- Published on Tuesday, 14 January 2014 15:07
With hindsight, I shouldn’t have drunk so much right before we left for the club. Not because I was drunk (god no, not that! Who doesn’t like to be drunk?) but because I was now stuck outside in a queue of London proportions with a bladder fixing to burst all over the pavement. Having suffered the misfortune to be born with rude bits that go in instead of out, there was squat-diddly I could do about it, save squat-piddling, which I was not yet inebriated enough to consider socially acceptable. I sent my accomplice, Dave, to scout ahead and see how far the wretched line extended, and he reported back that it wrapped around three sides of the immense and towering exterior of our venue, occupants waiting doggedly like tramps on a breadline as they glacially trickled towards the dark entrance. I’m paraphrasing, of course, Dave was much more verbose.
So we waited and waited, and then we waited, and the rain rained away my make up and most of my buzz. In the interests of clubbing camaraderie I spoke to the people in the line behind me, covering general topics everyone likes – music festivals, sandwiches, unicorns – but my impressions of solidarity were later shattered when I noticed the same people had edged in front of us. The combination of being desperate to get in without trouble and being English meant I was unable to cause a scene, but I gave the back of their heads a mighty stern look, I can tell you that. Anyway in a few more minutes we reached the final frontier, a bottleneck of bouncers with their best grumpy faces on.
“Can I see some ID?”
Shit. Balls. Bugs. Reekus. Forgot my ID. I uselessly patted around my pocketless outfit and put on my finest puppy dog eyes.
“Uhhh I think it’s fallen out, I swear I had it. Honestly sir I’m well overage.”
“No ID, no entry” said he with the heart of stone, and began to usher me aside.
“NO! Wait! Please!” I yelped. “Look at these laugh lines. See the shadows under my eyes? Feel my tits - go on just feel them - these are not underage breasts, sir. I’ve got a filling! I’ve got cellulite!”
Dave chose this moment, and no sooner, to pipe up: “nah here it is, I forgot you gave it to me.” And thus it was that we finally made it into the club; a humiliating process which left me feeling very much not seventeen.
Relieved to finally be done with all the waiting, I headed straight for the bathroom to wait for a cubicle, after which I was to head to the bar and wait to buy drinks, whilst D waited for the cloakroom. I ninja-weaved my way to the front in good time however, buying four drinks and then spending a good ten minutes balancing them all in my hands and ninja-weaving my way to the agreed meeting point on the dance floor, where I saw D waiting with his back to me. Heady with the success of my booze mission I let out a whoop and nudged the four glasses into the back of my companion. Alas, my hubris was my undoing! For it was then that my iphone, wedged within my sweaty armpit, boldly broke forth from its fleshy bonds and kamikazed to the floor. Cracks! Devlish cracks everywhere! The back, it turned out, did not even belong to Dave. He was nowhere to be seen.
I jived away on my own for a while in pretty good spirits, as the DJ was turning up some belters. I whipped out my fragmented phone to try and nab some track IDs, when I noticed a dark handsome stranger leaning over my shoulder. He was making the eyes, I was making the eyes, then he leaned in close and said, “the dance floor is no place for a smart phone babe, update your status tomorrow” and smugly jived away with his smug clubbing purist smugface and I was left with the burning injustice of his snap judgment. I WAS SHAZAMING YOU INGRATE.
With no phone reception I had to eventually give D up for dead and head to the smoking area to make some replacement friends. Pickings were slim, as everyone was either already deep in exclusive conversation, or borderline cross-eyed. I chose the mess nearest to me and asked how her night was going. “Absolutely swimming, mate.” She slurred, ashing her cigarette on my elbow. “Couldn’t be rounder if I ate a peach”
She continued to talk at me in riddles but I couldn’t concentrate on anything she was saying, all I could think about was pulling down hard on that nose ring dangling from between her ket-funnels and severing her nostrils in twain. Deep in bloodthirsty reverie, I absent-mindedly raised my beer and took a deep refreshing swig of - FAG BUTT!?! There was a mother-effing cigarette in my mother-effing beer bottle! I had reached my Samuel L. Jackson breaking point.
Spitting ash and cursing I stomped towards the exit, but was pushed roughly aside by two bouncers, who were marching a very floppy Dave towards the door. He smiled vacantly and waved goodbye in my general direction, possibly not even aware we knew each other, possibly not aware there was a lemon slice stuck to his cheek. I followed the procession outside and claimed custody of my citrusy friend. The night had been horrific, so naturally I was straight on the ring-around Sunday evening trying to work up a crew for next weekend. We spend our weekends chasing the party through the rain and the dickheads, into basements and over gutters… because sometimes you catch it, and it’s that perfect.
