This hot blast of super psychedelic funk has just about everything going for it, not least of because it was the last thing I expected to hear today in amongst all the tedium. Witches blends – if that’s the correct word – crazed Adrian Below styled guitar together with Talking Heads/ Eno infused rhythms that are perhaps best sample in a darkened room, but which are sheer delight none the less. For those inclined to a Balearic deposition this will have you weak at the knees/ foaming at the mouth. Stringray then compliments the insanity with a brooding slow-burn jam pitching atmospheric guitar against shuffling drum brushes, and let’s put it this way the album sounds like it should be an absolute gem.
Davina’s sizzling production for Hot Trax sees sassy percussion fuse alongside addictive organ stabs and thumping kicks drums to immediately demand that the volume is turned up. Love the uncomplicated yet thoroughly invigorating way the production envelops you in rhythm as vocal snippets tease out some soul on 9 Weeks. Second track, Moskitoes Cries cleverly delivers tough, wobbly bass, infectious voice edits and inspired guitar stabs that lend it all a distinctively original flavour that you just know is going to sound huge at around 3am.
Just Be
Don’t Make Me Wait For You feat. Jesse Monroe
Crosstown Rebels
You could play this Sandee referencing bassline all night long and not get bored of it, however this latest production from Just Be transcends beyond pale imitation. This is in fact a beautifully atmospheric piece of music as Don’t Make Me Wait For You combines sensuous synths alongside classic drum touches, with Jesse Monroe’s emotive vocal proving to be the icing on the cake. The Dub version then explores all of those instrumental possibilities to the full, leaving the Subb-an 5am Remix to re-imagine the bassline while tripping out the vocals across the light fantastic. Another first rate release from Crosstown Rebels.
Next excellent release this week is from San Francisco’s Nikola Baytala whose self titled EP is nothing short of mesmerising. Setting the scene is Zero $ and its neat blend of hypnotic Techno elements that never stray too far from being totally captivating and soulful. In a sense it’s more about the atmosphere created than individual beats or basslines, because as a whole this tension inducing arrangement feels near perfect. Catz ‘N Dogz then proceed with a great remix that picks up the pace hitting you with heavy bass on another typically effective number. Cityz Angels, is next and is likewise an intriguing succession of musical ideas from Nikola Baytala taking cues from classic Disco and House while giving it all a curious twist. MT’s Pillow Talk remix ends on first rate terms developing the ambience of the track even further while retaining that timely guitar lick.
Can you tell us a little about your background and how you first got into Dance music, the clubs you used to frequent, and which Dj’s initially inspired you?
I often thank my Mum for putting me on the road to becoming a dj as she was a proper music lover with an ever growing record collection and was more prone to putting on a good album for entertainment over plonking me in front of the box as a kid. The soundtrack in our house covered everything from Blondie to the Beatles, the Beach Boys and Stevie Wonder and it was wasn’t long before I was trained up to put on the precious black stuff myself. I even remember when my Mum’s taste started getting more electronic and albums from the Pet Shop Boys, Kraftwerk & Depeche Mode started to appear in her vinyl.
As a kid growing up in Belfast through the eighties the whole Breakdance scene was in full effect and I watched the Beat Street movie on repeat and was blown away by the soundtrack which basically started a life long love affair with 80’s electro music. I promptly started collecting the Street Sounds and Electro compilations with any pocket money from week to week, I couldn’t have been any older than 9 or 10 at that point.
Fast forward to high school and a girlfriend had a brother who was a DJ in Belfast around the time the whole acid house scene was forming and I used to ask her to let me hear his promos at her Mum & Dads house when he went out. I clearly remember him getting sent A Homeboy, A Hippie & A Funky Dread “Total Confusion” and loved it and early Rising High Collective & R&S releases. Soon tales of raves in the city centre put on by a group of hairdressers and their mates had myself and some school friends straight down hassling the guys for tunes and mix tapes in a make shift record store that had been set up in an area of Star Hairdressing where they practiced their djing in between clients. One of these guys happened to be a young David Holmes.
