East End after hours is back this week end with exciting news. We said that it is all about community sense and in fact Keep on Going is fund-raising for children in Gaza. The '24 hours Marathon Charity' will raise money and collect toys and clothes for the people in need in the Middle east.
Donations will be handed directly to 'MAP' Medical Aid for Palestinians, a small organization that operates everyday in Gaza, in partnership with local health providers and hospitals, to deliver health and medical care to those affected by the conflict.
Alternatively on the door there will be a collection of toys and clothes – in very good or new state – to be given to Gaza Toy Drive, which provides Palestinian children with these much needed items that families are now prevented to buy because of the obvious catastrophic circumstances. Anyone who will provide a toy or a garment will be also given a concession entrance of £5.
This outstanding philanthropic initiative will be accompanied by the same good music and vibes. We'll be happy to help and dance together once again!
Venue 1 – 6am to 12pm
Rob James (Keep on Going)
Nick Maleedy (MEOKO/Keep on Going)
Venue 2 – 12pm to 10.30pm
Valentino de Bronff (Minimal Tokyo) b2b Volt.mar (Minimod)
The White Man & the Arab
Stephane Ghenacia (Color Lnd)
Lee Arucci b2b Galvin (Frontroom) Jnk Juki
Klady (Nifu Nifa Records)
Fabel (Avantroots/Dskonnect) & Andre Neto
Venue 3 – 10.30pm to 6am
Georgio Oniani (Damged) 3 hours closing set
Monika Ross (Serialism) b2b Stefano Riva
Nic Thomson (Lo Kee)
Discover more about the organizations:
MAP – Medical Aid for Palestinians
Gaza Toy Drive
KoG – 24 hours charity marathon
Photo credits: Nick Ensing
Not something you can see, touch, hear or taste but something that you naturally feel. Some would call it an energy, others an aura either way how it affects the atmosphere can be the deciding factor whether a party is merely a gathering of people or whether it is a ceremonial celebration of unity. Have you ever been to a party where on paper the line up is overwhelmed with interesting talents to the point you can’t allow yourself not to attend. You arrive at the venue and scope the place out only to find a more than satisfactory sound system and a bar that has your favourite drink on tap. Your happy, your friends are happy, you checkout the warm up DJ and there spinning some chilled, strip back vibes perfect to loosen up to but somethings not right. So you sip your drink and continue to listen to the music whilst having a quick look around at the rest of the crowd and over to the booth to see how the DJs vibe-ing. An hour or two pass and there have been moments where you managed to get temporarily lost in a track or 2 but its all so intermittent like picking up television signals from a coat hanger.
There is no physical evidence that anything is missing or off kilter though the ominous feeling in your stomach and legs suggests otherwise. You stay for most of the party but theres a unanimous decision between you and your friends that it wasn’t great, some blame the DJs others the sound, some even blame the promoters all round but no one can quite put an accurate finger on what wasn’t right. As your leaving you notice fights kicking off and hear that girls have had their bags stolen and boys have lost their wallets, what happened to the togetherness and being there for the music and being part of an amazing vibe? Is this negative energy produced from a couple of small groups of people that affect the entire group or is there a force within the space that inflicts this energy through people, bringing out the worst in them? Whichever it is it’s not the vibe to party to and can be seriously damaging to an otherwise well co-ordinated event.
Some cultures around the world recognise this unbalance and understand ways of harmonising a venues aesthetic, for example the ancient Chinese developed Feng Shui which is a balance of the energy they call ‘chi’ whereas Hinduism has something called Vastu Shastra the energy of which is known as ‘prana’. Though both have different names and description nuances a similar understanding remains, which in laymen’s terms basically just means that the connection between each other and our surroundings should be harmonious rather than dissonant. I understand why some parties in London now have guest list or invite only entry, it is there way to ensure the crowd are the right people that will combine together to amount to a harmonious energy but can one’s physical appearance actually reveal their energy? This is where ‘the right to turn away anyone on the door without reason’ policy falls very short.
I know people who have travelled half the country purely to catch their favourite DJ spinning in London only to get turned away at the door without explanation. This is understandable if the person came across threatening, dangerous or harmful to themselves or others but this policy is just getting closer and closer to a judgement of whether people are wearing the correct trainers or correct style hat etc as if its a fashion contest. How much the trainers you have on your feet relate to how you feel when listening to your favourite DJ mix are connected, I will never know but I would suggest there is no connection whatsoever and that certain door policies are simply borderline pregidous.
The idea of the policy originally made sense but as John Dalberg-Acton said “power corrupts, absolute power corrupts absolutely” and door staff now are acting like policeman that got bullied at school with some kind of bitter resentment that just isn’t justified. Safety of attendees I agree is of the upmost importance, I just wish dedicated partygoers were given a fair trial on the door before they were sent half way back across the country because they have a brand logo on their polo. After all the first thing you experience at any event is the door staff and if as soon as everyone arrives there being questioned and judged how do you expect people to react for the rest of the event? Perhaps swap the mini-Hitler’s for fair, relaxed doormen, it can’t be hard the other half of parties in London have got it down to a tee and due to this I can see many partygoers switching their religious following of specific party’s in favour of others very soon if things do not change. Line-ups, sound and music are possibly the most important things about a party but forget vibe and things will roll down hill very rapidly.
Written by Michael Ainsworth
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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.
Craig Richards won't be resident only for fabric this summer.
Throughout August Booom Ibiza will host five nights of music, dance and cinema. This is Phantasmagoria, latest creation of Mike & Claire, better known for their legendary party, Manumission, which was ongoing at Privilege for 14 years.
They though of Phantasmagoria as an immersive experience, a journey to the quest of freedom where reality blurs with fiction. Boom will be transformed into a sleazy, futuristic blues bar, SEXUS, were the hedonistic crowd can escape the dull reality and indulge in the pleasure that youth has to offer.
Every Friday, for five weeks, resident Craig Richards will bring this role-play to life alongside Matthew Herbert, Magda, dOP and many other guest Dj's, aided by award winning visual artist Andrew Daffy, who will take over the whole club and transform it into a noir, dim lighted and smokey bar.
Cinema lovers will be double excited about Phantasmagoria as it will also host an outdoor cinema curated by Howard Marks, Skin and Mike & Claire Manumission.