Once in the cab and swiftly exiting the scene of this disastrous night, one final dig in the ribs awaited. “The coats!” I wailed, “You left our coats!” Dave burped and pulled half a kebab out of his pocket for us to share.
By Jordan Smith.
- Published on Tuesday, 07 January 2014 10:45
No philosophy, just music is the ethos behind the party known as Next Wave. To those that have been privileged enough to party with Next Wave in the summer of 2013 will know that from the island of Ibiza and beyond, the team have delivered time and time again with a selection of performers knitted together for a seamless audio experience. Names to many to mention a few have graced the turntables that have piloted them to their place at the top table of parties to add to your event bucket list. Away from their prolific home at Privilege, Next Wave moved to close their Ibiza summer season with a final showcase at Moma featuring guests in the form of the legend Ricardo Villalobos and his stable mates Rhadoo, Petre Inspirescu and Raresh (RPR). What was next inline for the team? A calling from another of Ibiza’s cornerstone clubs… Pacha.
Next Wave Closing Party at Privilege : Ibiza, Spain with Ricardo Villalobos - Raresh - Petre Inspirescu - Rhadoo - Valentino Kanzyani - Dan Andrei - Ian F.
“Pacha?” some would ask. Yes, Pacha. The eclectic, multi-platformed interior décor is the ideal setting for the Next Wave residents and guests alike to fill with their collection of elemental grooves as displayed party after party. And so in the midst of the winter season on November 1st, Pacha invites Next Wave dawned part one of the new venture. Valentino Kanzyani, Dani Casarano and Angel Linde took charge of the crowd’s destiny for the night on All Soul’s Day. Leaving the island and heading east to venture across Europe to Italy was the last stop on the team in 2013. 30th November saw Rome’s Minu played hosts to Next Wave at Circolo Illuminati. With Dani Casarano on resident duty and a warm-up from Zavor, the master Fumiya Tanaka took the stage as headliner for the night.
2014 looks to hold in store more of the same with a little bit extra. First stop on the route planner is a trip to Chile, South America. On the January 11th , Next Wave have teamed up with Cabaret Santiago for a party at M Club in Valparaiso featuring Dani Casarano, Roustam and local Chilean DJ Vale Colvin.
Listen to the Sounds of Next Wave: Click Image to PLAY
March 21st Next Wave return to their island home Ibiza, for part two of their venture with Pacha with guests Dan Andrei and Roustam. After the success of the daytime party at Sonus Festival, Croatia, the team have been invited to reclaim the Kalypso stage for the night shift. The final line up is yet to be announced but with performances from the usual suspects and anticipated guests this is guaranteed to be one not to miss.
- Published on Tuesday, 31 December 2013 11:25
How much influence does a city have on the music that comes out of it? Few would argue against the the heavy, mechanised motor history and urban meltdown of Detroit on shaping the machine funk of techno. Similarly, how the post-industrial landscape of Sheffield stamped its hallmark on the early futuristic bleeps of Warp. But what about in the past 20 years? Is it possible to hear the ugly sprawl of Croydon, for instance, inside the wonky bass of 90s tech house or the angry rumbles of dubstep? Maybe, but there's no denying that the area will be forever linked with both.
Right now, a little corner of London is having something of creative growing spurt. Up, in and around the postal district of E5 – Clapton – musical output is, perhaps inexplicably, exceptionally high within a tiny square-acreage. Coming out of this grubby corner of north-east London, made, played and released by a handful of local residents, is music that isn't afraid to push the edges of house and techno. Tune in and it could well be the audible representation of what was once known as the Murder Mile? Or it may be nothing more than the rumbles of a few individual producers, DJs and labels, like-minded only in where they just happen to live?
Pic - Clapton Pond, E5. Apr 2006
Whatever the answer, there is a high concentration of music coming out of Clapton, so it's worth meeting its most prolific musical residents anyway. All of whom have, tellingly, migrated to the area anywhere in the past ten years, rather than grown up there. Whether they are running labels, making beats, playing records, putting on nights, or all of the above, they are all putting Clapton on the music map. And more than any other corner of London right now, they are doing it at the same time and in the same place – which is enough for us to call it a scene, no matter how reluctant its protagonists might be to be part of it.
