We spoke to the elusive Julian Perez off the refreshing all vinyl label Fathers and Sons Productions - Another sophisticated talent from Spain who has turned the heads of many in recent years. His cutting edge and elegant production is a fresh approach to house music with a clear knowledge of structuring 4/4 sounds with a rugged undertone. See what he has to say about recent movements in his career and music.
So Julian, you have a new release on Cocoon Recordings its a huge Accomplishment to be part of such a prestigious label, what else can we Expect production wise from you this year?
That Cocoon vinyl box compilation.. Indeed it's an accomplishment to be in there with such established artists who released on the previews editions along these years. This is another personal goal i'm very happy about. Papa Sven's Record label!
In September is coming a 12" on Felipe Venega's imprint "Drumma Records". That's probably the most experimental original track I ever decided to put out, I feel that now I can show that my point of view when I work in tracks very much depends of my mood and inspiration in the moment, and it's pretty open in styles. The two versions of it by Mark Ambrose makes it a very interesting record and I hope that people like it too. I'm currently working on a few more tracks by myself and also on interesting collaborations, but no rush to release for the moment at all.
To anyone unfamiliar with your productions or mixes how would you describe your sound?
I'd just describe it as my sound. It's an extensive mix of influences I have from over the years and that made me build it. That’s why I do tracks from deep house to dub techno. In my mixes I can't be focused in one particular style, the development of every set always goes in a different direction as expected, always with a sound in common on the full journey.
You have been playing with the FUSE guys a lot this past year, how do you find the FUSE movement? And how did you first cross paths with those guys?
I met those guys back in 2011 when I played for a Cerca Trova party, a well known warehouse rave in London. Daniel and Rossko who were the promoters and dj's also that night, they brought me to Fuse on sunday straight from our after party..
It was a great and unexpected thing for me, a party going on sundays in London. A very deep and serious music in the early evening (at 93 east feet that time), a vibe I never saw before in London with a proper sound and good looking people chillin' and not getting too excited as a friday or saturday.. The only thing I didn’t like was when they shut it down at 12am, I wanted some more of that! From that time we were in touch, and now I'm proud to say that I'm one of the frequent names of the not too many guests they invite besides their residents.
FUSE is one of the parties I like to hang in, and I cannot say this about many others lately. These guys (Tony Canatella and Enzo Siragusa), are able to do a party with their residents and get the same good vibe and amount of crowd as when they invite guests.. They built it with a solid base and people love the quality concept of good sound system and proper music every rave. That's the FUSE concept, that´s a real movement.
You have played some amazing venues around the world, highlight of this year? And are there any that you haven’t yet played that you would love to perform in?
This year the goal was to play at Robert Johnson, my idea of "a club". The sound, the booth, the perfect size.. It was without a doubt the highlight of this year. If you ask, I'd like to play just to feel the history of them at least once in clubs such as Panorama Bar or Fabric London (Room1).
When not mixing yourself who would we find you listening to in your spare time and when travelling in between bookings?
I like always to get early in the club before my set to listen to at least 1h of the warm-up of random deejay which is very surprising sometimes. Spending time in Club der Visionaere in Berlin or in Underground Ibiza, and listening to new people for me on extended sets, it's very enjoyable and makes your open your ears and mind with new styles which makes you develop as an artist. When travelling I like mostly to enjoy the silence. I don't have any music on my phone either, I need that moment to unplug myself to the music before or after the gig. At home after the weekend, I listen to ambient techno records lately, it's inspiring.
If we sat in the studio with you for a day what kind of equipment would we find you producing with?
You'll find very easy to jam in my studio. If you like just to work fully analog you could sequence all with an akai MPC3000 and then jamming with a few drum machines as Jomox Xbase999, MFB 522, Tempest.. Shynths as Korg MS2000, Roland SH101 and more stuff borrowed from my studio’s mate next door, Roland TR-909, TB-303, TB-626, Avalon Compressor, Eventide H3000, a few guitar delays, and my Midas 24 channels. Besides all of this, Ableton Live, Logic and a bunch of VST's!
Are there any avenues you would like to experiment with or explore that you haven’t as of yet?
I'm thinking about to work on a liveset, I will have to find the time to get it ready, it could be an interesting next step.
If you were not a producer/DJ would you still like to be involved in the music industry, if so in what role?
I don't know if i'd be involved in the music industry if i wasn't a dj/producer because i'm not a musician and I come from another business world, also creative, but not linked with the electronic music at all, advertising. I think i'll be always involved now. With my label I like to discover and support talented people who work hard and need a platform to express themselves, and this is something i could still doing even besides djing/producing.
What do you see changing in electronic music in the next 10 years with regards to formats, mediums, styles etc?
The development of the technology is going crazy fast and non-stop growing. There will always be people who refuse to get updated, and others who will use the new technology to improve even combining with the old gear. Of course Everything will come easier to make music which less investment in the future, the key is to use what makes you feel better and more productive when you get the sound you're looking for in your own style and get satisfied with it.
If you were to play at a location that wasn't a club, festival, or usual party location where it would it be and why?
There's nowhere like home!
Catch Julian Perez play next in Liverpool on Saturday the 6th of September for the Modu:lar Party!
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What do COCOON Ibiza girls, DJ Cassy Briton, Ella Eyre, Jaime Winstone and Kelis have in common? They are today’s wonderful gypsets! A Gypset is an independent woman.
Cassy wearing The Gypset Diary's multi gem sequin body in Soho, London
Kelis in The Gypset Diary headpiece
A gypset is an entrepreneur, an artist, a DJ, a designer, a surfer, a yoga instructor, or anyone she wants to be thanks to her adaptable nature and DIY approach to life. She jet sets around the globe, picking up treasures from Indian and African markets to add to her bohemian jewelry collection and soaking up the sun at private pool parties in Ibiza. She loves beautiful things that life has to offer, is down to earth and of course, she loves to party.
Cassy playing in The Gypset Diary's Cosmic Disco body
You can see her exotic and sophisticated style in The Gypset Diary; a fashion brand founded by Stylist & Art Director Liz Mendez and Sarah Qaiser. Both gypsets themselves, Sarah is based in Ibiza while Liz Mendez runs Kubicle, London's lengendary underground and Grace Jones inspired party.
The Gypset Diary designs and produces cosmic cat suits, studded bustiers, sequin capes and other club and festival clothes. They have creatively clothed, styled and adorned musicians in sexy sequins, such as Ella Eyre for her performances at T in the Park and at Glastonbury Festival, DJ Rashida, Cassy Britton and Kelis for Schön magazine. They have designed and created exclusive one off collections for COCOON Ibiza dancers and dancers for Seth Troxler & Craig Richards’ pool disco in Ibiza.
Blade Runner inspired one off collection for Ibiza's COCOON girls
For any stylish festival or club goer who dares to be different, there are a few ways to get your hands on some unique and lovingly handmade pieces from The Gypset’s Diary:
Private orders online
The Gypset Diary stall at The Wick Festival (the Old Baths), a Saturday market and party run by Kubicle and Project Sound.
MEOKO Competition: Win The Gypset Diary’s black sequin Cosmic Cape (pictured below)! Send an e-mail to
and tell us why you are addicted to sequins. Write ‘Gypset’ in the subject title. The winner will be announced on Friday, 19th of September.
Add a Gypset Diary’s black sequin Cosmic Cape to make any outfit look glamorous at any event from a dinner party to a festival. This cape could be yours! Enter the competition by e-mailing us at
and tell us why you are addicted to sequins.