We were way too young to go to the parties at first so we just collected the flyers and a friend and I made do with Dj’ing at school discos and practicing on the decks at the youth club with the 12’s we’d bought in Makin’ Tracks & the Gramophone Shop until we at least looked old enough to hit clubs in Belfast. Tokyo Joes provided my first proper club experience and Glen Molloy was a mind blowing resident, he really made an impression on me with the way he mixed and moved through genres. From then, there were trips to Kelly’s in Portrush before eventually regularly attending most of the Art College events in Belfast. A group of friends and I really fell in love with the music and vibe in there, mostly down to Holmer and McCready’s fantastic Sugar Sweet events and the amazing soundtracks that we were lucky enough to get educated on. Getting to see people like Slam, Weatherall, Christian Vogel and more, alongside these fantastic local guys is something I’ll never forget. We were lucky enough to get asked to play ourselves a few times before the demise of the Art College events, which meant the most logical thing was to start putting on some nights of our own.
Your label Extended Play (co-founded with JMX) is going from strength to strength having recently celebrated the 30th release. How would you best describe its sound and what do you look for in signing a track?
I guess it’s safe to say it’s a straight up house label but that could mean deep, acid or peak time vibes as John and I both have varying individual tastes but also meet somewhere in the middle, which means the releases can have a classic house feel or slightly darker electronic edge. Only rule is a track has to get both thumbs up or it simply can’t go out. We both love early Chicago house as well as people who push things forward, so hard to say exactly what we look for in a track but something fresh sounding but retaining elements of the origins of house or techno is most likely to grab out attention.
Can you describe the process involved in producing a track (perhaps something you are currently working on), tell us about the studio you work from and what your favourite things are in it?
My home studio these days is a pretty modest affair compared to the one I previously owned with my friend Glenn when we recorded as the New Aluminists. It consists of a decent PC, Mackie HR824 monitors, a Novation midi keyboard, Ableton and a shedload of samples and vst’s. I generally always start with my drum programming, then work on the bass line as this can often provide the backbone for something decent before I start trawling for synths and interesting vocal samples. My monitors are easily my fav bit of equipment as they helped no end with getting the mix down process right but I do honestly believe good tracks come from good ideas and not banks of equipment, we always say ‘it’s the ear not the gear’. I’ve a mountain of projects on the go at the minute including some collaborations with JC Williams, Bubba, Slack Society, Cromby & Chris Hanna as well as some projects to complete that I started in Toronto when I was there earlier in the year, a few remixes have just been completed for Made Fresh Daily in Scotland and Molotov 21 in Brazil as well as putting the finishing touches to a batch of new T-Bone originals.
How is the club scene in Belfast at the moment, how do you feel it has developed over the years?
It’s pretty good right now with bigger nights and smaller parties all covering a broad range of styles from disco and techno to house and drum & bass. Sadly it can be a little over-saturated at times meaning sometimes a promoter wins out and sometimes not, but if you look at the amount of nights that are going on and the guests that visit Belfast on a month to month basis compared to the population of the city it simply means people can often be too spoilt for choice. The opening times and related licensing issues are fairly embarrassing, especially when explaining to visiting guests about going on earlier than usual & length of set times but that aside it rarely dampens the atmosphere and most Djs will agree that Belfast crowds can often be the best in the world to play to. My friends and I do agree that we feel fairly privileged to have been going out around the time of the events that happened in the Connor Hall at the Art College though as the atmosphere, attention to detail and dedication of people who attended those nights has rarely been repeated in the city.
If someone was going to start their own label what advice would you give them?
It’s not essential but I think it’s a good idea if you have already been producing for a while yourself before starting a label or have a group of friends who do so that you can generate releases more easily and build some core artists from the off. Try and do as much as you can in-house, so if you have friends who are graphic designers, web designers, into mastering etc. then aim to get some mates rates action going on where possible therefore keeping overheads to a minimum, especially at the start. All label profit should be invested back in to help keep momentum going, aid with getting the right remixers on board and generally help build the following for the label. You’ll most likely not retire on the profits of running an independent label these days but if you make ends meet and keep your quality control high then the labels output will not go unnoticed.
What releases have you got planned for the coming months?
The label releases are more or less mapped out for the rest of the year now and we are about to release our first vinyl in the coming months. Tracks will be coming from De Sluwe Vos, Chris Hanna, Timmy Perry, Dale Howard, & H Wax plus remixes from the likes of Jamie Trench, Kastil, Chesus & Organ Grinder, JMX & myself meaning we feel we could have a best year for Extended Play lined up to date.
Where can people get to hear you play?
On the home front I’ve got three regular monthly gigs and can pop up in various guest spots. Keep Diggin’ is on the first Saturday of the month in a great venue called Love & Death which is basically a music collectors dream. Myself and Lyndon, the other resident, get to play anything and everything from the collections we’ve built up from the last 20 years right up to the present day, so funk, disco, acid house and Detroit techno can end up in the mix.