Price - €55
Sexus Mightnight / 12am - 7am
Guest List closes at 4am
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How to avoid bad weather and bad sound at Festivals? Pick the right festival! Check out our list of festivals and interviews…
Papa Sven, after playing at a festival, complained about how the poorly organised sound system kept him from playing a good set. He hasn’t been the only one to diss on the sound system at a festival. I’m sure a fair share of DJs, audio engineers, ravers and festival goers have experienced bad sound at a festival before. Bad sound at a festival is awkward, especially if that sound is supposed to be blasting techno and making the audience dance. Dancing to dance music at a festival at incredibly low volumes is like trying to listen to dance music from laptop speakers. Low sound quality at main stages is not a rare phenomenon, as they are usually open-air with large capacity. The more the people, the more sound is absorbed, and the bigger the space, the less chance the sound can be contained. Another major challenge to ensure good sound at festivals is the environment. Difficult to predict and control, the weather is a big risk factor:
There are of course several festivals that do a good job to ensure probability and impact of bad weather are reduced to safe levels, and to ensure good quality sound. The obvious one is Time Warp, but that is an indoor festival. Here are a few stages at outdoor festivals that have managed to overcome at least one of these two challenges, as well as showcase unique stage design. As a result they have managed to produce top quality sound and atmosphere:
Main Stage, Labyrinth Festival, Japan
Since we are on the topic of sound quality, what better place to start than Japan, a country famous for its electronics and of course, home of Sony. Caved in by mountains, teepes scatter the Naeba Valley. The biggest teepee is the stage, where two stacks of Funktion-One speakers stand by either side of the teepee like two totem poles. Even though the stage is not sheltered (besides the DJ booth), it does a pretty good job with sound. This festival is a favorite by Marcel Fengler in terms of sound quality:
Igloo Stage, Eastern Electrics, Hertfordshire, UK
If you haven’t got two sets of 15 metre Funktion-One rigs, you could always play with the space and create dome like structures, such as the Igloo Vision tent at Eastern Electrics. Igloo is a tech company that develops and delivers 360° technology. At Eastern Electrics their igloo tent showcased 360° visuals and delivered a surround-sound system. The space was as only 9 metres long and the DJ booth was on the same level of the dance floor. All these elements created a dark and intimate atmosphere despite the fact that it was set up by a commercial company. The CLR showcase was the highlight of the stage and of the festival, where during the early morning hours you could see festival goers surrounded by spacey visuals and submersed in techno played by Planetary Assault Systems, Tommy Four Seven and Surgeon.
Main Stage, Kappa FuturFestival, Turin, Italy
Contrastingly, the DJ booth at Kappa FuturFestival is a mountain above the audience and Ellen Allien and Derrick May are certainly performers in this setting. The main stage looks like an old, stripped down aircraft hangar. Even though there is a large crowd and there is no full protection from side ways weather, this stage does not disappoint with sound.
The summer music festival is situated in the Parco Dora, right next to the city centre of Turin. Known as the Detroit of Italy, this historically industrial city is also famous for its underground party scene. Consider industrial and techno (and affordable tickets) and it’s no surprise that Kappa festival is hailed as one of Europe’s best dance music festivals.
Dekmantel, Amsterdam, Netherlands
Impossible to leave out the Dutch, who are impeccable dance music events organisers. As Dekmantel is happening this weekend, expect amazing sounding music from a truly mouth-watering line up. The stage and lighting follow an industrial and futuristic design set up in the woods of Amsterdamse Bos, which is close to Schipol Airport. At the main stage there is even a parapet for festival attendees fearful of wet festival weather, and last year the muddy FACT stage was quickly covered with wooden floorboards. Efficient organisation indeed!
It is impossibile to worry about sound at this festival due to the Funktion-One rigs, small numbers of festival attendees (there are only 5000 tickets), and compact space. The stages are only a few minutes walking distance from each other, yet the sound at one stage never bleeds into another.
We discussed stages and sound in open-air events with a stage designer, sound engineer and music & events director. We were interested to listen to their perspectives and learn more about their roles with stages and sound.
Stage Designer: Tiago Oudman
Tiago is an architect, project manager, stage designer and builder at Le Jardin, a team that creates stages for festivals.
What festivals have you built stages for? Can you also provide me with stage names?
We have built stages in Fusion Festival (Berlin, Germany), Subsonic Festival (Sydney, Australia), Eclipse 2012 (Cairns, Australia), Garbicz Festival (Poland).
Sky Stage @ Eclipse Festival, Australia 2012
Pizza Lab @ Subsonic Festival 2011
What are the most important things to consider when designing a stage?
For me the most important things for good stage design are: good location, a strong concept, sourcing the right materials, having the right team, right lighting.
Do you consider sound? If so, to what extent?
Usually we have a meeting with the sound engineer in the early phases of planning/design where we are given the specs for the sound system. After that we plan the stage to leave enough space to set up speakers, etc. But it’s definitely not a major concern.
Can you tell me what sound means from the perspective of a stage designer?
That’s generally a problem for the organizers to resolve. Outdoor stage sound depends on the sound engineer and quality of sound system.
How much does a stage design influence the sound quality?
Again, I would say it doesn’t have a big influence. In outdoor festivals, sound quality is dependant on the quality of the sound system, not the quality of the stage design.
Have you ever seen a stage where they got it wrong in terms of acoustics? How did they get it wrong?
Bad sound system!
SOUND ENGINEER: Nick Thistle
Nick Thistle from Fabric, Big Blue Audio and The Deck Doctor started working with sound since he was 15 years old. He finished studying electronic engineering in 1989, which according to him was a time when sound systems were starting to get really interesting. He has extensive experience dealing with all kinds of sound systems from low to very high end and his passion for sound is evident in this interview.
What does it mean to be a sound engineer for dance music events? What are your main responsibilities?
It means you’re at work. Responsibilities are obviously making it sound good, ensuring equipment is working and the DJs/artists have their equipment wired correctly, also checking they can use the equipment correctly.
Who is responsible for sound at dance music events?
'Responsibility' is a grey area, some may argue that the venue itself is responsible, however, few venues are concerned or understand the importance of the room sounding right before the system is turned on.
What does "good sound" at a venue mean to you?
Good sound for me is making the sound 'fit' into the room by cutting out unwanted & nasty frequencies to make it more comprehensible & pleasant for the listener & if I'm honest primarily myself.
Have you worked at a festival before? What are the main challenges of working at a festival?
Varies every time at every gig.
Worked at many festivals hate them with a passion. Don't really like working with bands or mixing live sound, so don't really class myself as an engineer as such. I prefer design, build and efficient running of a PA system, a system tech, as we are known. Often at a festival each band has its own engineer, it may be the first time they've used that system, they may have not slept in day due to the demands of touring etc etc.
The techs working with the PA company at festivals generally 'babysit' the PA and advise the visiting engineers: how to/where that is/ how that works etc. Festivals are always a bit frantic.
What is the best sound system to use for open-air events?
How long is a piece of string impossible to answer there are many 'preferred rigs' but there is no definitive answer to this one. I use a Turbosound PA system, an older one (when it was still a credible company). But that's another story. My favourite PA systems have been Turbosound, D&B and L'acoustic. There are others but we could be here all day on the pros & cons of each.
I should add, for what it's worth that there are many PA systems out there, you usually see the same handful of decent ones on the circuit & each of them have their own sound & own characteristics. Often the best way to get great sound out of them is knowing (usually by previous experience) some of those characteristics and capabilities.