Whether or not there is a clearly detectable Clapton sound, or just a Clapton postcode on the back of the records, is kind of irrelevant. But the music of producers Semtek, Arnaldo, Marco Shuttle, and labels Don't Be Afraid, Third Ear, Until My Heart Stops and Boe Recordings, definitely has a Clapton accent. Although you couldn't really call the labels, producers and DJs a tight crew, there is already some crossover, and some firm friendships here. So they might be soon.
A producer and DJ with an ear for restrained deepness and scant regard for some house facists approved tempos, William Arnaldo Smith has established his talent the past couple of years with sturdy 12s for Smallville, Blank Slate and Greta Cottage Workshop. He moved to Clapton for one main reason: it was cheap.
“I would be lying if I said the price of rent did not turn me on to the idea of the area,” he says. “But I really liked the feeling it gave me too.” What he’s since discovered is somewhere affordable, a bit run down, and multicultural. It's an area with kindred spirits. “Since moving here I've met so many people and it is truly crazy how we are similar but also so very different. I think there are still so many people I have not met and that makes me very excited.” One such is Ben Parkinson, owner of Boe Recordings (see below), who lives on the same street, so it was inevitable that that the two would pair up – the producer has a track on the latest Halal Prepared EP on Boe, another solid missive from the five-year-old label. It's not his only local collab.
" I've a track then a full EP coming on Until My Heart Stops which is co-run by Leif, who lives in the borough. A radio show starting on NTS Radio and my first DJ residency at Dance Tunnel, both nearby in Dalston. I would love to say there is a movement or something in the lime-heavy water round here but I think it's a bit of coincidence - brought together by cheaper rent. I am a party of a local scene in as much to say these guys are cool and thats nice that we do the same stuff " But he sights Dalston's Kristina Records as his main local influence. "The guys in there are great. (through them) I am listening to and playing some ofthe broadest range of music, I think ever in my life"
Guy McCreery has been running his Third Ear Recordings label out of Clapton since 2002. As much a home for Detroit, European as well as homegrown talents such as Wbeeza, the current strand flowing through the label is edgy, highly musical house, techno and electronica. Recent highlights include releases from Benjamin Brunn, Patrick Skoog and Sarass – outsider names that play by their own rules – something that echoes the style of Clapton's current musical residents. Rather like Arnaldo, its the cheapness and open-mindedness of the area and the freedom that brings that have been the area's direct inflence on McCreery's endeavors.
“It allows me to be myself and focus on what I do,” he says. Considering he's been in the area over ten years, it's only recently that McCreery has discovered his more creative neighbours. “I only found out Marco Shuttle was around here because my mate Rabih Beani aka Morphosis was staying with Marco when I booked Rabih to do a night a Corsica Studios. It makes sense that there are more than a few around here. But we're not a band of brothers and sisters who have come out of the neighbourhood. We're a bunch of similar-minded people who have zoned in on the area because it allows us to do what we're trying to do. I'm wary of scenes. But I would not distance myself from other Clapton artists and labels. It's always good to hang out and share experiences. That makes us stronger.”
McCreery's noticed that Clapton's musical infrastructure has some oddly local hubs. “I knew the development would move up from Shoreditch and Hoxton. That wasn't too much of a surprise. Although the manner in which the entrepreneurial Turkish property owners opened up their basements to bar and club culture was. I think the Palm 2 grocery store was a big factor in drawing people to the area too. I've been in Fabric overhearing people describe where they live in relation to that store!” He's also keen to see the area's local landmarks embrace its musical development. “It won't be long before we have an electronic arts festival in The Round Chapel. I've considered curating one there. It's such a beautiful building inside.” He could be right. Biosphere, Nils Frahm and Perc are among the artists who have already appeared, last year, at St John Sessions, a live concert series based just down the road at a church on Lower Clapton Road.
Picture from Wikimedia Commons
Italian producer and DJ Marco Shuttle has been a Clapton local for a few years – using his hub to make an advanced, hypnotic strain of house that isn't afraid to experiment, for Clone, Farden and his own suitably named Eerie label. It's what Clapton has in store for its residents that has drawn so many like-minded music heads to the area.
“I like the mix of people in the area – locals, hipsters, professionals, weirdos, crackheads and more, living in the same place and doing their business without bothering the others. I like the fact that there is not a kind of artificial sugary community feeling, it’s just a very effortless honest, silent respect for the diverse.” Shuttle is aware he's got similar neighbours too, and having music in common has made for some solid friendships among them. “I know a few people that do their thing with a very genuine and passionate way that I like and I've became good friends with, Benjamin Semtek, Arnaldo, Guy from Third Ear Records, the Kristina Records crew.” But name-checks aside, he's unconvinced that being a fellow local artist can be heard in his music. “I wouldn’t say my location right now has much of an influence… Ilike to live here, thats all. Definitely East London more generally in all these years influenced me more from a wide perspective. I met many people that have been really crucial in my growth as a creative person.”