Work at The Hudson is a monthly Saturday hook up with the Twitch guys and is a proper heads down house and techno affair. We also host Extended Play label parties on the last Fri of the month, JMX and I make up the residents and are joined by the artists who record for the label and it’s great to hang out and play with everyone in our crew. We’ll be popping up all over with our Extended Play take overs which have so far been hosted in London, Liverpool & Dublin but are soon to start appearing all over the globe.
This delicious, brooding production from Guido Schneider & Jens Bond is little short of outstanding. Not only do the intriguing electronic rhythms captivate your attention creating a hypnotic, inviting soundscape but with the addition of commanding voice, trumpet and timbale the picture is warmly complimented by the human touch. Another first rate piece of music from the Cadenza stable. Planet E’s Monty Luke then remixes the title track with pulsating drums, acid styled bass and squelchy keys. The likewise excellent Flags Of Peace, finishes with punchy instrumentation featuring infectious organ stabs, spacey effects, flourishes of Balearic guitar and a spoken message that will surely resonate throughout the summer…
Julien Chaptal & Lauhaus challenging collage of sounds fly high along the lines of tribal and hypnosis. It’s a deeply intoxicating blend of slightly unsettling moods coupled with dark, pulsating rhythms and striking sound effects firing off in all directions, with the relief of subtle melody only occurring via moody synths some six minutes in. Franck Roger’s Remix as you would expect adds quality House bass to the equation while supplying his own take on the effects with as usual inspired consequences. Second and equally good is, Watching You which supplies sleazy suggestion vocally running alongside various Acid tweaks and building layers of percussion.
Another great release from One records this time seeing the label explore seductive possibilities by Frenchmen Yamen & EDA. You could describe this as very late night or illicitly early morning depending on your sense of time but either way this excellent production simmers with low-slung tension. Powered by throbbing bass and tough percussion this features an entrancing monologue playing alongside the whirring instrumentation. Remixes come from Shaun Reeves, Jay Haze & Bill Patrick who pick up the tempo as they inject twisted electronics into the mix while concentrating on the Rap part of the vocal. Next, All Out continues the tension with deep beats and echoed stabs giving it all spacey far flung quality. The Subb-an 5am Remix completes with an all out Techno assault that spins an invigorating basslines against quick-fire drums.
Black Booby & Gene Hunt
BB-04 (A tribute to Ron Hardy)
Black Booby
The label copy reads: ‘This release is dedicated to the master of the Edit Mr. Ron Hardy, The Music Box and all those involved’. So no doubt this a family vibe that we can all be part of. Side A opens with two from Chicago’s legendary Gene Hunt beginning with Is the Color and its infusion of what’s best described as spacey, jazzy funkiness played out over tough beats with the sample not fully resolving until some six and half minutes into the frenzied journey. Second is LSD Hootie which I guess is an easy give away re-tweaking classic Acid, making you all at once nostalgic, with all those drum machine sounds alongside the 909 sounding effortlessly timeless. Black Booby finish the release with 4 Ron by propelling almost eleven minutes of Disco blended bliss that touches upon many of the tracks that the original ‘master of the edit’ made his own. Inspirational.
Andrea Bigi & Marius Laurentiu
Music, Love & Romance EP
Catwash Records
You can always rely on something exciting to happen via DJ W!LD and with this latest release on Catwash Records that’s exactly what you get. For the more adventurous of you out there the title track hints at what lies in store with Irving Berlin’s classic getting cleverly reworked in ways you never thought possible i.e. over moody House beats and feeling excellent. Dejale delivers funky percussion and warped eastern sounding scales, with Empty & Blue ending on a more introspective note with questioning vocals and pulsating tribal rhythms feeling deep and frisky.
Love this from Asadinho whose addictive bass and drums achieve a slinky, sassy groove that’s oh so easy to fall for. Spoken atmospheric vocals come from Natamiq and are backed up by semi melodic synthesized tones which together all feel suitably late night/ early morning – inventive and imaginative. Alex Arnout’s great remix gives it more of a techno sheen with energetic basslines and rhythmic snares pushing the voicel forward. ‘Rouge’ completes with an infectious vocal looped alongside cool, funky percussion and an almost shuffling groove that spells out low-slung nicely. That of course and a certain Robert Owens who talks us through just what’s on his mind making this another compelling production.