I am curious about how festivals ensure good sound. So can u tell me the elements that ensure good sound at an open-air event?
Different rigs will sound different in different applications. Point source and line array are the two common speaker systems. Both are good but very different in various applications.Often, particularly with dance music, promoters like to use a PA company that uses a 'fashionable' brand so that they can use it in the flyer for added promotion - this isn't always the best PA system for the application in question.
There's an old cliché about a good engineer can make a shit rig sound good but a bad engineer can make a good rig sound shit. An open space doesn't really have a sound as the are no walls or ceiling to contain it. Outdoor gigs are always a case of 'suck it and see' or busking it basically making it up as you go along - obviously doesn't sound enormously professional but if a knowledgeable pro is working the sound then it's in the best hands it can be in.
It seems like you have to adapt and improvise quite a bit.
Yes, technical improvisation is essential.
Well, sound can be outdoors, couldn’t it? There will always be structures or beams and people! Isn't there a smart way to contain sound in an open space?
Why would you want to contain sound in an open space? There isn't really a way to contain sound in an open space. People do absorb sound but when you do outdoor systems you need a fair amount of power anyway for coverage.
Because sound at festivals are shit! How much power do you need for an outdoor usually? Is there a limit?
Power is another 'how long is a piece of string question’. It isn't really calculated like that. Limits are usually set by local councils and should be adhered to or else you will be fined.
Do you work closely with the DJ? What is the relationship like between sound engineer and DJ?
I work closely with many DJs. Sometimes they are respectful and you can work well with them. Sometimes they are arrogant & ignorant twats, this makes working with them not so much fun and their sound probably won't be as good as it could be.
Can you tell me what open-air events you have worked for?
A handful, can't remember most gigs after I've finished them.
How do you forget about a gig?
For most people it's a night out or a few days away. For crew & techs it's another day at work. Kind of like me asking you what you did 3 Mondays ago...
Three Mondays ago I was at an after party
Can’t have been a good one if you can remember it
It was so good that I decided to stay in London permanently
Sounds like a good story in itself!
And you can't describe to me a time, moment, party, DJ set or place when/where the sound was just perfect for you?
One of the best sounds I ever heard was actually in a warehouse back in ‘91 with 3 huge mono block stacks, the sound almost took on liquid form. Although in fairness '91 was a different time, space & place.
Been racking my brains but like I say, once a gig is done I forget it almost instantly.
I like carnival. Lots of homemade sound systems, some sound great, some not...
Do you do some work for Notting Hill Carnival?
I'm not doing carnival, no. You need to be a member of B.A.S.S. to be able to have a static rig. I don’t have a homemade sound system either.
Actually, now there's a thing. Last year’s Good Times Sound was run by my friends Curt & Rich from Sound Services. It is a Function One company. The sound blew me away there. Very well thought out.
Nice…Why, what was so special about it?
I think it is somewhere on my FB timeline… Basically a very old tune dropped just as I went round front to check outtheir placement & sound, really took me back, incredible bass too as they were using infra bass enclosures.
Good Times Sound System @ Notting Hill Carnival 2013
That’s Rich Cuffley from Sound Services. Behind him are the amp racks & control gear on the leftis a small Midas desk. Heeeheee he looks like a character. He certainly is! I've know him since the mid nineties when he was working for
Do you know about what is happening with Channel One and Carnival?
They're trying to stop Channel One playing carnival apparently so I've heard, this would be tragic!
Written by Tarita Bilquis Webe
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EGG London since it's transformation a number of years ago has become a mecca for touring tech house DJs, housing some of the biggest names and club nights in the world from its North London base. As summer blazes on, the club opens up its spacious terrace for some Sunday daytime party action, christened on the 17th August with party promoters and specialists Bipolar and a juicy line up hand picked from the underground.
Running all day until midnight, Bipolar hits EGG and takes over its five main areas split across multiple levels and an impressive central courtyard encouraging revelling until the early hours, it's alfresco raving and sun-worshipping good times ahead for those looking to spend their Sunday in a rather constructive fashion. Tech house weirdness comes from globe trotting UK figure Burnski (who's clocked up various production and remix credits for the likes of airlondon, 2020, Culprit and Hot Natured to name a handful) no doubt bringing the club to a close in typically flaring fashion. Australian femme fatale Monika Ross supports as does rising female duo The Rising Blondes and newcomer boy Jack Francis keeping the plates hot when the party kicks off. Expect BBQ food, good vibes and knowledgeable, fun crowds it is summer after all and the weather is seemingly good!
More info HERE
Corsica Studios are launching a new outdoor area this Friday. The ever evolving club serves us yet another surprise: Paperworks, born from a collaboration with charity organization Peabody, one of London's larger housing associations.
The new venue will host a rich program of events, led by Corsica, to bring the best of street food, movies, music, art and drinks in an unusual outdoor location in the heart of London.
Pop up bars serving première whiskeys, fresh juices and a wide range of craft beers will be livening the neighbourhood up alongside glorious snacks and handy dinners. For the moment the events program includes collaborations with NTS Radio, CityScapes and Siobhan Davies Dance, leading dance company and contemporary art organization focused on performances.
The Paperworks has been created with the aim of providing people with a different space to meet at and for artists, dancers and performers it will act as a brand new platform to be discovered.
Paperworks, Friday the 1st of August @ Corsica Studios
48-50 Newington Causeway SE1 6DR.
Nearest tube stations: Elephnat and Castle, Borough, Lambeth North.
Opening Times Friday: 5pm – 11pm Saturday: Midday – 11pm Sunday: Midday – 11pm
More info HERE
From its humble beginnings as animal skin pulled over our ancient ancestors heads the hat has adopted many styles. Ancients such as Egyptians, Romans, Greeks and Persians all had hats and it is hard to specify exactly who had the first hat or even what it looked like, after all cameras are modern inventions though sometimes we may forget this as many of us were born post such technology. What we do know is that in different ages, cultures and countries hats have held more than one interpretation. For some hats were symbolic of importance, for others they were merely statements of fashion or items of practicality. A hat can reveal a Queen amongst servants, depict a person’s etiquette and social style or shield sensitive skin from the sun. Such versatility of meaning and use would suggest that perhaps a hat can mean anything, or perhaps it doesn’t mean anything after all not everything must have meaning, right?
One thing that does spring to mind regarding the mysterious history of the hat and its many connotations is when exactly did our capital city go from this
Wearing a hat in Victorian Britain was actually more of an etiquette issue and a stern one at that certain people would be punished if seen out in society without their hats. Though Victorian Britain could be seen as a chapeliers dream, where dandys, beaus and gallants gallivanted from leisure activity to dinner party parading their apparent status, class and stylistic tastes. Or was it a time where hats were merely more popular perhaps due to the under developed hair-styling products of the era. The latter is perhaps more relevant and valid due to the fact that it was not only one specific class that wore hats but everyone from pauper to politician. An influx of hair styling products and fashionable haircuts came post-victorian era around the same time as Hollywood films had began to grow in popularity and both male and female screen idols were beginning to be emulated. Women were being liberated and shortening both the length of their hair and of their skirts through expression of social freedom.