Benji Lehman aka Semtek, has a keen ear for fresh talent and is no schmuck in the studio either; his Don't Be Afraid imprint introduced us to Mr Beatnik, MGUN, as well as his own-name 12s. This year the label has diversified into side labels DBA Dubs and Special Editions, and he also set up the spirited Spargel Trax – that has presented anonymous tracks by well-known producers wearing vaguely asparagus-themed disguises. Living in Clapton, cheaply, has given Semtek the freedom to run his labels and time to meet up with similarly minded mates. Although he says that much of what he releases is “in some sense motivated by communion and friendship”, he has had mixed success in forging musical connections in the area.
“I have come across very few musicians from the area of whom I was not aware before. That is sad for me, because were there a local record shop or a local club those musicians might be in a position to meet people like me who run record labels. The internet is much more daunting than a club or a record shop for many people.” But the connections he has made have been vital. “My boy Marco Shuttle lives across the road from me and I would not have gotten to know him so well were he not in the area. He is one of the most talented producers I have ever come across. The Thick As Thieves guys live down the road and having them around has also been great as they are a constant source of encouragement and inspiration.”
Boe Recordings has been Ben Boe's labour of love for the past five years. Similar to Third Ear, you'll find UK producers such as Arnaldo, alongside upcoming Europeans Gaetano Battista or Anaxander on its releases, and on For Those That Knoe, Boe's recently launched reissue label, forgotten 12s get a new lease of life, from both sides of the pond. Ben's convinced he'd be releasing, playing and making something different if he lived somewhere else.
“My outlook on music and the records that I purchase have totally been influenced by my surroundings. Just being here I found myself being far more adventurous in the record shops, keen to avoid specific trends. I think this is hopefully reflected in the music that I put out on my labels. It’s not just the physical location that influences me but the people who reside here. So many people who are involved in music and the party scene live locally. Chatting about music is really important for me. Having like-minded friends around me and being involved in a scene of sorts has helped me cement my ideals on what I want to get out of and put back into music. The area and the people around me influence me and challenge me in a good way. They’re all amazing DJs with great record collections and knowledge. If I lived anywhere else I would never be able to absorb myself in my music as I can do now.”
He too name-checks Kristina Records as a vital neighborhood hub, a place where you'll often bump into any number of local or producer residents, either scanning the racks, chatting at the counter, or slugging back a red stripe when the shop hosts its regular DJ in-stores. And he's able to hand-deliver releases to sell there too.
“Three or four years ago no one would have said that a boutique record shop that mainly focuses on new house and techno would open up in East London. But it’s a go-to shop as well so folks will drop by and visit from out of town to listen to stuff they can’t get elsewhere.”
Ask Ben if he thinks theres some kind of genuine movement coming out Clapton and he is in no doubt. “It’s there for sure. [Yet] only recently are the people involved starting to realise it. It’s very small; everyone knows one another but in an honest way - it isn’t a clique. I’m talking about parties, artists, music, the whole thing. It’s there but its members don’t think that it’s an entity in itself. It can’t be marketed; it can’t be bought or sold. It just IS. That’s what makes it so great. We just do what we love and extend the friendship to individuals who share the common interest. We go to each other’s parties, play each other’s records, do radio shows together. It’s incestuous, but in a good way, there’s no pretense. Its underground, it’s with real people, not fashionable with trend hoppers. It’s weird that I know pretty much all the people that I admire musically as we live close to one another and we’ve all come together through mutual connections over the last few years. It’s safe to say that as a group we are definitely not a cool (however it is defined) set of people and I’m sure without speaking for everyone I think most would agree.”
Something in the water? Maybe – other DJs, producers and label owners within in touching distance of Clapton.
Straddling the streams of house and techno, Ethyl has settled on the south edge of Clapton, built a new studio and is forging a rawer, trippier sound as he matures for label such as Secretsundaze and Appian Sounds. DJ wise, always on the money.
Five minutes across the border in Stoke Newington, the Welshman had a fine 2013, releasing singles on Ornate (owned by local James Thomson, of Jonno & Tommo), and a cracking debut album on Fear Of Flying. Also co-owner of dark-seamed underground house label Until My Heart Stops.