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If you are, or have been living in London and are part of London’s long term clubbing community, then the chances are that your Facebook news feeds have been taking a nostalgic overhaul in times of recent in newly set up group ‘Remember The End’:
‘I will never forget seeing Derrick Carter play at the Classic Music Company nights. One night, after what I'm sure was a whole bottle of Patrón, he put me in a headlock at the end of his set, rubbed the top of my head with his knuckles and shouted "You're disco inferno, baby!" Good times’
And if this means nothing to you, yet you love everything about house and techno, then there is someone out there who aims to put that right, spreading knowledge of the dance music scene and doing it all with a social conscience.
We talk to the man on a mission, the person who is responsible for starting the hurdle of rave nostalgia and won’t rest until all the tales have been aired out in public. Adam Mcloughlin chats to us about how he is urging young talent to get involved, and Dig Deeper.
What is Dig Deep TV?
From a public perspective Digdeep.tv is going to be a hub for all things electronic music. But we plan on doing things very differently to other media platforms. Our aim is to bring something good to the table for everyone concerned. Ultimately our main goal is education. This comes in the form of creating work experience and development opportunities for students and graduates as well as educating music fans about the history of the genres and artists. To date there has not been much out there for people who want to know the backstories of the people who make the music we love. It’s all about good vibes and incredible stories that rarely get told.
What was the turning point that inspired you to start a company like this?
I had worked for a children’s cancer charity as a marketing manager and we were donated some money by a small government funded radio station. We went to meet them are discovered that they had been given over £75,000 in funding. The reason being they were creating work experience opportunities for people who were long term unemployed. I struggled to understand where the money was going. It gave me a few ideas of my own and I had a few contacts in the music industry. Essentially I started to think of how I could things better and what would I do? Then my good friend Richard West AKA Mr.C became a catalyst to some pretty exciting ideas. In typical Mr.C style he pushed things a few steps further than I had previously conceived.
A big part of Dig Deep it seems is creating opportunities for post grads and young people in general wanting to get into the creative field. Why do you think it is necessary to create a platform like this now? Do you think something like this would have had as much impact a few years ago?
What needs to be addressed is the exploitation of young people by corporate fat cats. The problem is this goes back much further than a few years ago. The UK used to be the worlds greatest manufacturer and exporter of fossil fuels. When you take those industries away you are left with trades and higher education. But trade training has been destroyed since the days of the YTS (youth training scheme) and companies wont invest in young people like they used to. University is more popular than ever with a decreasing employment market. So you could spend 3 to 4 years at university only to find yourself having to spend another year on unpaid internship just to get the experience needed to move on in life. Even then there are no guarantees. So imagine a low income family who cannot afford to support a young person on an unpaid internship. Imagine having to struggle for 4 or 5 years only to end up working as an unappreciated cog in a corporate machine. Have you ever had to explain yourself to some jobs worth sad case why you have spent over 20 minuets in a month having a piss? I have. I have also had to be put on “absence counseling” because I was off work with a broken wrist. “is there anything you could have done to prevent this”, said my manager. “Yeah I suppose I could wrap myself in bubble wrap outside of working hours to ensure I am a fully functioning phone monkey for you lovely people”. I didn’t last long there to be honest. Nobody who invests in himself or herself should have to resort to that type of bullshit in my opinion. And the thought of being in that position with a huge debt leads me to believe that perhaps this environment is manufactured to keep clever and ambitions people in their place.
The other element of Dig Deep is educating young electronic music fans a bit more about where the culture comes from, somewhat of a ‘raver finishing school’ before they set out into the big bad world of clubbing! Do you think this historical knowledge is something missing from the scene, which at the moment is welcoming in such a huge influx of newer, younger fans?
For some people “the scene” is a place to wear stupid V neck t-shirts, abuse steroids and be a general burden to the rest of us. Orange cleavages with no banter and that’s just the lads. Our target market is the individuals who are into the music not scenesters. I would say we were more like an open university than a finishing school only there are no qualifications for being a know it all. There is nothing worse than a scene geek except maybe the Geordie Shore wannabes. Obviously I have some personal dislikes to “the scene” but we all do. People tend to either exit the scene early on or stick around and become an integral part of it. The technology available has created a lot of overnight DJ’s and digital downloads has seen a decline in quality music. Our aim is to take people back into the past so that they can experience some amazing quality tracks rather than everyone playing the Beatport top 100 at every after party on a midi controller. Younger enthusiasts of house music are going to be in for a treat when they realize that the timeline of great music goes back in time as well as forward. There is a whole universe of tracks to be discovered and a lot of respect is due to those artists. This is where the name Digdeep comes from. The days of hunting in records shops has seen a decline but we think that we are going to assist with the current vinyl revival. When people discover the art of DJ’ing we hope they come to the same conclusion as us. Djing and collecting music as product of passion and an art form, not a product of the ego and a fly by night hobby. And for those who simply collect and appreciate good quality music we have over 3 decades for you to explore. But its not just about the past. Its also about the future of music because you need to know where you came from in order to have a good grasp on where you are going.
In your promo videos I can see that you have Mr C on board for your first documentary, how did this collaboration come about?
Mr.C is from another planet. I approached him and told him about my ideas and he got what we were about from the beginning. The reason I approached him is because 8/10 people I spoke to about him had no idea he was the lead man out of the Shaman. After singing the chorus from Ebenezer Goode the look the faces told me that people didn’t really know much about his past. When I told them he pretty much created tech-house they seemed gob smacked. It’s a testament to his career because he is always 2 steps ahead of anyone else. I got to know Mr.C at a small festival and after that it was his ideas about life and spirituality that got my attention. When I approached him 7 months ago and explained my idea he was on board. When I did some more research I realized we had a documentary on our hands. When I explained that I had never made a documentary in my life and didn’t know how to use or even own a video camera he simply said.
“Don’t worry mate, the universe will provide”.
As predicted the Universe did provide and it provided well! Out of nowhere all the relevant and like-minded people seemed to fall into my lap and we were off.
What can we expect to see in the final product?
Well that depends on your involvement. On the first of October we are going to announce the details of a post-production party. If you experience the final product at that then you can expect to see a wristband in the post and a rave line number. You can expect to relive 1988 / 1989 by following in the footsteps of the first ravers ever. When you get to the secret venue you can expect to see lots of smiling faces enjoying the final product on a huge screen followed by a giant party featuring some of the most important artists from the past present and future. If you experience the documentary from home you will see an raw and no holds bard documentary that exposes the full truth of those times and Mr.C as an important character of those times. You have to remember that this is being broadcast on the internet and we have nobody to answer to. There are some gritty and dark moments and there are some pretty hilarious stories to be told. The plot keeps thickening as the days go by so at this moment even I don’t know! But what I do know is that people who see the finished documentary will witness the post production party and wish they were there. Its looking pretty special J
I also see you’ve set up a Facebook group ‘Remembering The End’ what has been the response to this so far?
The End club was a place that I was never fortunate enough to experience so I set the group as a research tool for the documentary. I added an employee of Superfreq and a former employee of the End Paul McCormack to the group. 2 days and over 1000 requests later the group was buzzing with activity. People posted pictures and memories that to be honest got be a bit emotional. We felt the vibe from the place when we met Richard there and it all made sense when we witnessed the love of the venue and the love that those people shared for each other.