Can you tell about how you came to form Klasse Recordings and what the philosophy behind the label is?
Klasse was born out of the need to do something different, I have been involved in music for a while and it seemed like the right time to start my own label. I enjoyed working with other labels but felt the need to create something that I was in total control of, from the artwork to the music I wanted to ‘be’ the identity of the label. There was no grand plan of world domination, just a simple platform for myself and my good friends that surrounded me….Klasse started in 2010, amongst an explosion of new digital labels, I began to see a lot of content being created and a lot of it seemed really half-hearted shitty album artwork, bad design and carbon-copy music seemed to be everywhere and Klasse was my way of counteracting all that, a place where we could consolidate all of our interests…music and beyond.
Your new single: Sail On is built around a classic sample. Can you talk us through the process of producing it, and about your relationship with Amirali who is featured on the release?
Sail On is similar to most of the other tracks on my album, heavily sample based and with a heavy leaning towards hip hop, classic breaks and live instrumentation. I had had the track for a while and it seemed to be begging for the right vocal, I tried various things but nothing seemed to fit right. I was lucky enough to be put in touch with Amirali, we had a brief back and forth and he laid down the vocals, they fit perfectly from the get-go and the track just fell into place. Amirali is a talented dude with a great voice, I recently saw him play at Panorama Bar and really enjoyed his set….
Where you get your inspiration from/ which artists have most inspired you over the years?
I’m constantly returning to the music I enjoyed as a teenager, Mo Wax, DJ Shadow, early East Coast hip hop like Mobb Deep and Wu. My album was directly inspired by these early connections with music and I think these sounds are deeply embedded in my consciousness. I spent a lot of time digging for weird and wonderful music, listening to a lot of Jazz on labels such as Three Blind Mice, taking inspiration from Jamaican steel drum bands and abstract Cosmic music from Italy. I looked everywhere outside of dance music for inspiration and influence and I think that comes across in the music.
Your forthcoming album is called ‘Life In Black And White’. Can you tell us about what the title means and about some of music on it?
The title refers to a few things, the main one being my slightly left of centre placement in this world. It’s kind of tricky to describe but there are parts of my personality that are dominated by OCD tendencies and sometimes I am unable to see the ‘middle ground’, I’m obsessed with extremes…everything is either ‘ON’ or ‘OFF, ‘YES’ or ‘NO’. Hence ‘BLACK’ and ‘WHITE’, there’s no grey area of mediation and negotiation…no room for movement. Essentially it’s all about me being a really awkward dude….I guess that sums it up!
The music on the album is primarily for listening, I didn’t want to make an album that was focused on the dancefloor…most of the tracks range between 90-110bpm and feature some sort of Hip Hop influence. I used a lot of classic breakbeats and classical instruments on there, attempting to marry them with electronics and a more standard ‘dance music’ template. Every track was a pleasure to make, whilst making the album I tried to ignore fashions and trends and this made it flow very naturally….good music always comes easy!!
The artwork for the label is also particularly distinctive. How would you describe that?
Art and design is a huge part of my life and I want Klasse to look as good as it can, commercial identity is always really important…especially in today’s world of facebook, emails and never-ending social feeds. The idea behind most of the artwork is simplicity and effectiveness, all the artwork needs to work on a wide range of scales…most artwork is viewed as 300 X 300px thumbnail these days and it needs to stand out amongst the rest of the shit out there. I take inspiration from my interests, graffiti, punk zines, outsider art and ‘the good old days’…it’s important for me that the visual side of Klasse has a definite grain and roughness to it…something different than the usual shiny, rounded and polished graphics of most labels around these days.
Earlier this year I took Klasse Recordings over to Barcelona for the ‘Blanco Y Negro’ graffiti event…in conjunction with Montana Spray Paint and betahaus barcelona we put together a handful of likeminded writers and got busy.
Heres the video for the event, which features an exclusive peek at a new track from my upcoming album. Enjoy!
You also A&R for the label. How do you find the standard of music around in 2013, what do you look for when signing a track to Klasse Recordings?
I look for a uniqueness and individuality, a track needs a personality just as an artist does. I enjoy tracks that have a good balance of functionality and originality, weird is always good..something to surprise the listener out of their comfort zone. These days I get sent a lot of ‘retro-house’ and I’m done with hearing the same old deep house organ stabs and diva vocals, by default I find myself leaning towards colder, more techno-ish styling’s. Our recent release of the FJAAK guys is a perfect example of what I’m enjoying at the moment, synth heavy, hook laden and drenched in analogue goodness….please send more like this!