Jonno and Tommo
Although more Dalston than Clapton, Tommo's Ornate label is always worth keeping an eye on – the 2013 12 by local boy Leif was a significant release for the label. As a production duo, think straightforward house rather than the dubbier, dirtier releases coming out of Clapton.
By Jane Fitz
- Published on Sunday, 29 December 2013 11:16
2013 has been an extraordinary year in the music industry - Many artists have put their art together for the duration of an album and have tried to challenge their creativity in a style that is often forgotten in the underground music world. Among the myriad of releases that have appeared this year, we have selected the albums that have moved us over the last 12 months, and will certainly keep on doing so for a very long time.
1) Horror Inc. / Briefly Eternal – Perlon
An amazing piece of art from Marc Leclair, which is entirely built to be listened to in one sitting. Balancing between refined electronic sounds and the richest instrumentations you could possibly think of, the French maestro delivers the most moving Deep House album that has been released in years.
2) Petre Inspirescu / Fabric 68 (Fabric London)
This release is not only an astonishing mix, it is a breath-taking album for Petre has put his unique know-how in order write every track composing his release. The result is a highly spiritual trip through the evolutions of Minimal Techno and Micro House holding many hidden treasures from the depths of Romanian underground music.
3) James Holden / The Inheritors (Border Community)
Border Community’s head proved that his label and the typical ‘drony’ sound that goes with it are far from being dead. This release is nothing but a genius piece, recorded in one take on Holden’s homemade modular synthesisers.
4) Leif / Dinas Oleu (Fear Of Flying)
A Deep House pearl coming from the UK, halfway between the analogue coldness of TM-404 and the warmth of Gold Panda, driving more and more attention to the always surprising Fear Of Flying imprint.
5) KMFH / The Boat Party (Wild Oats)
Detroit House will probably never stop making headlines: with The Boat Party, Kyle Hall reaffirms that Motor Town is still one step ahead of the game when it comes to music
6) Dwig / Forget The Pink Elephant (Giegling)
German abstract House at it’s finest: a warm blend of jazzy sounds and smoky beats from the Weimar based label that is slowly putting its imprint on House music.
7) Four Tet / Beautiful Rewind (Text)
Kieran Hebden’s never-ending inspiration has returned this year, delivering an astonishing retrospective on his musical influences and the movements that reached his UK homeland.
8) Prince Of Denmark (Forum)
Giegling’s subdivision delivers an intriguing Techno LP for its first release, bringing together a cold minimalism and a gentle touch of delicate romanticism.
9) Damiano Von Erckert / Love Based Music (ava.)
An hour of an endless come-up on soulful Chicago House, freshly imported from…Cologne, Germany!
10) Steve O’Sullivan / Mosaic Reshaped & Unreleased (Sushitech)
Mosaic boss has compiled some of his early works under his different monikers: despite these sounds coming from the 90's they sound extremely up to date and will treat all the slow paced House and Techno aficionados.
11) Anton Zap / Water (Apollo)
Between the analogue sounds of Deep House and the landscapes of Dub-Techno, Anton Zap has been refining a sound of his own, as cold as beautiful.
12) Mr G / Retrospective (REKIDS)
A gift made out of the most incredible unreleased material from Colin McBean, a “twisted journey” between House and Techno.
13) Cuthead / Everlasting Sunday (Uncanny Valley)
A refreshing and unexpected Housy present from the never disappointing Cuthead: he demonstrates once again his crate-digger abilities, bringing together his delicious samples and prepares one of the most uplifting album of the year.
14) Coldfish / The Orphans (All Inn Records)
The Hungarian chameleon, operating under different aliases, proves his producer talent on the length of an album. A minimalist soundtrack masterpiece.
15) Sven Laux / Comfort Fragments (Archipel)
The Canadian label led by Pheek continues its journey into the sounds of the underground, developing a unique eclecticism, this time diving with Sven Laux for a swim into an intriguing and rich Dub
- Published on Thursday, 19 December 2013 19:41
As 2013 draws to a close, and our attentions turn from Techno to Turkey, everyone at MEOKO HQ have been reminiscing over our highlights of the year... From shuffling, to the underground sounds of Romania, to the ladies that pioneered Techno, we've had it all. Before 2014 knocks down the door, and for those that may have missed out, we've put together our favorite features of the year...