Can you tell us who else you have in the pipeline or do we have to wait and see?
At the moment all I can say is we have contacted the obvious characters and they are on board with the concept of Digdeep.tv When you do things from the heart and not the pocket you find that people want to help.
Your promo video also mentions a campaign to go along with the launch of the first documentary. Tell us more about this please!
The documentary could have been funded by government funding however we may have been restricted by what we could and could not say. So we decided to fund the documentary with crowd funding. This means that people who attend the post production party will be funding it as well as a few sponsors. The campaign we are running through our Facebook page started as a way to let people know about what is in the pipeline so that fans got first refusal to the party. The places are obviously limited so we wanted those place to go to fans and not scenesters. On the 1st of October there will be a short video and a link to a place where you can buy tickets or order limited edition versions of the documentary, which will be much longer than the online version we release. We created an event to alert people a day before a network of international DJ’s tells the world so they can get in first. We expected a good response but what we did not expect was the response from the USA. We ended up having to cater for both New York and Los Angelies with post production parties. We currently have some amazing artists and a film festival manager working on that for us. After all of this hard work I should be able to treat my team to a well deserved holiday if all goes well!
What do you have planned for the post production event?
Only the post production party attendees will know that. We a few different locations catering to the response levels. The more people that come the bigger and better the experience will be. Even at the bottom end its going to be special and unique.
What are you hoping to achieve with Dig Deep and where are your future plans headed?
It has been like a game of chess. We have several goals and several ways to achieve it with some of the music industries most respected individuals taking part. In order our priorities are
Create careers for people who deserve them
Give artists the credit they deserve
Improve the quality of electronic music through education
Help undiscovered artists to develop and create more opportunity
Turn the corporate world upside-down
Finally, what tune first inspired you to Dig Deep into the world of house and techno?
When I was younger it was about glow-sticks and pulling funny faces in chill-out rooms listening to hard house. They I grew up. The first house track that sorted my head out was Derrick Carter “where you at”. That’s a good question and the lyrics seem to ring true with where I am at now. The world has changed, or is it me that's new? A different set of morals from a different set of clues So still I wonder, is this all there is to life? The ever changing cycles, of a world that's damp and ripe There must more, yeah in my heart I hold to this I've known the joy of love and I've seen the peace and bliss But as you know, all things must end, except the need for faith And the spirit that's within to keep you strong When it seems you're 'bout to break Just call upon the strength within and plant it as your stake Move forward with power, program yourself to feel With depth enough to know what's up and heart to sense the real Where you at?
In a world that’s changing for the worse you have to call upon the strength within. You need to dig deep if you want to climb high.
Find out more about DigDeep.tv here.
Interview by Eileen Pegg
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After almost six years Cerca Trova is still one of London’s most clandestine events, held in the vibrant East end of the capitals house & techno scene. Quarterly parties bang the drum for Cerca Trova's mantra; quality over quantity and the concept Seek and You Will Find is based around the translation of their name.
From their first basement sessions 3 floors underground, 4 doors away from police stations to industrial estates with views of the Olympic stadium - you will find these parties dotted in and around the most interesting and intimate spaces across East London.
Their music policy is simple, booking artists for their music not their name. This has seen them host an array of established, up and coming and local DJ’s to bring a vibe many say is unique to CT.
Past guests include Lee Burridge, Ray Okpara, Julian Perez, Nastia and Mr C to name just a few.
The party is focused around it’s trustworthy resident Daniel, the architect that has sculpted the sound and vibe of CT since day one. Daniel always brings that mix of bouncy, rolling techno and solid house grooves.
This party brings two super talented acts in the form of Re-UP and Massimo Cassini.
Re-UP are an Italian duo and residents for TAG club in Mestre Italy. The event has become a huge hit and a “must visit” for both local Italians and visiting club cadets. On top of this, they now find themselves as rotational residents for a party many consider to be the best on the planet right now, Marco Carola's, Music-On.
Massimo Cassini, Medicine Musique label owner is quickly becoming a prolific producer and remixer for a multitude of labels, including Brise, rawthentic, moan, Dialtone, 1trax, the list goes on and on!
His sound is characterized by very powerful and well-twisted grooves, and has touched dancefloors all over the globe, being played by artists like: Marco Carola, Mendo, Maceo Plex, Marc Antona, Gel Abril, Paco Osuna, Yaya and many more.
He also features as a remix artist for the first release for the Cerca Trova London label, being launched later this year.
Next Cerca Trova this saturday the 30th of August!
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Beaner is a master at losing mobile phones and staying awake for long periods of time without the aid of stimulants. In this Not So Serious Session we talked to Not So Serious Pablo-Beaner of Berlin. An artist who has been growing in the spotlight of dance music for some years playing parties worldwide and slowly compiling a wide selection of releases on labels such as Bar 25, and Thema Recordings. Beaner runs La Mission collectively and has released with Spencer Parkers Workthem Records with obvious root influences in soulful house beats and progressive sounds with a clear enjoyment of the Wild Wild West. An all round mad cat and loose cannon, it was guaranteed this interview would promise some interesting results. Feast your eyes on some answers that have absolutely nothing to do with anything, and remember interviews don’t have to be boring. Enjoy.
What’s the most inconvenient outfit you could imagine playing in?
19th Century deep sea diver outfit.
Now you are in this outfit. Who would you most like to be playing b2b with dressed as a pair.
Probably C.L.A.W.S. He is my partner in War Vs Sleep and one of my best friends. We have DJed as Sad Bananas and Evil Druids and some kind of rough trade sailor and pirate duo. I am sure I am forgetting some other idiotic outfits. I want to get married 6 times in my life, I already have one ex-wife. I might as well have one ex-husband, it is gonna be him. If you could run a techno yoga class, what would you call it?
It would be called “room full of people farting who are convinced that doing stretches makes up for them taking lots of shitty coke on the weekends.” I am all for people trying to be healthy, and doing exercise has proven effects for your mind as well as your body, but I am not down with the woo woo spiritual aspect of yoga or peoples consideration of it as a panacea. Here is another one I have been wanting to say: Juice fasts/cleanses are socially accepted eating disorders. I fucking LOVE juice. All of it. Even the ones people think taste like dirt and barnyard detritus. You know why? The sugar. Which is just one of the reasons that juice fasts and detox diets are both a fad and a scam. 5 minutes of the google machine will tell you enough about nutrition and the way to body works to skip it. And to all my friends who do them: it is totally ok to do it if you admit you just like tricking yourself into feeling healthier.
If you were falling from outer space which track would you select for your descent?
Let us assume you mean the troposphere… 20km up. From there it would take about 8 minutes or so including after deploying a parachute? Or are we talking falling to my death? Lets say that if I was gonna die I would probably want something that would make me at ease with it. Upbeat. The theme from Pee-Wee’s Big Adventure by Danny Elfman (I think the actual part is called Breakfast Machine, but maybe if it went from that part into the Bike Reveal) might be good. Hell, I will stick with that for the safe fall one too. I would have to edit it so that the part that it gets calm would be when the parachute opens. I should make a Death edit and a Life edit of that song soon. An image that resembles your emotion when receiving a terrible track request
One of these two, probably a bit more the second one. I tend to be nice to requesters, but very firm about that it is not gonna happen and they should go get drunker, hit on someone, or find another party. Not a Jukebox.
If you weren’t a dj which occupation would you find yourself in?