Though there are other explanations that perhaps make even more sense than these above. Hat styles continued to develop though as you can imagine through the First World War hats became very militant and there after remained more practical than dressy with many war widows choosing to wear a veil along with their black hats to show their loss. This soon was adapted as a sign of elegance for post war ladies of leisure. Though skip forward to the Second World War and females were as involved as males in this war but based more in home territory. These years of conflict threw all importance of etiquette out the window and wasted no time on dressy extravagance but instead began concentrating on practicality for instance many women of World War 2 favoured cloths and headscarfs tied for convenience.
Then came the 50’s and so on with Hollywood stars like Elvis Presley, James Dean, Audrey Hepburn, Marilyn Monroe and Elizabeth Taylor at the height of fame, all with haircuts that post war generations wanted to imitate. The same went for much of the 60’s where diversity of hairstyles was perhaps at its most prominent, though for females berets and many other hat styles were coming back into fashion in popular culture at least and music legends such as Jimi Hendrix offered the a resurgence in mens hat fashion in contrast to the mop cuts of the Beatles that were heavily adhered to by many. The 70’s perhaps the wildest and un-taimed for hair followed by the 80’s anti-establishment punk movement which predominantly consisted of more extreme hairstyles than that of the past.
Late 80’s to early 90’s Hip Hop saw rappers like LL Cool J and Wu-Tang Clan influence hat culture with the rise of the bucket hat and the flat peak baseball cap. The bucket hat grew popular in London in the late 80’s to early 90’s also due to Acid House raves and then bands such as OASIS, though perhaps flat peak baseball caps took longer to penetrate the English public’s mass appeal at first though mid 2000’s flat peak baseball caps were commonplace also.
Skip to contemporary society and hats of many sorts have seen a resent resurgence especially in the form of the panel hat which is not a new style as was sported in the 90’s by people like Will Smith through his Fresh Prince of Bel Air character but has become big within the skating community through brands such as Supreme, Hufs and Obey.
What style of hat will be next Im not sure but what I am sure of is that if this clothing accessory has roots from our ancient ancestors and has survived all the wars of the world I’m sure there will be plenty more stylistic adaptations yet to come.
Written by Michael Ainsworth
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This is a paid internship with possibility of growth within the company. It will suite a young professional who is passionate about the music and events industry, has heaps of energy and positivity and would like to acquire some solid experience and make contacts on a global front within the industry.
MEOKO is a forward thinkging and creative lifestyle brand, with a primary focus on the global underground electronic usic and events scenes, passionate about promotion and high quality event services.
MEOKO Ltd, the event and promo agency, offers event and physical/online promotional services to a strong network of London and the UK’s best promoters, artists, record labels, clubs/bars, PR agencies, artist agencies, management companies, festivals and charities. Beyond music, MEOKO opens up its interests to culture, art, fashion and food…
Some of our clients have included fabric, We Are FSTVL, Sonus Festival, Lovebox, SW4, Street Feast, Kerb Food, Warehouse London, Egg, Fire, Oval Space and many more. MEOKO also takes pride of the consistent quality of our partners, which include Next Wave, Sonus Festival, Sunwaves and Weather Festival amongst others.
MEOKO is looking for a highly motivated team player to join the MEOKO Promotional Team at Junior Assistant level, helping the promotions and street team manager run the daily ins and out of an in-demand brand, led wing of one of Europe's fastest rising house and techno publications. Outgoing, personable and most importantly rock solid, the ideal candidate is reliable and flexible, responding to and handling the changes and pressures of an extremely busy agency.
Duties will include but not be limited to:
Co-ordination with clients and running campaign diaries
Developing and managing our dedicated street teams
Liaising with the Promotion Manager regarding collections, drop offs and the general planning, running and execution of MEOKO's client services
Help to Co-ordinate MEOKO's Flyer Pack Campaigns
Assist with Online Web Content Management
Ad - hoc duties assisting management with other areas of the agency.
The ideal candidate will be:
Bright, sharp and energetic, with an unnerving passion and dedication to contemporary electronic music and culture
Fully IT literate and with excellent levels of written and spoken English
Able to work autonomously or as part of a group
100 % reliable and trustworthy
Friendly, flexible and be able to commit themselves to the role
The position is full time, five days a week, Tuesday to Saturday.
This is a partially paid internship with extra bonus incentives and travel expenses covered.
To apply please send CV and a brief cover letter to
explaining why you want to work with MEOKO.
We can only view what's in our focus; but theres plenty to see, right? A plane-full of passengers being shot down from the sky, mass murder disguised as Holy War, Simon Cowell's search for the 'Ultimate DJ' (whatever HE feels placing the word 'ultimate' before DJ even means). The latter I agree is on a completely lower scale of importance than the crimes on humanity that plagues human morality as a whole, but its all part of the spectacle while other more accurate information lacks a platform within the public eye to even hope of the chance to be heeded. Our musicians used to have a voice and not an auto-tuned one. Whether it was Lennon simply laying in bed to promote peace disgusted by the Vietnam War or Marley protesting through song by performing at a concert that almost saw him assassinated for simply speaking out about human equality, at least they managed to spread consciously progressive ideas with the people.
In 2014 all our public figures within music have to say for themselves is some watered down remark through a venear smile like "Drink Pepsi". Meanwhile we have credible presentations of the facts of atrocities such as the ongoing savagery in Gaza and the mass medias twisted representation of one of the truest examples of democracy in the world; Venezuala. Hugo Chavez had 15 elections in 18 years and was voted in every time by the people of Venezuala despite the capitalist media's attempts to paint him as a dictator.
Musicians that are speaking out and trying to salvage the hope of equality as it rapidly disintegrates do exist, they are just few and far between. London born rappers 'Lowkey' and 'Akala' both speak out about human injustice at lectures and presentations around the world but spreading the word to hundreds rather than millions prevents their words even reaching the majority of our ears. Why is there not a global platform for this information? Because it will cause unrest, perhaps? Of course it will cause unrest Lennon was shot because he became too influential for the American governments liking, the same way Marley was shot because he didn't support an American backed Jamaican president, for the same reason Hugo Chavez is apparently a dictator and all of these orchestrated by the same powers that continue to fund and manipulate the conflict in Israel. America and the mass media with England as their sidekick, thick as thieves in oil and wealth.
I understand Darwin's theory of 'The Survival of the Fittest' but that was written regarding evolution have we not evolved morally since our pre-ancient ancestors? The human race having a mutual concern of each-others wellbeing sounds so San Francisco circa 1969 but believe it or not the world united would be astronomically more wealthy in all fields and resources.
