- Published on Wednesday, 17 July 2013 10:58
It’s relatively rare to see the underground party business galvanized by a political or ethical cause, not because promoters are greedy or indifferent, but often it is preferred to leave behind the ideals and save the dancefloor for the music and the vibes. This has certainly changed, however, when it comes to raising money and awareness for a pretty heart-wrenching foundation, The Stacey Mowle Appeal.
Saturday 3rd August sees underground techno party-people EDGE throw a special charity event at Bar-a-bar in Stoke Newington in aid of the appeal, which is raising money for a young girl – Stacey Mowle – who is battling Neuroblastoma Stage 4, an extremely rare form of cancer. The cost of her treatment, which she needs to have in the US, is an enormous £500,000. But with help from promoters like EDGE, and so many other people who are putting on fundraising events, getting together that amount of money is hopefully achievable. It's obviously an incredible cause to donate to, and an undeniable reason to get down on the 3rd of August.
If your cold heart is still not persuaded, then perhaps the fact that EDGE have got the Club der Visionaere resident Binh, whose minimalist sound is synonymous with the sonic movements of Berlin right now, topping the bill. Alongside him on the line up is Dan Farserelli, OdD, and residents Ian Grimwood & Jimmy Reckless.
Listen to Binh's mix for MEOKO below
EDGE presents : Binh, Dan Farserelli, OdD @ BAR A BAR is on Saturday, 3rd August 2013 from 10pm
Join the event on Facebook here
- Published on Tuesday, 16 July 2013 14:33
MEOKO believes that your opinions count just as much as any of the top DJs on the circuit. That's why we have introduced the 'Peoples' Charts', where we head down to some of the best parties in the city to find out just what tracks you're all waiting to hear. Anything goes. Simple as!
- Published on Thursday, 04 July 2013 12:56
There has always been an air of secrecy amongst DJs. In the 60s, Jamaican dancehall DJs used to spin one off dubplates as a way to stay unique, and later, hip-hop DJs in the 80s would cover up the labels on the records for the same reason. For the listener, there was something special about hearing a real bomb out, then having to either wait patiently for its general release, or at the very least scour record stores just to find it. But things have changed. Today, the landscape of modern dance music is massively different in light of the ‘age of information’, with the ease of availability giving rise to an infestation of ‘chauffeur knowledge’ amongst our generation, which some fear is devoid of any real substance.
Consequently, many seem frustrated with a new wave of selectors that seem to lift entire track lists from their idols top 10 charts as oppose to organically developing their own sound. 2013 saw the popular app ‘Shazam’ integrate with dance music giant Beatport, meaning users can now literally identify tracks dropped by their favourite DJs at the touch of a button, even before they get home. The crate-diggers are furious, but are apps and charts like this really that detrimental to budding DJs, or are they brilliant tools to aid and educate? Eager to delve a little deeper, I asked some of the people affected. From DJs, to label owners, to record shop workers… here’s what they had to say:
Axel Boman (DJ: Pampa/Hypercolour/Pets Recordings)
I’m basically FOR music, in every way… I don’t mind people shazaming every track I play! I do however find some weird pleasure in playing un-shazamable music (maybe its the crate digger in me).
I think the personality of the performer/DJ is the most important. Like - when Moodymann plays "7 Nation Army" its kind of cool (hey, it is from Detroit and IT IS a badass bassline!), but if Tiesto does it, well… it comes off a bit shit.
Audiojack (DJs: Gruuv, 2020 Vision, DIYnamic)
It’s fun to see people figuring them out but we’re all for sharing track IDs, unless a track isn’t out for a long time, is unsigned or we’re asked not to by its maker. A lot of the music we play is unreleased or pending release so name checking those tracks helps us and the producer see the reactions and builds interest for when the music comes out. Regardless of what it can do for us though, unless you prefer playing at home on your own DJing is a two way deal and people should be entitled to know what they’re listening to, if they’re taking the time to listen.
Dan Farserell (DJ: Act Natural/Fear Of Flying/Othertones)
I’m not necessarily for or against it, but I don't see it as a problem. I think it is a good thing that people want to know and share the tracks you are playing as a DJ. The annoying thing is when people try to become other DJs and have no identity themselves. They just play music that their favourite DJ does and that is a problem for me... although saying that, these people never become someone on the scene anyways.
Ben Rau (DJ: Fuse/Luna/Save You)
Any deeper knowledge about who made the tune and what else that Artist might have done has got to be a good for us creators. After all, I became I DJ because I like sharing the music I love and make people dance to it. On the other hand, tunes now break extremely quickly once you receive the promo. It is often less than a month until a tune is rinsed, whereas back in the day, you could play secret weapons for years! This is certainly annoying but the antidote is this - make your own music! Put in the time and make good music, share the music with a few trusted producer friends who will give you their music in return, and that way you can be fresh all the time while testing your own material, in the only place that matters: on the dance floor, I get a great deal of satisfaction of playing out music I made, and Shazam won't be able to tag any of those.