Manifesto vomiting hermit, leaning to the academic as opposed to gibberish side. Also sandwich maker, of the caliber described in the Hitchhikers “trilogy” book “Mostly Harmless", but with more toppings.
Most people don’t know but secretly you are also good at….
Think everyone is aware I'm an excellent demagogue and most people know I cook a lot. If I say ‘sex’, does that make it true? Excluding your hands and records which mysterious object do you rely on for djing?
My earballs. Would be impossible without them. Hearing is important for DJing. HEADLINE!! Also, Vinyl Weights. They are super important for old thin records and sometimes help with bass rumble feedback… and a dose of feminine intuition (sexist). If your mode of transport was a dinosaur what would be your travel theme tune?
Crass “Walls”. The War Vs Sleep goes on forever edit which we have been planning for years.
If your voice box was swapped who would you trade it with?
Emma Stone. Have you heard her voice? Everyone would want to fuck me. I think she had some kind of damaging nodes on her vocal chords and had to have them cut off as a kid. Or some infection. That is what I call an auspicious infection.
Your most surprising music influence comes from….
Situationism, growing up in the SF Bay Area/Mission punk and art rock scene, Rocksteady and Bluebeat, post-Marxist political theory, a large collection of Muscle Shoals or Muscle Shoals inspired southern soul 7 inches, having bad depth perception and hitting my head often, and the r&b/hiphop radio stations in SF in the early 90s that both played house music too (KMEL and WiLD 107, of which WiLD 107 started broadcasting in 1992 by playing "Wild Thing” by Tone Loc for 3 days straight), and Weird Al Yankovic. I guess those are the obvious ones, but they could be surprising. I have no idea what people subjectively get from the music I release or they hear me DJ. The most sociably unacceptable pet that you can think of that you would love to have.
Someone else’s. Your graveyard set secret wax weapon of choice?
If you are talking about DJing in a graveyard, I think I would go with Nick Cave & Kylie Minogue “Where The Wild Roses Grow”.
If you are talking about playing in the wee hours, which would make more sense, I am going to go with the remix I did of the krautrockish band Bronze that just came out on La Mission. You can listen to it or buy it HERE:
By Ell Weston
Label owner of Prime Numbers, Trus’Me has had a passion for music since his early age by playing with various instruments and then moved on to developing a passion for collecting records. Originally from Manchester, It wasn’t too hard for Trus’Me to be attracted to good music considering the “deep rooted” music scene that the city offers which describes well is constantly evolving tastes as evident in his diverse DJ sets as well as his unique productions. Trus’Me’s musical career has seen support from respected names in the industry such as Juan Atkins, Gilles Peterson, Chez Damier, Move D and Motor City Drum Ensemble to name a few.
'Naturally developing in an organic industrial structure. Bringing to mind most Rhythm and Sound tracks, but my favorite in particular'
'Little bit on the obscure side, well that has to be the genius they call Maurice Fulton. For me still his most stand out madness to date'
'Well the words old love comes to mind, so I guess I should of think of something I still play and have loved a long time. This comes to mind straight away'
'This has to be a track with a real sting in it’s tail. Adopted Manchester legend, surly his best work'
'Horse Meat & Club comes to mind, so it has to be something a little off center but with a touch of sleaze and a hint of Disco'
'Depressed, heart broken or just on some crazy downer – maybe she left you for another man? It can happen in Pbar'
'Hypnotic tangled maddens, but beautiful in form. There is no other greater example than this guy'
'That record I just broke? well the last one was this cut, which I played to death till the thing snapped. I just bought a new one this week'
'Don’t mess with me, I’m a chief! Well there is only one chief, if you ask me'
'Dramatic Thunder Storms and Rain, well there are many to choose from. This one comes to mind purely for it's dramatic weather intro, oh and the tune is dope too'
'The man with the hidden face, well there are so many, but the most mysterious remains this guy'
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It seems like technology is making pretty much anything possible these days, especially in the creative field. No longer do we need paper to read, brushes to paint or film to take photos.
But did you think you’d ever be able to grow wings or see Will.i.am’s floating face follow you round a room, singing to you about future hopes and dreams?
Once again The Barbican is back to blow your mind, with its latest show-stopper ‘The Digital Revolution’.
‘This immersive and interactive exhibition brings together for the first time a range of artists, filmmakers, architects, designers, musicians and game developers, all pushing the boundaries of their fields using digital media. It also looks at the dynamic developments in the areas of creative coding and DIY culture and the exciting creative possibilities offered by augmented reality, artificial intelligence, wearable technologies and 3-D printing’
To put it simply, this exhibition takes you on a trip down memory lane to where creative technology all began, with an archive of retro macs and computer games old enough to make children’s eyes light up with wonder, parents glaze with nostalgia, and show you where it, at super speed, is heading to.
Interactive and awe inspiring, highlights include a ‘Pyramidi’ a virtual performance from will.i.am in collaboration with Yuri Suzuki, ‘Assemblance’ a team activity using light beams to form new shapes from art collective Umbrellium and ‘The Treachury of the Sanctury’ a piece by Chris Milk that makes it possible for anyone to fly!
As you would expect from an exhibition based on technology, social media interaction is encouraged and following the hashtag ‘#digitalrevolution’ opens up a can of worms, giving you a glimpse of what to expect, only to be properly experienced in person.
See the revolution for your self from 3 July 2014 - 14 September 2014 at the Barbican Centre
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After Oval Space introduced another assembly of high quality terrace parties, only a few remain and should not go a miss! The open space Bethnal Green venue will be dropping some serious heat with these next few events and it goes without saying powerful acts will be gracing the wooden decking for the next few weekends. With two more terrace parties left as well as a special closing ceremony from secretsundaze expect serious party vibes.
OSM Terrace Sundae takes off again with two terrace parties remaining after a successful summer series. On the 31st August there will be a special appearance from Panorama Bar resident and much respected DJ, nd_baumecker, for his vast genre-spanning varieties and crowd-pleasing approach to dance music. The Berlin man who sees the dance floor as a field for experiments will be appropriately joined by Smallville records and Odd Fantastic mysterious members, Christopher Rau and Moomin. The pair whos eclectic influences run far and wide through hip hop loops and more down tempo feelings will be bringing the soulful grooves we all expect but with delicate class and sophisticated style without a doubt. With a passion for vinyl and solid releases on the AIM series, quality will be in the forefront of the parties atmosphere and a fantastic event is guaranteed.
Secretsundaze put the summer to an end on the last Sunday of the following month with their closing party on the 28th September, in what is most likely the last time we will see the opportunity for a terrace occasion for a while. With what’s left of the good weather coming to a close, this is a do not miss. New Jersey legend DJ Qu takes to the 1s and 2s with Secret residents Giles Smith and James Priestley along with dj performances from Lone and Brawther and a special live appearance from A/V ft. Konx-om-pax. WOW.
MEOKO team up with OSM giving you the opportunity to WIN VIP tickets to the penultimate OSM series event and closing terrace party (31/08 HERE and 28/09 HERE) along with some drinks and surprise gifts from the artists….To win email us at
and tell us what what your favourite track on Smallville records or Odd Fantastic is as well as why this track makes you feel so full of mystery (Something wacky), Just write “OSM Terrace” on the subject line….Good luck!
MEOKO proudly presents its new series. Each month, the 10 best album or EP covers in terms of artwork will be selected and presented as such. The purpose of this series it to show respect and appreciation to not only the music that the album or EP contains, but also to the concept and art that is being reflected and corresponds to the theme of the music.