If we had world efficiency and equality the choice of doctors, mathematicians, scientists, architects etc etc etc we would be so much larger and diverse that our knowledge as one combined race would be higher than its ever been and would increase the likelihood of more great minds like Einstein's, Newton's, Darwin's, Beethoven's, Mozart's, Shakespeare's and the so many others that have managed to expand our knowledge already. All of these great minds have existed in unequal times and still flourished but don't tell me we wouldn't be in a better global position if everyone had the same opportunities, thats like denying that 100 experts would have more ability to figure out a global conundrum than I would.
As much as I hope there comes a time that the human race can figure out how to co-exist equally I don't expect it or even believe it will happen soon. So I guess we just continue with our own self-serving interests and accept things are as they are and what will be will be. After all I know you can't wait to find-out who the ultimate DJ is, right? aha….and yeah shame about Palestine ay but what are we going to do? Its not our fault we didn't read more into Orwell's 1984 we just ended up born with it like this and theres enough struggles in our own country seen as we are still in such an economic trough. Though if more public figures spoke out, I bet everyone would be on board then, imagine footballers, popstars, musicians etc began standing up one by one and using their influence to promote equality like some kind of sonic mexican wave, I bet people would listen then. Perhaps Rupert Murdoch, the Rothschils's, Morgan's, George Bush and his father, Tony Blair and the many other people who indirectly have the blood of thousands on their hands will receive their comeuppance, Though I wouldn't count on it in this lifetime and its certainly not worth holding your breath for.
Written by Michael Ainsworth
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Last night my cat had LSD and was restlessly meowing at the moon. Bet so, under LSD the moon becomes gigantic. The white bold sphere never appears so bright and close as during a trip. It is a visual festival, a clash of colourful patterns unfolded in a new spatial dimension where inanimate things suddenly come to life and time escapes its regular man-made flow.
Something to be afraid of some may think, but not really. Although sub-urban legends about 'friends of friends who once took a LSD blotter and completely lost their mind and were never the same afterwards' are auound, nobody has ever died because of a LSD overdose. For sure when taking too much there is an high risk of a far too intense experience, that can turn into a bad trip. But who's guilty for the excess? You won't complain about an acute stomach-ache after eating a whole Oreo family pack, will you?
So far it hasn't been proved yet that LSD can provoke irreversible changes. Being a psychedelic substance it can trigger psychosis, but the kind existing in a latent state, behind the scenes.. On the contrary, it was firstly used as therapeutic agent in the treatment of alcoholism and psychological disorders.
Back in 1938 in the Basel laboratories of the pharmaceutical company Sandoz, the chemist Albert Hofmann was studying the amids of Lysergic acid. A few years later he found out that the 25th compound he developed had psychedelic properties. Hofmann took a dose himself, and understood that effects were far stronger than he would have ever expected.
'Last Friday, April 16, 1943, I was forced to interrupt my work in the laboratory in the middle of the afternoon and proceed home, being affected by a remarkable restlessness, combined with a slight dizziness. At home I lay down and sank into a not unpleasant intoxicated-like condition, characterised by an extremely stimulated condition. In a dreamlike state, with eyes closed, I perceived an uninterrupted stream of fantastic pictures, extraordinary shapes with intense, kaleidoscopic play of colours. After some two hours this condition faded away'. The father of LSD gave birth to his problematic child.
In 1947 Sandoz introduced LDS-25 commercially under the trademarked name of Delysid, a drug with various psychiatric uses. LSD was legal for decades, was given to undergraduate psychiatry students as part of their education, was used to treat alcoholism and CIA gave it to soldiers and personnel. Only afterwards the counter cultures of the 60s discovered the 're-creative' use of the drug.
LSD is a half humnaly synthetised drug, originally derived from ergot (a fungus found growing wild on rye and other grasses). Secondly is unlike Mushrooms, 2CB, Mescaline or DMT: the only common denominator running throughout is their classification as psychedelic compounds.
There is some kind of belief (the origin of which is still unknown), that LSD is times and times more powerful compared to the 'innocuous' mush. To be fair, they represent two opposite experiences. Stating that the two drugs are somehow similar will be like equating the effects of amphetamine based ones, as Speed and MDMA. Both shrooms and acid make you trip-out, but LSD is like driving a car in a calm and lucid state, whereas Mushrooms may feel like being in a car with no driver at all. The LSD experience is far more controllable and mild. You won't see monsters crawling under your bed, dragons trapped in your oven or any other clichés you might have heard about. It's far more contained than that.
LSD causes hallucinations which mostly consists of the illusion of movement of static surfaces, tracers, intensification of the perception of colours, which sparkle and seem to bleed out the patterned surface borders. Objects acquire new texture, lights are powerful and blurry.
Said like that it sounds less exciting, but it's surprising how it turns a wooden surface, how it seems to bend under a gentle touch while the veinings dance away. And this is just a raw surface we are talking about: posters come to life, they become gifs where characters endlessly repeat the same action. Colours melt together, leaves turn into paper origami; you might experience seeing things as if they were under-water or with a quirky sense of depth that turns surroundings into a 3D movie. Lights on the street become big blurry bubbles suspended in the air and faces in dark spaces fluctuates, you can't see the bodies. Simple shapes are transfigured into living characters, protagonists of an immediate, short, fantastic novel. Your friends' faces quiver, features mutate as the bones move and go back to normal. Clouds in the sky appear for the first time with a different density, on different layers and you finally fully understand their scholastic classification. Behind, stars shimmer intensely and are surrounded by a web of smaller ones you had never noticed befor. .And Tthe most striking thing of all: you share all these perceptions with your mates, you can see exactly the same things.
More or less effects begin one hour after the ingestion and last from the 8 to the 12/14 hours. Choose to take an acid carefully: once is dropped there is no way out, it lasts until it lasts – is not to be taken lightly or often. The more 'acid' it feels in your mouth, the more powerful it is – whoever said that acid is smell-less, colourless AND tasteless is a dumb. It can be liquid, poured over a sheet than cut into the most common stamp-like tabs or come into a tiny sphere (Microdot – right, microdots are LSD capsules).
Visual effects are accompanied by the altered perception of reality: you might feel like you are on a boat, even if your feet are firmly on the ground. LSD's psychological effects vary greatly from person to person, depending on factors such as previous experiences, state of mind and environment, as well as dose strength. You probably gonna burst out laughing, turn into an hyena for as long as the trip lasts and inexplicably find out, the day after, that you've built a six pack. Or you might get anxious and feel like everyone conspiring against you. Commonly that would be the beginning of a 'bad trip' – that's how Hoffman reported his own experience:
"It was at a festival. I was anxious anyway, especially as I'd already had one bad experience with acid. It started to rain and I was really scared of being drowned. I got dead paranoid. I suspected everyone around me of being out to get me. Luckily my brother found me and calmed me down but it was horrible".
