PlanetNotion.com

Fancy a Lovely Bone?

Thu, 04 Feb 2010 14:52:16 GMT

February 19th sees the release of The Lovely Bones, Peter Jackson’s big screen adaptation of the critically acclaimed, best-selling novel by Alice Sebold. It tells the story of a young girl who is brutally murdered and then watches over her family – and her killer – from the afterlife.

Now, we know what you’re thinking.. “is there any way I can possibly win a hardback copy of the novel along with an exclusive poster of the film? Is there? IS THERE??!!”

Luckily, yes, you can! Profoundly Moving, the blog of our film editor Matt (massive Sebold fan..), is running a competition to win this jaw-dropping prize! You can enter it here:

(http://www.profoundlymoving.com/2010/02/win-a-thing-win-my-thing/)

<3 U MATT!!!

GUEST COLUMN: EMMA BELL'S SODA STREAM DREAMS

Mon, 25 Jan 2010 14:01:16 GMT

Imagine my delight when I heard the word that not only was one of my favourite old-skool brands, SodaStream, making a bubbling comeback, but I was getting the chance to glitter up a few of these beauties for their launch! Back in the day, I was all up for a fizzy treat courtesy of this machine of dreams and it really was the pinnacle of cool back in the 80’s to be a proud owner.

Soda Stream has been re-launched with an array of super sleek machines, a million miles away from their retro ancestors, a string of fizzibly scrumptious new sugar free flavours, a sparkling new logo and if that’s not enough, they keep the environment smiling!

Just days before Christmas, SodaStream was back with a bang/fizz and set up a spectacular 80’s theme pop-up shop in Camden complete with a snazzy dance floor, 80’s tunes , arcade games and girls in roller-boots wearing blue wigs which magically matched my own hair colour!

The three day event saw an extra special launch party complete with a bunch of celebs including Sophie Ellis-Bextor, Remi Nicole and Shingai from the Noisettes as well as a mixologist churning out some SodaStream cocktails.

I got to get in on a slice of the action alongside fellow artists, Meg Mathews and Dan Stafford and each of us were commissioned to create some custom designed machines. Mine involved a whole load of sparkles, holographic stars and more rhinestones than a line-dancer from Texas….

Check them out!

Emma Bell is a mindblowing fashion designer and occasional commenter on iconic, seemingly-deceased-but-actually-not-surprisingly, amazing 80s brands and colourful things for Planetnotion.com

Previous Emma Bell 80s loving:

OMG! EMMA BELL HAS JUST VISITED THE 80s!

Epic Uniting of UK Talent for Haiti Fundraiser TONIGHT

Wed, 20 Jan 2010 13:05:24 GMT

Tonight some of the biggest names in UK music are doing their bit to fundraise for the victims of the Haiti earthquake with a special one off gig. By simply making a minimum donation of just £5, you could see big names such as Wiley, Tomb Crew, Shy FX, Mz Bratt, Doorly and Drums of Death take over the decks at Den and Centro (formerly The End) in central London from 9pm to 6am.

The one off special is a joint initiative between SOME Night, charity Ctrl.Alt.Shift, who use popular culture to take global action, and esteemed production outfit True Tiger. Some of the biggest names in the business have agreed to waiver their fees to appear at the event, with the confirmed line-up a cross section of UK talent spanning multiple genres.

Stanza, of True Tiger explains: “We’ve literally pulled this together in three days. I got on the phone to Jack, the head of Vagabondz promotions at SOMEnight, and Chantelle Fiddy, editor of Ctrl.Alt.Shift, about joining forces. We want to ensure our money gets to those who need it the most and Ctrl.Alt.Shift’s partners on the ground in Haiti will do just that. The response from everyone involved has been amazing and people have donated merchandise and goodies for our raffle on the night so we should be able to make a substantial contribution to the world-wide relief effort.”

Tinchy Stryder said: "It's so sad and I know everyone who's seen the news has been touched by how many people have lost their lives and being made homeless. I've protested with Ctrl.Alt.Shift before but now, more than ever, it's about playing your part, so whether you can give £5 or £50, be a part of it. Unfortunately I'm in America and can't attend the event but I've donated a load of gear from Star In The Hood which you can win on the night, so do make sure you buy your raffle ticket too."

Also on the bill is Wiley, who added: "When disasters like this happen it gives you a reality check and if there's something we can do to help then we should all do it. An event like this shows that we're able to come together and make a difference where it matters."

The event takes place at the 1200 capacity Den & Centro (formally The End) in central London on the 20th January.