Queerifications and Ruins: Vinyl Sampler 4
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These bits do the business. All out in the past fortnight unless stated otherwise.
Omar S - Annoying Mumbling Alkaholic (FXHE US)
The EP is a beacon of simple beauty. The opening track is particularly picturesque, with beautiful, new-age influenced melodies and immersive pads riding a cymbal-heavy Detroit deep house groove. There's more Mood Hut/Future Times style synth work on the Tangerine Dream influenced "Track 2", which contrasts deep, sun-kissed melodic loops with a fuzzy drum machine groove.
Talaboman - Sideral (Studio Barnhus Sweden)
"Sideral" - dedicated to a genre-straddling Barcelona DJ who passed away back in 2006 - is certainly special, with the original version offering an intoxicating, bright-eyed fusion of dense, African-influenced percussion, attractive chords and thrilling, upbeat melodies.
Nu Zau - Fortuit EP (UVAR)
"Fortuit" is a wistful, dreamlike workout that maximizes on elegant sweeps of pad and gurgling found sound decoration for a truly hypnotic end result. On the flipside, "Perpetuum" has a more forthright groove to latch onto, coming over all techy without selling short the hypnotic atmosphere that Nu Zau has made his own.
Floating Points - Sprinkling controversy (Eglo)
“Sparkling Controversy" is a previously unreleased dub of "ARP3" from 2011's expansive double-EP Shadows. Its every bit as immersive and touchy-feely as the 2011 original, just a little weightier, with added punch to the percussion.
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To the man who says good morning,
Every morning when I get off the bus and walk to my offices, you are there, saying ‘Good Morning’ not just to me, but to everyone who walks past whilst you whistle a merry tune. I’d like to thank you, for bringing a small piece of humanity back to my modern commuting life, and starting off my day with a smile.
You see, human interaction isn’t something you Londoners seem to deal with so well. If you ever want to freak someone out then next time you are on the bus, just look out and smile at passers by, the reaction is amusing I can tell you.
It’s almost as if the seats facing each other at the back of the vehicle and on the underground are there as a social experiment for the viewing pleasure of those operating CCTV, forcing you into 10 minutes of awkward fidgeting, inspecting your empty phone screens, avoiding like crazy that fatal moment your eyes lock with the person sitting right in front of you.
Yet on the streets conversation is everywhere, it’s not like people aren’t talking... Hands free Bluetooth devices have produced a city of folk who’d rather pound the pavement speaking to seemingly themselves than even acknowledge the thousands of other passers by they encounter daily.
As a generation, a nation even we are often portrayed as suffering from extreme loneliness, yet the news speaks of over population. Maybe if we just even said a small ‘hello’ to the abundance of real life human people we came into contact with every day, just as you do, this could easily be solved!
I often think of our older generation, the ‘lost’ generation and wonder how they feel in a world so different and impersonal than what it was in their youth. Wishing your neighbor well was a daily practice, and as much as change is an inevitable fact of life, it seems sad to add fuel to the fire to an already isolating time in life by being ignorant to those who crave contact the most. So even if not for the busy commuters with hectic lives, you would be surprised by how much something so little as a ‘how do you do’ can brighten up a certain someone’s day.
It makes my day so much more wonderful, and I’ve been brought up expecting nothing but cold shoulders.
So thank -you, whoever you are, I don’t even know your name and yet you greet me every morning as if I were your friend; for it is people like you who are to be admired and many should take example from.
It is nice to feel human again
The very grateful passer by
Written By Eileen Pegg
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MEOKO spent a late afternoon chatting with talented and imaginative Maggio. A London based Italian artist, muralist, performer and more, Maggio founded Imaginary Beings art collective. She has worked on a mix of creative projects from a live theatrical show in Dalston to painting murals in Mexico, to a documentary about ayahuasca in Central America. She travels around the world, going deep into Central America’s jungles to live and breathe in nature with indigenous tribes. Delving deeper into her art pieces you are transported into a world of mysticism and lovely surprises. She exhibits the richness of her imaginative mind through her coffee stain concept; Le Stain Desire and her chromolithographic Visions wearable art, including her new beautiful collection of stained silk scarves. She explains the ideas behind her projects and gives us insight into her thoughts about life in the jungle and life in London.
Hi Maggio! You are based in London, in the east I assume?
Yes I live in Stoke Newington
Oh we are neighbours then. Meoko is based in Stoke Newington Studios!
How do you find living in Stoke Newington?
Oh I love Stockey. It's like a pink bubble of great coffee and healthy food and the park near by is such a treat, and the cemetery'! I filmed some music video there.
How long have you been living in London for?
I moved to London in 2005. I was 16 and mad for London and its creative Babylon, but I never stayed longer than two years in a row. It's like a passionate love story and London can drive you really out your mind uh? So I take breaks to South America or anywhere in jungles. Find sanity back….but I lived in New York too for a while and one year in Mexico
and one in Portugal…but hey I always come back to London.
Yes, I get that. This concrete jungle is too wild sometimes! You have been to some beautiful places! What is it like living in the jungle?
The jungle is the closest I have ever been to my natural state of mind. Imagine:
You wake up hearing the most extraordinary singing birds at best, or otherwise it's monkeys having sex which is not as charming. You wake up and everything is green and infinite shaded of exotic flowers.
You go and swim in a river. You are probably with good friends or keep people who are there to find peace from the city. You can sit with the natives and talk about life, learning from their immensely different perspectives, or just venture to explore nature, which is wild and keeps you on your toes. It makes you very respectfully and awake all the time and if we are talking about the Amazon you get to take ayahuasca which is a vine from there, highly psychoactive and very powerful self-knowledge brew.
Have you heard of it?
It sounds like a paradise. Nature, travelling and meeting different people... I'm sure they give you many different perspectives. Yes I have, but I've never tried it before. I heard that you should be in a particular state of mind in your life to do the ceremony.
Yes! Worldwide perspective is so vital to produce art with honesty, or it's easy to get stuck in one's egotistical ideas
. About aya, yes,
when you want to dive in and if some inner troubles that don't seem to have a solution.
Can you tell me about your ayahuasca experience? How was your experience and what did you learn from it?
I took aya few times, always different, but what all those times have in common is that the separation (the duality of you and the rest of the world, or you and life) disappears, you are experiencing oneness, the most powerful feeling of love for everything that is…but it's no airy fairy, it so unbelievably grounding. When you come down it's not like taking a pill, you don't feel down, you feel clean and lucid and you swear you won't forget and will live life accordingly! But damn it's hard!!
That's beautiful. It seems like a significant awakening
You would love it.
Do you experience any hallucinations?
Yes, but depends I think if you're a visual person- I saw giants, the first time I became a tree and disappeared in the jungle, had no past, the huge hands took me away, I met dragons and talked with entities which invited me to go back. I argued as I didn't want to!
You are definitely a visual person. When I look at your art I see many different fantastical, mystical images of creatures, women and objects. How do you find inspiration? Do you improvise? And is there usually a theme behind your designs?