Where can people get to hear you Dj this summer?
I have a few shows coming up; I’m really looking forward to playing with Kink in Basel, Spring Festival in Austria and the new Aerophilia festival just outside of Berlin. We are also putting together a great show for Off-Sonar, I’ll be playing alongside John Heckle and Arttu…most of all I’m looking forward to playing alongside my homies at the next Klasse label nights….watch this space!!
So excited to get to review Derrick Boyd and Zoe Presnick’s Tone of Arc debut album. The Time Was Right captures everything I love about music that sits just outside that very loose term of soulful dance music, although of course this packs more emotion than a lot of that very same cliché. With song titles like Surrender, Lost In The Machine, and Hardly Standing setting the scene this plays out like life’s alternative with a smouldering, funky drive that would make Bowie blush with envy on the irresistible Love Kissed! Sure, you can hear the influences loud and proud but it makes for sparkling refreshment not to hear the early 90’s replayed over and over again, with the intriguing vocals referencing the lost era of new-wave. All that and their superlative cover of ‘Goodbye Horses’ go to vary the light and shade of the album while tempos live at varied speeds giving you that rush of excitement Tone of Arc do so very well.
Slightly late in reviewing this but none the less a first rate release from the Dusseldorf duo sees the excellent All The Time at the top of the list with its infectious, brooding atmospheres and darkly sophisticated arrangement sizzling with infectious energy. Given the human touch via yearning spoken vocals this has to be one of my favourite releases from the label so far. Feelings, follows with more of a sense of urgency coupled with sleazier bass. Leaving, Get It On to deliver more of that Acid attitude as yet another excellent production sparks your imagination with fiery electronic sounds and rhythms.
Various Artists
InnerCity Records Vol 1
InnerCity Records
InnerCity Records is the brand new Manchester based label from Mark Horsfall and Danny Stott and their first volume points the way forward to good times ahead. Music from the likes of Giom’s impressive bass-bizzy Exhausted and from Dale Howard’s typically pulsating Go Deeper indicates what lies in store in terms of fresh thinking House Music that isn’t afraid to look forward. The remaining artists included are: Leigh D Oliver, Roland Nights, Gutto Serta and finally Casey Lee Jones whose invigorating Feel It ends this most promising package. Listen below…
The Black 80s aka Hollis P Monroe & Overnite deliver a strikingly original piece of music with their latest for Air London. Not least of all because Give Me Something features a soul infused vocal that sits somewhere between light and shade, although with a haunting edge that will you find yourself mesmerised by. The music does a similar thing with drum machine beats and atmospheric electronics feeling distinctive and other worldly. Meanwhile, the Hollis P Monroe Mix replays the elements with a pacier tempo and further spaced out sounds to compliment the original.
How did you first get into remixing and who inspired you to do so?
I got into remixing by the need to want to make the records I loved longer I really didn’t have anyone who inspired me
as there weren’t many people doing it at the time.
Your new compilation: John Morales M+M Mixes Part 3 reads like a who’s who of Dance music. Can you tell us about how you go about compiling the CD’s?
M+M Vol III includes many of my most favorite tunes, it was a process of elimination. From trying to get the recorded sessions from the record companies, mixing them and then getting the mixes approved. But all in all it is filled with some of my all time favorite and hopefully some of yours..
Can you talk us through the process of remixing a track? For example something from the new compilation.
The process for each mix is different for me I usual start with a clean canvas, no presets or templates, I first Focus on the drums and rhythm section, for me it’s very important for the track to really have power, I then work the keyboards, strings or horns and finally but not least I lay the vocals over the top . And tweak it, and tweet it and tweak it. ( lol)
What is your favourite piece of equipment and can you give some background information on your studio?
Don’t know if have a particular favorite. It’s not like it used to be, now days I totally mix in the box or in the computer using Steinberg’s Cubase Digital Workstation which I have used for over 25 years. I occasionally bounce my mix to analogue tape for some warmness.
How do you feel about the quality of song writing today – what importance do you place on vocals in Dance music?
In my opinion I I think that it is sad to say technology has caused music t day to be watered down. I think vocals are important as they send the message of the song and lyrics.
You inspired you to start Dj’ing, and what for you makes a good DJ?
Now days My inspiration is the desire to continue the legacy of the music I love so much, a good Dj entertains his or her’s audience providing a seamless experience of some of the music they love.