Raver Snobbery: Where is the love
During my recent, and very predictable, new year sabbatical from raving I started to think a lot about the pros and cons of going out in London. At the grand old age of 31, I’d been feeling the burn – not physically so much, but mentally I had a persistent feeling that things had changed, that ‘it wasn’t like it used to be’ and that maybe curtailing my raving ways would be a good idea… at least for the time being. Being away from the clubs and warehouses, I had a lot of time to ponder over the issues that affect partying in the current climate and having already written a piece on the London club scene for Mixmag, I realised there was a lot to consider.
How Romania helped change the face of house music...
For all those out there familiar with the London music scene, who have encountered the sounds that have reverberated through one of the many London warehouses, may question the relevance of this title to them. Why Romania? After all, this country probably isn’t the next place you’ve planned to spend your holidays in…
Yet, if you’ve been out clubbing in the past decade, you without doubt have already thrown some shapes to this significant export. Their influence has shaped much of current electronic music and Minimal-Deep-Tech-Micro House (or whatever its name could possibly be).
Jive on Madiba 1918 - 2013
“No one is born hating another person because of the colour of his skin, or his background, or his religion. People must learn to hate, and if they can learn to hate, they can be taught to love, for love comes more naturally to the human heart than its opposite.”
Just like a piano, black and white keys are used together to create music, without the one, the same tune and feeling cannot be captured. South Africa suffered under Apartheid rule from 1948 till 1994 and the people, both black and white struggled to create harmony under a white majority rule. Nelson Mandela was a courageous and feisty young man from the rural Eastern Cape who had ran away to Johannesburg to start a new life but here he saw the degree of racism and became involved in the African National Congress (ANC). After many battles he was sent to jail for 25 long, hard years so that black and white people can be friends with equal opportunities socially, economically and politically.
Woman and their Machines: A MEOKO Think -piece about female Pioneerism in Electronic Music
An article with such a mighty subtitle is obviously quite a hefty affair. Not only when it comes to the substantial research involved, with the need to dig relatively deep into the history of women electronic music, those involved in analogue technological development and pioneering moments of musical creation, but also in terms of the questions any such project raises. First hand observations and comments made by some of the interviewees - among them veteran punk electronic musician Gudrun Gut, early member of Einstuerzende Neubauten and part of the cult girl band Malaria, and Madeleine Bloom, musician and ex-technical support of the music software Ableton - lead to questions about the impact of feminism and gender equality in the field of electronic music, in which females are still direly underrepresented and, moreover, frequently mis-represented.
An Open Letter: To The Booth Bitch
Before I begin, understand that I really am saying this for your own good. It seems the only logical explanation for your behaviour is that nobody has told you what you’re doing makes you look like a dickhead - or if they have - you’ve put it down to jealousy that they can’t work a dance floor into a frenzy like you can. But something needs to be said about the way you’ve taken to infiltrating the DJ booth (like so many others before) posing next to a man twice your age looking like a cheap escort.
The Importance of a Good Warm Up Set
One of the most important, yet often under appreciated, jobs for a DJ is that of the warm-up set. In fact, it's a crucial role for any DJ worth his salt and is usually where most of the big names we know and love today earned their stripes. Playing a warm-up set typically takes a higher level of skill than most headline sets – ask any DJ and they'll tell you, it's no mean feat striking that delicate balance between luring ravers onto the dancefloor and keeping them there, while making sure you don't overshadow the headliner(s). Maintaining a good, strong energy but not peaking too early. Of course, there are stringent rules to playing a warm-up set, you will always need to gauge the crowd – but, generally speaking, it must be said that slow and easy is often the best and safest way to begin.
2013 has been a tumultuous year for dance music. Daft Punk’s return topped the album charts, America’s mainstream has invested in ‘EDM’ and the ecstasy-related baggage that comes with it, social media has precipitated rows between the newly wealthy ‘press play’ DJs and the purist old guard, while from dubstep drops to deep house, pop music has embraced electronic sounds.
The Rise of South London
With central London venues shutting down and East London's council toughening up, South of the river displays a bright future with a strong crop of clubs urging clubbers to venture further afield.
For years there have been whispers in clubland of a possible move to the South, the opening up of a new frontier for clubland and its more forward thinking artists and promoters. There had always been the stalwarts of the South, the few clubs in around Brixton and the Elephant and Castle battling on - but over the past year or so, with the arrival of a rash of several new large scale venues, the repeated attempts to establish a super-club somewhere in the region of Greenwich, and the re-opening of the East London line , it seems the idea is starting to hold water and the South looks set to rise again.
MERRY XMAS FROM MEOKO