I have always been fascinated by the subject of Oracles. The ancient Delphi, the muses of the poets and generally the contact in between the present and the future. In ancient times was simply part of reality, now it's new agey or seen as superstition... but what fascinated me is the oracular object (the end of a coffee, tea leaves, anything that the subconscious can read things in) and bring to life what I see, like looking at the clouds (when I was a kid and I needed advice I stared at the clouds to find answers) so when travelling in Mexico and I couldn't paint (couldn't carry material) I started to see much more, I kept in it. Until one day it exploded and I could see images everywhere. I then read it was a kind of condition called apophenia. Everything was not only the thing itself but there was a whole imaginary world in every shape. I realised I could just bring to life what I saw, so I used the stains I found around the world to tell me what to paint. This meant that I didn't need to struggle for inspiration, I just had to let my subconscious unfold. Suddenly I realised that that was what oracles do. And somehow became a whole practice and the more I am lucid and clean inside the more my inner eye see more things. So to answer, no there's never a theme, it's pure download.
You came up with your coffee stained idea after you accidentally dropped some coffee on a paper, which created an image for your eyes. Can you describe to me that image?
oh yes! It was monstrous! I didn't keep it, it was scary! A monster of terrible features, very dark. But yet I was amazed, it was as if it asked me to be created! Almost to get out of my system. In fact, the entire first stains series were rather dark and became gradually more positive and inspiring. I realised it was a proper subconscious washing machine! I see it as when you open a tap that has been closed for a long time and the water is dirty, and the more you let the water run it finally clears up. So my first stain was really nasty!
It seems like your coffee stain work has been quite therapeutic! Am I right to say this?
Ah yes super therapeutic! I made a therapy method from it! Here it a short documentary on it:
Is that partly why you changed your concept from Le Stain Desire to Vision?
Yes, when I created Le Stain Desire it was because the wedding dress of a friend in Mexico- she had it from her mother- was the same one she used and it was stained in wine from her dancing at the wedding. The memory was so beautiful but the dress was trashed and she thought it ruined. I asked her to let me turn the stains into art and something amazing came out! The stains were all about love and celebration, I believe because I was influenced by the story. So I thought that every story can make the stains unique and very personal to who carries them. Le stain desire was born with this 'desire' but it was me who wasn't liberated enough to see the colours as well as the shadows. Recently, few months ago, remembering the wedding dress I remembered how important is to dive into the right state of mind before creating an artwork, the subconscious will do all the work! So I started to focus on positive visions and the whole thing changed, massive saturation levels! So Visions Wearable Art was born to be all about colours and positive thinking, to see a stain for the heritage and story it tells rather then as something that ruins a fabric. It's basically the concept "circumstances don't matter, only your state of being matters"
I love your Le Stain Desire statement: “a symbolic act where chaos turns into harmony, ruin into renew”. What excites you the most? The act or the result of turning chaos into harmony?
Great question. The act. The act it's something of the magical, it's like becoming part of that chaos, those random shapes, till disappearing. It's adrenaline meeting control, yet letting go of all expectation of what will come out, you can't stop until your mind will register the presence of beauty in a way when the result comes up it,s not yours anymore, it's outside you, but it's comforting and gives you a sense of peace.
In your daily or private life, do you like stepping into problems and finding solutions? or do you that enough with Le Stain Desire?
Ah ah I really do that actually! Very perceptive! The world is a big chaos playground.
Your art work is a whole world of projects and collaborations! You are a performer, a muralist, a painter and more. What will you be doing this Sunday at Gaza Toy Drive’s event? Can you describe what type of art you will be showcasing?
I am going to do a live piece where I create stains art live, this one I have sold already but this is the concept, blowing colours on canvas and then drawing on it:
Wow, I am looking forward to seeing them in person!
You literally blow the colours! That is great!
Hyperventilation! Maybe I just can't stay away from getting high? It brings all the emotions to surface! Breathing is the secret to it all!!
Thank you Maggio for your beautiful words.
If you have been touched by Maggio's positive words please check out Maggio's blowing colours therapy documentary! She will also be blowing colours this sunday at Vibe Bar for Gaza Toy Drive. On the way to Vibe don't forget to check out legendary graffiti bar, Monty's on Brick Lane. Giggle at her Lilth, watch the tower of babel fall to her shoes or let yourself fall into Aya's Vision!
Maggio has very kindly offered give away a very special prize to one of our very lucky MEOKO readers. She will paint someone's wall and give away one of her lovely stained silk scarves from her new Visions collections. To win, please email us your favourite London Street Artist at
with 'Maggio' in the subject title. Winner will be announced on Friday, the 5th of September.
GAZA TOY DRIVE is hosting a "Thank You" Event this Sunday at Vibe Bar: https://www.facebook.com/events/278326632363890/
Come join us as Meoko, Keep on Going, Colors lnd and DAMAGED residents come together to show support! There will be a great selection of live street and visual art, including Maggio's live painting, an art auction, a photography exhibition, market stalls and more, all for a good cause! Check out our review here.
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Where to even begin when interviewing someone like A Guy Called Gerald? With a career almost spanning from the beginning of dance music as we know it and still going strong to this day, he truly has seen and heard it all. We took the opportunity to quiz the machine master, dedicated to keeping dance music as ‘true school’ as possible and find out what he had to say to MEOKO. At a time when dance music is at such a peak it is a pleasure to speak to a true pioneer, who perhaps without his work, the scene would be missing some vital blueprints.
As I’m sure lots of other interviews have started out, I’m going to talk about Voodoo Rays. Not the track though but the pizza place in Dalston! The first time I went to Dalston I saw it and immediately thought it belonged to you (later found out it didn’t!). Many DJs and producers do have other ventures though such as Seth Troxler and ‘Smokey Tails’ his food place. If you could have another business/hobby venture what would it be?
Don’t know… selling arms I suppose, that’s where the money is isn’t it? Haha. Can make loads of money in that. Sell arms and invest in gold!
Wise! Again, fresh in my London naivety, I’ve noticed a difference between northern and southern attitudes and reference points (in life generally not just dance music) Being a Manchester local are you happy to have been brought up and to have started your musical learning up north? Do you think it would have been different if you were in London?
It’s a bigger place it’s more spread out, the scene down here is always really spread out whereas in Manchester it’s really compact and you knew what was going on even in scenes that I wasn’t really involved in. It was a really busy popular student area a the time and you could always get involved in everything you wanted to.
How does playing in London compare to anywhere else?
I’ve been here on and off for the last 15 years or something. As I said before it’s really diverse…there’s not like a local crowd kind of thing. In London you’re playing to more of a scene whereas up North when you play it’s more like playing to a group of individuals.
Is it different playing in London now than what it was 10 years ago?
There was actually more of a scene, more nights and genres that people would religiously go to. On the drum and bass side you had The Metalheadz…places like that. It was more kind of local places… there are some scenes like that here but it seems like its something that will happen for a year or 2 years but back then its was more 3 or 4 then you’d get this big thing happening. A lot of time was spent bubbling up before something kicked off whereas now everything is a lot faster.
I heard you mention you’re a fan of spoken word tracks, looking to your history with things like Scratch Beat Masters its that electro funk influence – What is your favorite spoken word track?
Ursula Rucker, she’s got some awesome stuff out and does a lot with electronic beats too, check her out.
Back to growing up in Manchester, your bio talks about your early days as part of the black scene in Manchester: soul electro/funk with great emphasis on the dancing which you just don’t see these days! Now its often lots of people not really dancing, maybe a little fist pump if you’re lucky! The closest thing, I would say, we have to people being really into the dancing is ‘shuffling’ and this is virtually banned in many clubs/nights.
Will we ever get the dancing spirit back to DANCE music?