You are currently playing across the globe. Have there been any particular highlights so far?
My highlights are the support and love that the people who have come to some of the gigs have shown to the music I play. It is heartwarming to see that the music I Love has so much support.
What are your plans for the future?
My plans are to continue to spread the word of the music and I thank you for the opportunity to do so.
Hear John Morales next weekend: Sat April 27 at Futura in 2022nq (Manchester)
Futura..with Greg Fenton and NYC legend John Morales
2022NQ welcomes Greg Fenton’s new project – Futura…kicking off with NYC legend John Morales.Futura…DJ’s Greg Fenton & NYC legend John Morales
Saturday April 27
10pm – 2.30am
Futura… is a brand new adventure presented by Greg Fenton at Manchester’s premier art space 2022nq. With music from the DJ who has played at all the city’s major nights throughout the nineties: Spice, Most Excellent, Konspiracy, Gltterbaby, Spacefunk, Dry 201, The Hacienda, Paradise Factory, Prague V…
…now returns to join the dots between underground Disco…Chicago House…and Deep House Music 2013. Featuring labels ranging from No.19, Needwant and Culprit through to TRAX, Nu Groove and West End Records…
We are proud to present as our first guest DJ the now legendary producer John Morales. John has not only played at New York’s Limelight and the infamous Studio 54 but his first credited remix was Inner Life’s classic;Caught Up (In A One Night Love Affair) Then alongside Sergio Munzibai as M+M John went on to remix just about everybody from Class Action Weekend to Aretha Franklin, Teddy Pendergrass, Dan Hartman, Candi Staton, and Odyssey amongst many others. Having toured the world as a DJ John now touches down to 2022nq for a special one off appearance to introduce his forthcoming compilation on bbe records: The M+M Mixes Volume 3.
Every once and a while a bassline arrives that is so dark it runs tingles up and down your spine. Welcome to Luv Thang. The new ep from Alden Tyrell and label boss, Gerd is a relatively uncomplicated affair but one which will have you pushing the volume (up). Not sure if I prefer the Instrumental or the vocal version featuring Jessie Allen’s sassy voice intoning the title. But perhaps that’s simply down to the Instrumental option and the chance to hear that epic, rumbling bassline plus rapid-fire snares all on their own! Meanwhile, Girls Can’t Swim dispenses with any form of melody to deliver what can best be described as twisted Tech. The choice is all yours.
Damien and Clement aka dOP aka, the strangely apt, Aquarius Heaven return to the fold with the exquisitely produced Slow Love for Circus Company. Which not only sees shimmering keys chiming beautifully across punctuating beats, but also has Brian Brewster’s commanding vocals play alongside Miss Kitten’s evocative delivery. And you’ve got to love the opening line, ‘I’ve been in and out of love since 1988’! Undoubtedly first rate this inspired production pushes boundaries while feeling just that bit timeless. Three remaining tracks explore different avenues of Brian’s voice with the tense electro rhythms of Caloni working notably.
Soul Button feat. Stee Downes
In My Stride
Underground Audio
Next in line from Underground Audio is this instantly pleasing production from Soul Button. Maybe it’s something to do with the new season but this puts you in mind of warmer climes, stiff drinks and electric dancefloors. Its high on atmosphere with warm pads and relaxed drums combing with Stee Downes enticing vocal on the Original version. Atapy then picks it up with energised bass giving the vocals more edge, leaving Habischmann to give the song a more melancholy backing which particularly suits the tone. Sasch BBC & Caspar finialise matters with the most urgent version that sets moody bass against perky beats to give the unhurried song yet another approach.
Sid Le Rock
Busted with a Bag of Bliss
My Favorite Robot Records
The fourth artist album from Sid Le Rock invites into his world of brooding electronics and breathy voices, or should that read tempts you? It’s one to lose yourself in and one whose textures prove to be richly rewarding, although we are talking introspection – less light, more shade. Much like Depeche Mode’s new album sounds appear out of nowhere to excite and envelop you as the soundtrack constantly evolves over the course of the event. It’s tempting to say that there are no real standouts on Busted with a Bag of Bliss because this journey deserves to be relished in full. However, just for the hell of it the haunting decadence of Foreign Love and the pulsating syncopation of the opening Here We Are win for me.
March saw you celebrate The State (Dale Street 1982-89) at Garlands in Liverpool. What factors helped decide to do this in 2013 and how did you find organizing a historical event?