While on LSD you are still lucid and conscious, so it is possible to quiet the mind. With a bit of strength or common sense you can avoid the disaster by reminding yourself you've just taken the ultimate psychedelic and everything exists just in your mind. This is why again and again people report that through LSD they learned to know themselves, even if everyone's stories are different. In fact effects widely vary also based on what Timothy Laery - an American psychologist and writer, known for advocating psychedelic drugs – called set and setting. The 'set' is the predisposition of the user, his mind set. The 'setting' are the surroundings: where are you, whom are you with. The safer you feel, the better it is and the more you will perceive LSD as an incredible journey rather than a horrifying experience.
Yet acid often scares off people. Some will calmly gulp down a mix of pills, alcohol, GHB, ketamine and coke but never dare to try an acid. The variability of the trip experience can at right be frightening, as it is hard take in a drug without exactly knowing to what it will lead to, but most of those who have never tried LSD are just are ill-informed. Media do not help in this way. An American newspaper once reported: 'Entire family hospitalized after eating LSD laced meat'. The mother was 9 months pregnant and finally gave birth to a perfectly healthy child the two little daughters tripped out in the hospital but were fine afterwards. What come through this news relates more to the harmful nature of LSD, the cause that lead them all to the hospital (just because they had no clue of what was happening) than to the fact that Walmart was selling contaminated food.
One of the tragedies of drug prohibition is that we have never developed a culture in which young people can learn how to use powerful drugs properly from older, wiser and more experienced psychonauts. To avoid any kind of disappointment it will be great to have a proper guide assisting the trip but with a bit of shrewdness, the right attitude, company and place, LSD can still become a life-long happy memory.
Taking LSD has to be a considered choice made in a relaxed enviroment and with peace of mind, it is not that kind of thing you try because someone told you to, or because your friends are taking it that will make you the biggest dumb of all. It is advisable to never take a whole tab, unless you have already taken the same exact one, as strength might vary a lot. There is no respite for a long time from the moment effects firstly become manifest, so is good to plan ahead to have a full day to enjoy the trip and avoid any anxiety, better if you have the day after as well. LSD does not cause any sort of moral hangover, pain or tiredness, but it might happen that visual alterations and few other effects will come back in the following days, milder and for a short period of time ('flashbacks').
As many other drugs LSD also causes sleeplessness and loss of appetite: the wise tripper will start early morning after a full meal. Food does not interfere with LSD, on the contrary it can be surprisingly tasty if eaten while high! When taken amongst friends acid is more easily enjoyable, whereas experimenting on your own is an intense journey to the discovery of the self. The same will happen if you are in a crowded place: LSD is not a party drug, being in a closed space won't help you relate with others, whom you are most likely to stare at and observe intensely. Moreover, a sweaty, dark basement will prevent you to fully benefit from the extraordinary visual alterations. In an open space, or at least a wide, well ventilated one, communicating comes more naturally, especially if whoever is present is tripping as well. At this stage many find it easier to talk about thorny issues as they are more open and this feeling of open-mindedness is the reason why tacid has been used to treat depression and various other psychological issues.
LSD is nothing but an emotional catalyst: it exponentially intensifies our current mood, whether bad or good, as it increases our senses. Hoffmann noted:
“I suddenly became strangely inebriated. The external world became changed as in a dream. Objects appeared to gain inrelief they assumed unusual dimensions; and colours became more glowing. Even self-perception and the sense of time were changed. When the eyes were closed, coloured pictures flashed past in a quickly changing kaleidoscope. After a few hours, the not unpleasant inebriation, which had been experienced whilst I was fully conscious, disappeared. What had caused this condition?”
Author's note: LSD effects may vary greatly from person to person. As for some it can constitute a good experience for others it may be an horrible one, especially if this person is anxious, depressed, sad or is going through a though period LSD will increase and play with those feeling. If they are not positive, the trip could result in a not positive experience.
Moreover, being the only person to take LSD amongst a group of people may lead you to superficial paranoias, like having the sensation that everyone else is taking it on you. The stronger the acid dose is, the more such impressions will make you feel uncomfortable. MEOKO is not in anyway encouraging drug use. The article is based on personal experiences that - because of the liability of LSD effects from one user to another - might differ from those of others.
Please consider that LSD is a STRONG psychedelic drug, think twice before starting you journey.
Written by Caterina Berardi
*All quotes from A. Hofmann (2013) LSD: My Problem Child, Oxford, OUP Oxford.
Ahead of their set at Art of Dark this weekend we caught up with three members Slow Life regarding upcoming releases, their group aesthetic and what their studio set up consists of. MEOKO had a chat with Cecilio, DJ Tree and Laurine the first and latter have recorded us a mix for MEOKO mix series if you want to checkout some Slow Life vibes….
So you have some upcoming releases I would like to hear about, what is it you have coming up?
New EP from S. Moreira, our main producer, with a track featuring Saverio Celestri, which we can anticipate that will be the combo for the SL004. We also have tracks and guest artists to release, but we prefer to keep them secret to avoid any jinx...
For anyone unfamiliar with your style so far, how would you describe the Slow Life sound?
Hmmm… thats not easy to answer, as we have many influences and styles, but we can say that our label music has a true deep feeling in all the releases… We also like grooves, but not only stripped ones, the pads and layers are part of our signature.
You are a collective, how does this approach work for you all as a group and individually?
We share a common taste in music and vision about the industry, so the decision making in the main aspects is usually easy to handle. For us is also important the individual aspect, as beside the label releases, we are djs with our own personality and goals, so the development as a collective helps us to grow this aspect and viceversa.
Liste HERE for latest MEOKO's podcast by SLOWLIFE
So you are based predominantly in Berlin, the music culture out there is very inspiring to say the least….Has Berlin influenced your sound at all, if so in what way/s?
As we all know, Berlin is a key point in all music genres, so it clearly influences our sound and expanded our musical spectrum. But truly the main influence for us have been each other background, culture and last years research.
Also our record collection has grown exponentially all these years, thanks to Berlin’s record shops aspect, helped by the german vinyl culture, which we take advantage via discogs.
If we were to come and sit in the studio for a day with you, what software and hardware would we find the Slow Life collective toying with?
The setup is a combination of analog and digital hardware, from the Juno 106, Bassline, Jomox 999 or the recently added, Korg Mono/Poly to the Electribe, MPC, Roland mc505 and some effects processors, using Ableton live as the sequencer.
You are vinyl enthusiasts also, which vinyl do you treasure the most from the Slow Life collection?
Tuff question, as each other has its own treasures, but there some that we have in common, like the CSM001 or the LP by Jaime Read The End Of The Beginning.
Which producers/ DJs do you like listening to when not in the studio?