The whole scene without mentioning any names has kind of become full of people who could probably repeat the moves of a footballer on a field but when you put them on the dance floor they have two left feet. I got into music a long time ago, but I was never in to football and didn’t go down that route, I hated sport actually. I always really liked to feel the music so that’s what I do but these other people, it’s just not what they do. I mean it’s like getting, I don’t know, someone who doesn’t like food to be a chef. There’s no real connection that’s what I feel, and that’s why people end up in the bathroom all night chatting haha. It’s not a bad thing I mean people are still going out to socialize which is good. Where I come from in dance music it was purely for dancing, you know what I mean? So still when I’m producing music I am visualizing people dancing, but that’s getting harder and harder!
You’ve spanned many genres over years: Acid, Balearic, DnB, Jungle, Breaks, House, Techno…These different offshoot genres don’t like to associate with each other generally, certainly not house/techno with dnb/jungle, having what they like to think are different scene/vibes/crowd. Why do you think this is?
When I first started it was all just music that was electronic as a whole, music made with these electronic machines.. At first it was just seen as clicks and bleeps and not really… You could even go as far as to say people were trying to get away from that so would try and mask the sounds so there weren’t any genres or anything. But yea, then everyone started to split off in their different crew and favoring the different styles and this started to solidify these early genres. So back then there was the ragga stuff etc, but now you have movements where it’s just say a bass sound then it becomes a whole genre. I can see how it happens now, you have something raw and underground then someone thinks you can make some money out of it and it becomes commercial. It starts off as trying to get away from what it eventually becomes then forms something else. You had jungle then drum and bass for example. That pattern happens all over…then every now and them you get people like me who are quite happy just sitting in the studio making music!
Your song ‘Specific Hate’ samples 808 States (who you were part of) ‘Pacific State’. So basically you sampled yourself to create something cool! What are your thoughts on the subject of sampling and the growing copywriting laws surrounding it?
Well years ago you would get a producer in a studio with just a box of records and he’d take small parts of each, layer them up and change them to make his whole new thing. Then a bit after that you’d get another producer taking that record and doing the same thing, and I’ve got nothing against that I think its an art form, extracting peoples material properly and putting it into your own. Its when you blatantly take a huge portion of someone else’s track and slap it on top of a small edit then start putting it out as your own, I don’t really approve of that, it’s blatant theft. Sampling used to be really adventurous, and because of the laws you’d find ways of masking it or changing it to make it your own. ‘Owning it.’ In Drum and Bass for example we would all take the same loop from each other, and we could all tell it was the same thing but we’d use our skills in the studio to push the technology available at the time to make something really exciting and new. To me it’s kind of like the difference between painting a picture and taking a photograph, you know? It’s still possible now, if you are technically minded to do this with just a laptop. But you have to be technically minded to use the tool properly or else you just have a whole host of the same producers with the same software, producing the same sounds!
How did your face end up on the side of Tacheles in Berlin? It must be an honor to be part of something so iconic!
I actually used to work there in that building with the artists at one point. I think just one day one of them got a cherry picker, and I had that logo on my door and they just decided to paint it up there! It’s really sad there’s not that artist community there anymore, there used to be allsorts of crazy stuff there! The vibe they had there will never be the same again whatever happens next to it. It’s cool to have been part of it.
Lastly I’d like to thank you personally for making ‘In Ya Head’ because its insanely good and is one of the first tracks that got me into electronic beats! Do you have any producers you’d like to thank for making a track special to you?
Thankyou very much. Juan Atkins – Clear . Up until that I was listening to electro funk and things like that, I think by 84/85 I heard this track ‘Clear’ and I was like ‘OK, I’ve got to go get loads of drum machines and see what’s going on in Detroit!
Catch A Guy Called Gerald playing at Egg club, London this bank holiday Sunday at 'Promised Land: Best of British Acid House Party'. Details and tickets can be found here.
Interview by Eileen Pegg
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Ever since he and his band of madcap mates set up Fuse in late 2008, Enzo Siragusa has become somewhat of an icon for East London’s burgeoning party scene. Initially set up as an after-party to cater to their friends’ insatiable desire to keep on dancing, Fuse has morphed into one of the capital’s most popular parties, respected internationally for its distinct sound and unwavering dedication to the cause. Today, Enzo is a force in his own right, regularly taking his seasoned mixing skills to clubs worldwide.
YOU’VE SEEN YOUR STOCK RISE SUPER FAST IN A FAIRLY SHORT AMOUNT OF TIME AND EVEN PLAYED AT COCOON IN THE PARK THIS YEAR, WOULD YOU SAY THAT THIS HAS BEEN THE BIGGEST DATE FOR YOU SO FAR?
Cocoon In The Park was definitely one of the biggest gigs I’ve played so far. There is only one stage and the capacity is approx. 7000 people, that’s massive! Also to be playing alongside Sven, Ricardo, Seth and Apollonia was a big deal for me personally. I felt like I was representing the UK as a DJ or something! It was a really strong line up with some serious record collections!
COMPARE THIS WITH WHEN YOU WERE FIRST CUTTING YOUR TEETH AS A FRESH FACED NEWCOMER IN THE SCENE WHAT\'S BECOME EASIER AND, INTERESTINGLY, HAS ANYTHING BECOME MORE DIFFICULT? DO YOU FIND MORE RED TAPE TO CUT THROUGH THE MORE YOU PROGRESS FORWARD?
For sure as a newcomer some things are simpler, but the more profile or hype there is around you the more red tape there is. In the early days you fix your own gigs and play anywhere and everywhere as you just want to play as much as possible. More often than not you have a lot of fun playing and getting smashed but typically you would have issues: decks not working, a crap sound system, and then maybe at the end of the night the promoter decides not to pay you. I’ve had all sorts! As you become a more established artist there is more pressure to deliver so the red tape is there to ensure you are working with professional people, so you can perform to the best of your ability. At an event like Cocoon In The Park you see operational excellence. The technical side of things are spot on - the equipment in perfect working order, next level sound and lighting. Everything is geared towards you being able to play to the best set possible as obviously with a huge expectant crowd in front of you the pressure is on! The one thing that remains the same from the old days before the red tape is the passion for playing, I still want to play as much as I can!
YOU HAVE JUST RELEASED YOUR KILIMANJARO EP, A COLLABORATION WITH ALEXKID EXPLORING THE GREY AREA BETWEEN JUNGLE AND HOUSE MUSIC FORMS. ARE YOU AN EX JUNGALIST?
I am indeed a junglist. I started raving in '93 when that sound was really taking off and I fell in love with it. In my opinion Jungle back then was breaking new boundaries in electronic music. Alexkid and I were hanging out in my studio and it turned out that Alex's first release on Garnier's F-Comm LABEL was actually a drum and bass track. I’ve always had a heavy jungle influence in my sound but the Kilimanjaro project has really pushed the boundaries between techno, house and drum and bass. Alex is a genius, I could never have got the balance between the kick and sub bass frequencies that we have in these tracks, in fact I don’t think many people can. He’s on another level!
HOW DID YOU DISCOVER 4-4 MUSIC? WHAT WAS THE TURNING POINT WHEN YOU LEFT THE SYNCOPATED BEATS BEHIND?