I’ve been working with my friend Derek Hazel who was a regular at The State back in the day on this project for over 4 years. Finally everything came together so we simply pressed the GO button.
You had PA’s from Paul Rutherford and Scarlet Fantastic on the night. Why did you choose them in particular, what is the story behind their links to the club?
Scarlet Fantastic ‘No Memories’ was an inescapable Liverpool anthem that we created at The State that followed us into the early days of Quadrant Park. For this party in particular it was great to be able to have Maggie perform for us.
Paul Rutherford embraced the House scene fully when living in London during that time. Paul’s track ‘Get Real’ was a huge club anthem at The State and all over the country. As you can imagine, with him being a son of the city it was an extra special coup to bring him all the way from New Zealand to exclusively perform for us. As it goes it was the first time he’s ever performed solo in Liverpool. Both artists went down a storm adding more magic to a very special night.
Steve Proctor and Frank Cookson were the clubs’ original Dj’s when it opened in 1982. Can you tell us about how you came to Dj there along with Mike Knowler from 1984 to ‘89? And about the type of music you first played?
Mike Knowler was asked to fill in for Frank while he went away on his honeymoon. At this time Mike and I were working a lot together and Mike invited me to DJ with him while Frank was away. When Frank returned he decided to make a break from The State and so Mike and I stayed on doing a Friday and Saturday. Musically Mike and I had a thirst for new interesting music, shared similar eclectic tastes and both enjoyed playing a diverse selection of sounds so we embellished what Frank had started and carried a few of his hits eg King Trigger ‘The River’ across into the next sound-scape. It was a spectacle I’d never seen anywhere else in the country when that track was played. Suddenly everyone on the floor would double up as people mounted each other’s shoulders and went crazy in a river of madness on the State dance-floor.
(Frank Cookson in The State DJ Box c.1988)
I can’t exactly remember which year, it was either 1985 or ’86 that Steve Proctor took a job in A&R in London. At this point we then did Thursday, Friday and Saturday. I remember one time c.1986, a London record company guy was astounded at what we were doing at the club musically. He told us we were ‘Balearic’, at this point I had no idea where the Balearics were and hadn’t heard of Ibiza. I just smiled and carried on playing our unusual selection…
(Steve Proctor)
Frankie Goes To Hollywood ‘Relax’ filmed at The State for The Tube (Channel 4) 1983
How/ where did you first hear House Music? Can you also tell us about how the music evolved at the club pre-House to Acid House, and people’s reaction to the new music being played?
Mike Knowler (left, in The State DJ box circa 1988) went to the New Music Seminar in 1986 and returned home with some of the hot new sounds of the moment. I was blown away and began to seek out more of this music. We then started to blend it in with our ever changing eclectic soup of sounds. Regarding the point as to when the sound blew up, it’s a similar story throughout the more cutting edge clubs around the country in the early house music days. The night ecstasy arrived into the club was when house music mania exploded. The first time I met James Barton was at The State where through our love for music and enthusiasm to move things forward we began a journey than neither could of remotely envisaged, but that’s story could easily take up a good few volumes of a book so I’ll keep this part brief.
(James Barton, right with Carl Hunter from The Farm c.1988 Image by Mark McNulty www.markmcnulty.co.uk)
James saw an opportunity and asked Mike and I to do a full night of Acid House which we dedicated to his independently promoted night on a Monday. It was an overnight success and as the ecstasy express sped rapidly forward it pretty much took over the whole of the clubs musical programming. We imagined everyone was doing this, but looking back we were definitely in the first wave of clubs to have this happening the way we did. The crowd at The State were always special and didn’t disappoint during the acid house days either, they were an absolute dream to play to. In 1988 I was invited to Ibiza by Paul Oakenfold and Danny Rampling, but I wanted to go to where they made the music, to the source of the sound. I chose New York that summer and attended the NMS as Mike had done 2 years earlier. I flew out with an empty record box, befriended the staff @ Vinyl Mania on Bleaker Street in Greenwich Village and took over 2 full boxes home. What an exciting moment to see that amazing city in that year!
What are some of your favourite records from the club?