James Cotterill (DJ & Label Owner: Illusion Recordings)
I genuinely couldn't care if some one went to the effort of researching every tune I played from a DJ set and published it online. If, anything I would be flattered! I think this boils down to pure pretentiousness on the DJs part. They are happy to go share this music with the people that pay their wages, but no one’s allowed to know what the tracks are? How the hell are the producers who make the music that allow you to be a professional DJ meant to get paid, if people can't go buy the tracks because they don't know what they are? My answer is if you want to be that pretentious, don't DJ, because you are not supporting the community that supports you! And if you do want to play more sought after tunes... buy vinyl.
Silky (DJ: My Favourite Robot/OFF/Faceless)
I think it's great. At the end of the day, DJ's get promo's before they are released to see if it fits into their sets, so they can play them, and promote the release and artist… that’s the whole point of getting a promo. Music is for everyone.
Terrence:Terry (DJ: La Vie En Rose)
For me there’s no problems for sharing tracks who are already in shops or online, but off course many of us have our own special tracks from our crew and family, or secret weapons that we like to keep... and this is exactly what the people need! Stay informed, and follow your favourite artists and labels.
Simon Rigg (Phonica Records)
To be honest, Shazam isn’t THAT upfront with many forthcoming releases or new labels etc., and it doesn’t have lots of old or obscure catalogue...so Secret Weapons are still secret weapons!
The responses certianly raise a lot of interesting points. It seems the general concensus is that it's ultimately people buying the tracks, feeding the scene and allowing producers to dedicate all their time towards actually making more music, so to educate the crowd is surely a good thing! Those actually making something interesting will shine through, not only with their own productions but also with their track selection – meaning the art of DJing is still very much alive – the landscape has just changed. The accessibility only encourages DJs to keep their fingers on the pulse, support eachother and keep it as creative as possible! It's not over yet...
Words by James Ellis
- Published on Wednesday, 03 July 2013 13:20
MEOKO is a 360° events and promotional agency / Online Magazine specialising in cutting-edge, underground electronic music and events based in Dalston, East London. With a stong client porfolio, MEOKO has garnered a strong, reliable reputation in the two years it has been running. As well as PR, MEOKO is also passionate about top-quality journalism and regularly hosts reviews, interviews and features on its website written by some of London's finest journalists. MEOKO also publishes it's own mini magazine each month (x4000 copies) which is distrubted throughout London with the MEOKO flyer packs and recently hosted The MEOKO Project at Village Underground celebrating electronic music. Over the coming months, the agency will be also launching their new weekly online radio show.
Applications are currently being reviewed, interviews will take place between the 10 - 17th July. MEOKO is looking for a hard-working, passionate individual who has a strong knowledge of electronic music, is organised and reliable and who enjoys social media. We are searching for the perfect candidate who can jump onboard and is not afraid to get stuck in. During this internship you will able to network with promoters, artists, agencies, lables, press, festivals, designers and many more creative types. You should share an interest in events and promotion as well as holding either a PR/Journalism, Design and Creative OR sales and music background. All would be a bonus.
He or she must have excellent people skills, be creative, be able to communicate well as an individual or part of a team and most of all, relish working in a fast-paced, busy environment.
This is great experience for someone wanting to break into the music or events industry. The role will be varied and will include some writing, website, social media, sales and admin work, as well as other random tasks.
The internship will run for 4 months from July -December / 10 am - 6pm Tuesday - Friday.
Requirements for the position:
Must have own laptop
Be familiar with Excel/Word / Web / Photoshop / indesign / basic HTML
Background in PR/Journalism
Strong passion & knowledge for electronic music
Be able to work at least four days a week 10am - 6pm
- Published on Thursday, 20 June 2013 13:54
East Village today made the shocking announcement of its closure following two arrests by the Metropolitan Police that caused their licence to be revoked. The club has been a staple in East London’s electronic music scene since opening in 2008, playing host to some of the industries most in-demand artists, from disco legend Greg Wilson to techno star Radio Slave.
The closure is the latest in a string of closures in the scene from some of the most beloved establishments in the country, including Sankeys in Manchester and Cable in London. Below is a statement from the club on the matter:
‘The promotions and music team had the shocking and totally unexpected news that East Village's license was suspended this week with a full review pending within a month. Unfortunately we are unable to open this weekend so Player's Ball and The Village on Friday and Sunday respectively have both been cancelled and we apologize to both promoters and fans of the nights for the serious inconvenience caused.’
Further details are yet to be released, but this statement from Hackney Police on Twitter links the closure to ‘serious crime’.
It's certainly devastating news, but we're crossing our fingers that the club will be back up and running soon! Here are some of our favourite parties over the years...
We've already mentioned Greg Wilson's appearance at their sell out Christmas party in 2011... he never fails to impress, busting out pumping edit after edit on his famous tape deck!
Rootikal has ben another favourite for reggae heads, here's a clip from this time last year when they welcomed down Mad Professor, Aba Shanti-I and Earl Gateshead plus Enos McLeod live...
And here's house veteran Joey Negro spinning back in October 2011 in this extended clip from his set!