The jungle scene became too aggressive and a bad attitude crept in to the parties and music. I was into the more intelligent and deeper side of jungle like Bukem, Fabio, Peshay, Doc Scott, Randall etc. The attitude changed the music and it also started to become more about the MC’s, which I just wasn’t into. Around 95/96 I started to explore new music and go to different clubs. House and techno was always there, in fact there were always techno rooms at the raves I went to. I also used to regularly visit my local club in Windsor called Mirage where I would hear the likes of Oakenfold and Sasha play, I always enjoyed the music and vibe. My first trip to Ibiza in 1996 was a big turning point. Going to places like Amnesia and Space, partying all day and experiencing that free spirited and happy vibe on the island back then had a big impact on me. Ibiza hooked me in and I have been back every year since then!
HAS EXPERIENCING IBIZA IN DIFFERENT CAPACITIES FOR ALL THESE YEARS INFLUENCED THE WAY YOU DJ?
I’ve experienced the party from the dance floor, as a clubber in Ibiza for many years, that’s probably the most important thing. Playing music on the island in different capacities has also been a big influence. In 2003 I did my first full season and was lucky enough to land a residency on sunset strip at what is now called Sushi Mambo. I would play up about 6 hours a day, 6 or 7 days a week all summer. I remember playing all sorts, from Pink Floyd to broken beat to house music and even my beloved jungle records. I remember dropping a Paul Weller track and someone coming over to me in floods of tears crying because it obviously did something for them! Experiences like that are pretty special. I would have to cart 2 big record bags all the way from San An bay up to sunset strip when I managed to get an extra gig at Bay Bar. I didn’t have enough money for a cab so if I couldn’t get a lift off someone I’d walk it, in the late afternoon heat! That stuff was character building for sure!
HOW INVOLVED ARE YOU IN THE RUNNING OF FUSE LONDON AND INFUSE RECORD LABELS? AND WHAT IS THE ETHOS OF THE LABELS?
I run the labels with the help of a label manager doing the operational back-end stuff. I do the A&R along with Seb Zito, Rich NxT and Rossko and the rest of the guys who pitch in. I couldn’t do it without them. I find it hard as time is short and I get sent a lot of demos everyday, so between us the right tracks do end up getting filtered through. I think what makes both labels special is that these are records that the guys and I are playing at Fuse, that’s the test really – if they get played buy the guys and I, they get signed. Fuse London has always been a platform for the Fuse crew, our DJs and producers from our dancefloor. Infuse has opened things up to the wider community who are inspired by the party, DJ or music. There is definitely a lot of fresh talent coming through on both the labels along with more established artists who are friends of ours and maybe been playing for Fuse for years.
WHEN IT COMES TO FUSE THE CLUBNIGHT YOU GUYS HAVE FORGED YOURSELF A REPUTATION AND FOCUS AROUND THE RESIDENT DJS RATHER THAN JUST PACKING OUT THE LINE UP WITH A RAFTER OF NAMES. HOW HARD HAS IT BEEN TO GAIN A REPUTATION OVER THE YEARS?
We have always booked guests, so we haven’t been exclusively about residents although focusing on London based DJs is something we have leaned towards. Fuse was a weekly party for so many years, so there was plenty of airtime for our DJs. Also we didn’t have much budget to book big names. For sure with less hype and little promotion it was a steady growth, but I feel that’s been good for Fuse and the regular DJs who have played. We do have more guests playing these days but this is because down the years, doing what we do in Ibiza for example, we have met some great artsists, so organically this has opened what we do up to new people to get involved.
FINALLY TELL US ABOUT YOUR RELATIONSHIP WITH NEXT WAVE, YOU HAVE BEEN COLLABORATING WITH THEM FOR SOME PARTIES? WHAT IS NEXT FOR FUSE IN TERMS OF NEW LOCATIONS TOO?
There was an obvious synergy with Next Wave in Ibiza, we book some of the same artists and the guys behind it share the same values as us towards our parties, so it kind of made sense to do a few a parties together. So far the parties have been great and it has added another dynamic to an island over-run by more commercial music and pop events. As for FUSE we are doing a few showcases here and there, one I’m particularly excited about is at MINT club in Leeds on Saturday 4^th October. I have played at MINT a few times and love it up there, the guys behind it share the same passion for the rave as we do and it feels right to be taking FUSE up north with them.
Catch Enzo play next at Sankeys Ibiza alongside Rhadoo and Pedro on tuesday the 26th of August!
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There is often an image painted of the solo producer, locked away in the studio, an intentional recluse dedicated to perfecting their style and sound. However when two creative minds work together in harmony it can be a beautiful thing, and as Kruse and Nuernberg show, with exceptional results.
Since their first release in 2007 they played a big part in the deep house revival that was to hit dancefloors everywhere and show no sign of stopping. We thought with their positive personalities they would be the perfect candidates to peer into their souls and see what these set of emotive pictures mean to them, in the format they know best, the format of sound.
'Downtown Manhattan is a very special spot. Where decisions are made that affect all of us. We need more hero's that say fuck the money, fuck weapons, let's go back to being humans again'
'Peace and slowliness! Our all time favourite trip hop tune representing pretty much everything this picture stands for'
'This picture reminds us of this crazy track here. The Hook is just like: Look Behind The Mirror, Don’t You See? No Reflection Of Me!'
'It’s just one of these tunes you don't get to hear very often. Like a winter day with snow and sun, we don't get that very often'
'This one is easy!!! THE MOUNTAIN PEOPLE = LEGENDARY.One of our all time favourites'
'Women… so many beautiful women!'
'This picture is pure body language and someone has lost her head'
'Actually this picture deserves silence...'
'Dancing in the rain is fun and this track is fun, too'
'Super cute picture! The dog is the kids best friend'
Kruse and Nuernberg have recently started up their new label Save Room Recordings. Check it out here. Already boasting names such a s Huxley, Kellerkind, Christian Nielsen, Jonas Saalbach and Sasse, it's definately one to watch!
Catch their latest release in collaboration with Teenage Mutants 'Don't Be Afraid' here.
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On the 26th August two of the most respected party collectives put together one of the last summer parties for Ibizas flagship. With the likes of tINI, Enzo Siragusa playing the Basement alongside Shaun Reeves and Alex Picone to name a few, a high calibre performance is promised. In the Lab, Next Wave play host to the low profile Romanian label [a:rpia:r], who stand firmly by their policy “No philosophy, Just music”…and a full-size party.
This edition will be hosted in the infamous Sankeys of Ibiza. Recent worldwide movements of the establishment have seen them pitching up big room venues across the globe with plans for a “7 Sankeys of the world” and undoubtedly a consistent set of high quality parties to follow.
For those who have been to any Next Wave parties, a solid bunch of grooves and good floor vibes are guaranteed with previous shows with the likes of Ricardo Villalobos, Praslea and Cezar have all caused a storm.
This time, label owners Rhadoo and Pedro go in alone for a much-anticipated performance that guarantees a tactically formed audible journey of dance floor precision. With the original trio including Raresh as RPR Soundsystem, the group have shown little interest in the current surge of electronic main stage driven techno and remain secretive, subtly slipping between line ups and underground party venues, doing the business as they see necessary.
Time and time again you will see a selective yet fragmented musical compilation from the group, propelled to create a web of distinctive sound pleasure. There is a clear drive for seamless transactions of sound and emotion through a constantly swirling eclectic compilation of minimal techno sounds - influencing the moods of the audience as they see fit. Next Waves technically focused parties are top in recommendation.
IBIZA PEOPLE - RHADOO MEETS PETRE AT NEXT WAVE, DO NOT MISS!
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By Ell Weston