17.50
Buy tickets here
We are FSTVL @ Damyns Hall Aerodrome
So many people it’s actually ridiculous. From Sven Vath to DJ Sneak to Kerri Chandler and Deetron.
With stages being hosted by the likes of Cocoon, Kehakuma, Speakerbox, Mulletover, Creche, secretsundaze, and Crosstown Rebels there is so much to see, we’re working ourselves into a tizzy trying to plan our movements tomorrow. The predicted modicum of sun also helps!
Time: 11.00 - 02.30
Tickets: SOLD OUT
Krankbrother’s Day and Night Terrace Party @ Studio 338
Marc Houle, Dinky, DJ T, Rodriguez JR, Psychemagik, Krankbrother
Time: 15.00 - 04.00
Tickets: Only £20 tickets left
RA event / Krankbrother Website
Kehakuma We Are FSTVL afterparty @ Fire
Apollonia, Dan Ghenacia, Dyed Soundorom, Petre Inspirescu, Matthias Tanzmann, Jesse James, Terry Farley, Shonky & more
For the afters crew! Definitely be seeing you at the front.
Time: 22.00 - 10.00
Tickets: £20 + bf
Toi.Toi.Musik presents Cab Drivers Live (Summer Series Party)
Cab Drivers, Voigtmann, Lamache & more
Our beloved Toi.Toi family are starting of their summer season with a bang, bringing down Cab Drivers (aka Berliners Zky and Daniel P) for an extremely rare London live show. This kind of underground quality is what we've come to expect from Toi.Toi.Musik!
Time: 14.00 - 00.00
Tickets: Guestlist only
Subscribe to the gueslist here / Toi.Toi. website
Fuse Bank Holiday Special @ Village Underground
tINI, Enzo Siragusa, Rich NxT, Ittetsu
Another Sunday staple doing what they do best, this time with one of Desolat's most loved artists - tINI - to help them along.
Time: 15.00 - 01.30
Tickets: Guestlist only
Subscribe to the guestlist here
Half Baked Summer Season 'The Journey Begins' @ TBA
Point G (LIVE), Livio & Roby
Open air party, Half Baked style. The sign that summer has arrived!
Time: 14.00 - 22.00
TIckets: £12 + bf
Buy tickets here
Cartuli's Day Bank Holiday party @ Crucifix Lane
Tevo Howard, Le Loup, Rico Casazza, Voigtmann, Lamache & many more.
Whatever you choose to do during the day, Cartuli's (starting at 10pm) is the place to usher in the bank holiday Monday with Tevo Howard and a hefty selection of London's finest house and techno DJs.
Time: 22.00 - 10.00
Tickets: £10 + bf / £15 OTD
Buy tickets here