As djs, Zip and Nico Lutz sets are always welcome and enjoyed. We may listen to many different producers/music during the day, from jazz, dub, soul and hip-hop to electronics. Some examples usually on repeat would be Matthew Halsall, Tommaso Cappellato, Jan Jelinek, Dj Gruff or Nightmares On Wax. Other name to be mentioned as producer is Vakula, we think he is one of the most prolific producers from the last years, always on the spotlight. About dj/producer (both well skilled), the first to come in mind is Mr. Theo Parrish.
Which venues would you most like to play in and why?
Club Der Visionaere its truly a fav, because of its magic, where you can play extended sets, push further and still connect to the people. Of course, playing at Panorama and Robert Johnson are future goals, as well as some major clubs around the world, mainly for their sound systems and musical background.
If you could only ever listen to one piece of music again what would it be?
Music for 18 musicians by Steve Reich, that could be a perfect option. Also, any instrumental LP by James Dewitt Yancey would be a good choice.
An event in the luxurious lounge-esque space which is the Phoinex Cernica Club usually a quaint restaurant and leisure facility that on the 1th August will bring some of the finest house and techno representatives from France and Germany as well as ambassadors of Romania's homegrown movement, such a fruitful line up that oozes quality from top to bottom.
Seuil is a seasoned veteran and has a global cult following due to his style that prioritises personal taste over popular opinion. Ion ludwig you may know as the off the wall Toi Toi resident, he has been building his reputation on quality releases and chest rattling techno sets and blends sonic beauty with tasteful energy in his pulsating live performances. Priku exemplifies precision in mixing using energy and rhythm to toy with his audience like a playful puppeteer.
ViD has contributed to Romania's broken beat sound in both his productions and mixes though twists and layers the style in a way that can only be described as 'viViD'. Nu Zau is many a producer's producer with releases on major cult labels such as All Inn Black, Archipel and Fear of Flying just to name a few and has recorded mixes for the likes of Fasten Musique and Vibecast Romania which prove he is just as accomplished in the booth as he is in the studio.
Zece are 2 guys hailing from Romania with stripped back grooves and a warm aethsetic while Hozoc you can expect to experiment with contrasting rhythms and zany mid-frequency delights, he has also had his productions signed to Archie Hamilton's 'Moss.co' imprint. Alin Stoica is less known than most of the line up but has been making a name for himself in his homeland of Romania so Im sure will be great to checkout.
This has such potential to be a truly enlightening experience, you can certainly trust in Romania to keep orchestrating such harmonious line ups. Shout out 'haos' for their taste in DJs and choice of venue this should be special.
In the streaming age, we're all aware of the need for physical, collectable products. Over the last few years, there has been a gradual increase on the sales of vinyl, showing that music fans not just in the dance world are returning their focus on to a tangible product, one that's rich with life, passion and design. We all marvel at our own (and our friends) collections of wax, and our contribution to keeping the format alive. A pretty positive thing in this day and age of instant gratification and sharing. But what happens when a passion turns into an obsession and your hobbies begin to ruin your life? What would be the downside of collecting 50,000+ records, seemingly the by product of being unable to stop buying random bits and pieces?
Those ‘trusted’ purveyors of news and culture, The BBC ran a feature in April of this year that explored ‘The Eight Tribes of Vinyl Collectors’, lightly exploring the different ‘types’ of vinyl collectors and those that are buyers. From ‘The new buyer’ to ‘The Nostalgia Collector’ and ‘Shop Owner’, it seems they miss out on a ‘type’ of collector that sadly doesn’t get any thought: ‘the obsessional hoarder’. When collecting and dedicating your life to your aesthetically charged desires, things can often turn rather tricky. Consuming your thoughts, taking up your time and holding your undivided attention, many of us have our vices. From golf to cars, music to video games, we've all annoyed and upset our loved ones through our one-track mindedness, seemingly obsessed on inanimate, non emotional, consumerable objects. Musical formats have always been a collectable item but what happens when the obsession for black plastic becomes too much? From divorces, homelessness and mental breakdown, a seemingly harmless past-time of indulging in music can have quite an effect on your wider life at large if you let it. At what point do we become 'hoarders' rather than 'collectors' and become dispossessed from their family, friends and life?
Esquire magazine recently wrote about a new book, Dust & Grooves, concentrating on the, various cavernous locations where people are hoarding their collections, some of which are reaching nearly 100,000 strong. As an opening line in the book states, written and photographed by Eilon Paz, "Some collections built through crate digging are meticulously organized by name or color with others the wood is warped and sits beside piles of records and used electronics, all covered with dust and grime". a poignant statement by the author, but after looking at the pictures, there is a positive spin on the obsessional drive of these insane record collections, driven by love, passion and undying dedication.
For some of us, the ability to store and house gargantuan collections is too mammoth and unrealistic a task thank god for institutes such as London’s first ever Vinyl Library in Stoke Newington, enabling vinyl lovers and collectors to deposit and share, whilst accessing a vast and endless collection of wonderful music.
“A musical community sharing space and library full of all kinds of freaky goodness. For £10 a month members get access to events and can borrow vinyl!” explains the company’s mission statement. “To raise the consciousness of the listener through the raw vinyl form and to preserve the heritage of songs and good times whilst maintaining the two elements, tradition and modernity in balance.” Although a great idea, in just under a year since the project started, the library’s popularity growth has well exceeded it’s current home even a public institute such as this is currently looking for a new home to cater for the storage of an increasing amount of vinyl.
Unlike some of the world’s largest and most respected collectors such as Brad Miocevich in Perth, one of many people that have built custom spaces to house collections that exceed 20,00 in a private music library how do some house a collection of this size? What do you do when your floor can't be seen due to the piles of albums and EPs strewn across it and how is it affecting people?
According to the Vinyl Factory's blog, an infamous case of hoarding overload can be referred to as one of the most extreme cases of over collecting, with a 68 year old collector in Canada collecting a staggering 250,000 records, even rendering him unable to even use his bathroom or shower due to records filling every nook, cranny and space the house had to fill.
As critics of those who fall foul to hoarding point out, at what point does the act and pleasure of listening to music become lost through the drive to increase? Surely when your collection exceeds tens of thousands, you aren’t really listening to music anymore. And spare a thought for those that are dealing with what’s been left behind. With the aforementioned Canadian hoarder, the house was bought outright by a record label and a mass clean up begun before they even started cataloguing the music. Others have been tipped off to long forgotten graveyards, such as photographer Frederic Thiphagne and his blog Les Mains Noires. Given unprecedented (but guarded access) he was contracted into silence before being able to take photos of an abandoned warehouse stuffed full of records an unsoecified amount at that a few weeks later, the warehouse and all of the potential musical gold and stories behind them were lost as the warehouse was demolished, wiped from the face of the earth without a trace.
Further investigation and research has gathered psychological reasons and studies into the phenomenon of collecting, especially with music, but at a minimum. Russell Belk and Simon Reynolds two of the only writers and scholars to extensively look at the effects of obsessional record-collecting suggest that music collecting can wander off track into destructive behaviour obsessiveness and consumer fetishism often combined with an “idiot savant” level of data accumulation. Reynolds refers to the practice as a “perverse consumerism” that literally “eats up your life”.