There’s so many great memories over all those years attached to some fantastic tracks it’s hard to choose, so I’ll include some of my rarer faves with a varied selection of the general State tunes in no particular order:
(Andy Carroll right, 1986 in The State DJ box )
Propaganda – Bejewelled ( limited pressing ,vinyl only white label mix )
Lloyd Cole and the Commotions – My Bag ( François K mix )
New Order – Bizarre Love Triangle ( Shep Pettibone mix)
Most Wanted – Calm Down
Charles B – Lack of Love
The Smiths – This Charming Man ( Françoise K mix )
Laibach – Sympathy for the Devil ( Who Killed The Kennedys ? )
Simple Minds – New Gold Dream
Brian Eno & David Byrne – Jezebel Spirit
Hank Mitzell – Jungle Rock
The Cramps – Good Taste
Big Audio Dynamite – V Thirteen
Echo & The Bunnymen – Seven Seas
LL Cool J – Rock The Bells
Dan Hartman – Re-light My Fire
Can you remember what turntables the club originally had (or if they changed to Technic’s). How did you get introduced to the idea of mixing records?
We had Technics 1200′s from day one combined with a crap Citronic mixer and no monitors. The art of fade, cut and blend was a craft you learned back in those days so mixing dance 12′s just seemed to follow naturally. Initially it was all about headphone mixing, which wasn’t ideal.
Andy Carroll ‘live’ at The State mixing Scarlett Fantastic ‘No Memories’ in 1988
Where would you place the significance of The State in terms of the history of Liverpool clubs?
It was one of the North’s best kept secrets, we did everything by word of mouth and had no one working with us who was press savvy. Any attention we received was by accident in general. Whilst the Hacienda was getting all the press interest, we were simply just doing what we loved and possibly kept a purer crowd for longer being sort of underground as far as exposure went. Looking back I can see The State was a very important and unique place in the annals of Liverpool clubbing history.
(Right, New Order @ The State March 1983)
What are your memories from Liverpool in the eighties?
The city was much more run down and full of old men’s traditional pubs with a few alternative more youth orientated pubs scattered about town. We were never short of good places to go and the city always had great bands to enjoy in-between everything else.
How do you feel about the cities night-life today?
Everything has its pros and cons, uppers and downers but things need to move along and progress has to be made whether you like it or not. Right now there’s some great bars and many fab venues with a wealth of creativity going on, so I’d say Liverpool is still firing on all cylinders in a different way.
Where are you Dj’ing now, and what are your plans for 2013?
I’m currently DJ-ing at places like the Camp and Furnace, doing a few boutique smaller gigs around the city and guesting around the country with a few overseas gigs. This summer it’ll be my 19th consecutive season in Ibiza. I’ll be resident at the Ibiza Rocks after-party @ Ibiza Rocks House (Pike’s Hotel), resident for the mighty We Love @ Space on Sundays and have a few more gigs I’m awaiting confirmation on. After Ibiza I have an invitation to return to New York and a possible tour of Australia.
This hot blast of super psychedelic funk has just about everything going for it, not least of because it was the last thing I expected to hear today in amongst all the tedium. Witches blends – if that’s the correct word – crazed Adrian Below styled guitar together with Talking Heads/ Eno infused rhythms that are perhaps best sample in a darkened room, but which are sheer delight none the less. For those inclined to a Balearic deposition this will have you weak at the knees/ foaming at the mouth. Stringray then compliments the insanity with a brooding slow-burn jam pitching atmospheric guitar against shuffling drum brushes, and let’s put it this way the album sounds like it should be an absolute gem.
Davina
You could play this Sandee referencing bassline all night long and not get bored of it, however this latest production from Just Be transcends beyond pale imitation. This is in fact a beautifully atmospheric piece of music as Don’t Make Me Wait For You combines sensuous synths alongside classic drum touches, with Jesse Monroe’s emotive vocal proving to be the icing on the cake. The Dub version then explores all of those instrumental possibilities to the full, leaving the Subb-an 5am Remix to re-imagine the bassline while tripping out the vocals across the light fantastic. Another first rate release from Crosstown Rebels.
Next excellent release this week is from San Francisco’s Nikola Baytala whose self titled EP is nothing short of mesmerising. Setting the scene is Zero $ and its neat blend of hypnotic Techno elements that never stray too far from being totally captivating and soulful. In a sense it’s more about the atmosphere created than individual beats or basslines, because as a whole this tension inducing arrangement feels near perfect. Catz ‘N Dogz then proceed with a great remix that picks up the pace hitting you with heavy bass on another typically effective number. Cityz Angels, is next and is likewise an intriguing succession of musical ideas from Nikola Baytala taking cues from classic Disco and House while giving it all a curious twist. MT’s Pillow Talk remix ends on first rate terms developing the ambience of the track even further while retaining that timely guitar lick.