Of course the above pointed out are all extreme cases of insatiable desire, when collecting turns into something much larger than mere musical appreciation but with the sales of vinyl rising (already an expensive medium itself), one does have to often consider the life changing, space saving format of the Mp3 and digital formats. Boring, lifeless and non-tangible they may be, but they have offered music collectors and hoarders a chance to amass music from the four corners without having to give up their lives in the process. With this in mind, perhaps it would be fair to say that we are all hoarders of music in our own right so lets spare a poignant thought for those that have suffered for their love of music.
Written by Joe Gamp
Excellent, personally sourced fabrics and minimal designs are the key elements behind the success of SDG East London.
Founder and head-designer Stefania Di Ghionno achieved a degree in Costume and Fashion History from the University of Bologna and soon moved to London to follow her passion. She started engaging with the fashion market in the UK by selling vintage garments and customized vintage clothes in the hottest spots of the city: Camden Market, Portobello, Spitafield and Birck Lane's Up Market.
Back in 2010 she decided to move on and create their very own brand: SDG East London, a brand that could represent their ideas and deliver the best quality and design, rigorously handmade in London with love.
Stefania personally sources each material: fabrics arrive and are ordered from all over the world. In her studio precious silks from the east are piled together with modern high-tech materials. Each jacket from the Match collection is a colourful, spot-on clash of different patterns and textures. Patterned cotton, velvet, faux and real leather, jacquard and quilted fabrics enrich and distinguish every single design. The combination of different patterns and textiles results in never ending possibilities of matches, which spice-up the basic, well cut shape of the SDG jackets and make each one unique.
Beyond quality, commitment and passion, the focus of the brand is on delivering pieces that can be worn in several ways and all around the year, for an effortlessly chick look. SDG Match Jackets are perfect on both, laid back clothes or elegant ones. The attention to details and care for quality will always make them the right choice to complete an outfit.
Easy-to-wear is the word that better represents the brand concept, as jackets are unisex and has also been recently launched Puffetta, the baby line for those mums and papas who can't escape the matchy-matchy charm.
Fell in love with a pattern and would like to mix it with another? SDG provides also a bespoke line. Just book in an appointment to come over to the showroom in East London and choose your favourite materials amongst the rich stock. Sleeves, bust, pockets and even the zip colour can be combined accordingly to the customer's tastes.
Charlie from Soul Clap wearing Match Jacket N2
For our dearest MEOKO readers SDG has raffled a beautiful, unisex jacket that boosts a dark, plain body brought to life by the warm coloured, African print sleeves. The jacket is from the Match Collection, which SDG has created after receiveng an order from her friend and promoter at BP (Beautiful People). The contact with the music scene triggered the idea of developing a collection from that first prototype - which is the exact same we are giving away - and to launch the collection with the aid of the Crew Love, collaborative concept from Wolf + Lamb, Soul Clap and Double Standard. For this year Sonar Festival she made 14 jackets especially tailored for Soul Clap, Wolf + Lamb, Pillow Talk, Slow Hands, Tanner Ross, Nick Monaco, No Regular Play, Navid Izadi and other members of the Crew. Being mostly Djs, she opted for colourful designs which can easily stand out amongst a big crowd, altering her usual minimal style in order to play with patterns and details.
Baby Prince from Wolf&Lamb wearing Match Jacket N1
To get a chance of winning a Match Jacket like SDG East London on Facebook and let us know at
. Write SDGreat on the subject line and explain in which occasion you'd use the jacket.
Have a look to the complete SDG East London collection on the blog or shop them on-line.
For how much longer will the very concept of television, indoctrinated news, high octane action films, regurgitated jokes and obvious story-lines mask our awareness of the importance to question. This isn't a political call for revolution it's merely a reminder that you can step off of capitalisms conveyer belt by simply placing one foot in front of the other. This isn't an attack on TV viewers, film buffs, comedians or any other sector of the entertainment industry, but take a look back to Ancient Greece and you will find that entertainment was used to educate the people as well as entertain, though add the word industry after and you get a corporate brainwashing of what entertainment is meant to be. Do you honestly think that these corporate powers want future generations to think for themselves and be without their apparently essential products. As Bill Hicks said "It's just a ride" and the very thought of future generations coming together through their own self-found entertainment with their own opinions jeopardize corporate media's focus upon wealth and control after all they have a lot "Invested in this ride". Fixate the people with material distractions such as advertisements, game show prizes and reality TV I'm sorry but if thats what's real then I can't imagine how "fake" the everyday issues concerning the people of Britain and the rest of the world must seem.
People with such power could eradicate poverty and debt globally, but why help anyone that can't help you, right? Political parties may offer (the class you find yourself in) a better deal than the other horn-headed puppet running against him does, but either way its a dance with the devil whether the better you know or the disguise you don't. The concerns of the people of Britain are not those of the government even though they are the people in charge of the peoples' concerns. This reminds me of a phrase that was created during The Boer War 'National Efficiency' basically an investment by the government in the health and wellbeing of the British public, this was put into play when the government realised that 1 in 3 men called up to fight were unfit for battle causing a major problem for the government which was basically that they had no cannon fodder. I have a huge respect for every person that fought in any of our past wars though feel the government viewed soldiers, casualties and deaths as statistics rather than people that deserved the basic human rights of national efficiency in the first place.
It just seems we have gone full circle again, though next time war arises national efficiency is no longer a worry to the government as they have ploughed so much tax payers money into the military that they have us covered for at least the next "war" which no doubt will be our own governments' fault as the last two "wars" were in Afghanistan and Iraq. The reason I write "war" is because they have both been more of a pillage than anything else and my deepest condolenses go to those who have lost loved ones in Afghanistan and Iraq but it's just what our government does. If you feel I'm wrong, narrow minded or simply deluded in any of my points than I ask of you to at least take the time to watch 'Paying the Price Killing the Chilldren of Iraq' which reveals sickening, barbaric events take place and some of the reasons why our government will exchange lives for natural resources and money both of which aren't ours.
The days of battles and wars should have passed a long time ago, you would surely agree as we have classed ourselves as civilised creatures for centuries, we no longer need to make spears from flint, stick and rope, we are living in the height of technological advances where the previously unimaginable is at our fingerprints. As a race we are clever enough to design smart phones with fingertip recognition, wifi, blu-tooth, infra red, fighter jets, space shuttles etc etc etc….though are still too dumb to work out a simple but effective political system that serves the very people it is there to support. Call me a cynic but even wide-eyed at the front of the tunnel I don't think I would find as much as a shimmer of light at the end. Bob Marley warned us "total destruction was the only solution" which as a kid I didn't really understand but exactly what he meant is growing ever-present in reality day by day.
Written by Michael Ainsworth