All proceeds will be used to fund Ctrl.Alt.Shift’s response to the desperate humanitarian situation in Haiti. Following last week’s earthquake hundreds of thousands of people are feared dead and many more are critically injured or homeless. Ctrl Alt Shift works through local organisations who are already distributing emergency supplies, particularly in areas that are getting little help from other agencies. They are providing food, tents, hygiene kits, blankets, jerry cans for water, water purifiers and medical support.

Updates on how much money has been raised and how the aid is being distributed will be available at www.ctrlaltshift.co.uk/haiti

Date: Wednesday, 20th January
Price: Minimum donation on the door £5
Time: 9pm-6am
Location: The Den & Centro, 18 West Central St, London WC1A 1JJ http://www.thedenandcentro.com/

Acts confirmed to appear at the event include:

Wiley (Island Records)
Tinie Tempah (Parlaphone Records)
Sway (Konvict Music)
MistaJam (Radio1/ 1Xtra)
Nihal (Radio1)
JME (Boy Better Know)
Heartless Crew
Shy FX b2b Breakage with Donaeo
Hatcha b2b N Type with Crazy D (Kiss100)
Mystery Jets (DJ Set)
MJ Cole
Ruff Sqwad
Marvell
Riz Ahmed aka Riz MC
Mz Bratt
Brookes Brothers & Dynamite MC
DJ Cameo (1Xtra)
Loose Cannons (Kiss100)
Doorly
The Freestylers
Logan Sama (Kiss) with P Money
DJ Target (1Xtra) b2b Maximum (Boy Better Know)
B Live
Twin B (1Xtra) b2b Twin B (Island Records)
Alix Perez
Blame
Sukh Knight b2b Scandalous Unltd. (True Tiger)
DJ Chef (Rinse.FM) & Rod Azlan (Dub Police)
Anti-Social (Quest, Razor Rector & Gangsta Boogie's Heny G)
Reso
The Others (Dub Police)
Trolley Snatcha (Dub Police) & G Double
Tomb Crew
Terror Danjah b2b Elijah b2b Skilliam
Tayo
Seb Chew (YoYo's)
DJ Chuckie
George Lenton
Rico Tubbs
Gentlemans Dub Club - LIVE
The Thirst - LIVE
Debruit - LIVE
Blue Bear (True Tiger)
Chantelle Fiddy & Hattie Collins (Ctrl.Alt.Shift/RWD/I.D Mag)
Klose One & Rattus Rattus (Urban Nerds)
Nasha Experience
Drums Of Death (DJ Set)
Rootikal selectors: David Hill, Stuart Patterson & Ashley Beedle
Zero T b2b Kharnage & Stamina (Drum & Bass Arena)
K (Sly Fly Records)
Slugz b2b Boyson

G8HAUSMUSIK: A Dirty Music Blog, Vol.6, Feat. Rob Sparks, Headhunter, Skream, Dennis Ferrer and Calibre

Tue, 12 Jan 2010 18:52:00 GMT

Anyone heard the Google Chrome conspiracy? About the world’s favourite search engine deliberately causing firefox to crash, forcing us, the silenced majority to swap to their own new and much pushed browser?

Of course, I don’t want to go round spreading rumours but Google’s new ad campaign seems to rather suspiciously back this story up –“8 tabs open and no crashes”! That and the fact that my Firefox crashed an unholy amount of times while compiling this edition.

…Basically I’m blaming Google for the delay of this post. [Please see image.—Ed.] But... here it finally is!

Rob Sparks – Arcade

http://www.myspace.com/sparx3000

Damn was going to put this last but just realised it needs to be first in this list: Future hip hop dubstep that I can only describe as a masterpiece, best tune on here, and if Rob Sparks was an American he would somehow or another be picking up a Grammy this year standing next to some A class rapper for this. FACT.

Headhunter & Invisible – Loved Up

Here we have previously featured artist Headhunter this time hooking up with someone called Invisible. In a nutshell, 4/4-shuffle step, with hypnotising vocal and techno smoke machines on the drop. Makes you chest shake up and down.

Skream – Listening To The Records On My Wall

There may be some mild controversy in this choice, from speaking to a few dubstep heads there’s been murmers that this tune is too simple, and un-original in it’s use of the infamous jungle break. But I say this is Skream, the man who takes the rawest of elements and melds them into some of the most compelling textures in modern dance music. Simple, has always had its place in music and I defy you not to have your head in the clouds when that melodic break down breaks through.

Dennis Ferrer – Hey Hey

I discovered this the other day and fell for it instantly, diva vocals on house/techno tracks can always be dangerous territory, but here the vocal or should I perhaps say the beat is treated with absolute dignity creating a climax which doesn’t smell of cheese. Something to ponder indeed.

MICHEL CLEIS - La Mezcla (Paul Kalkbrenner remix)

Tipped by the, errr, Guide (I wasn’t in Ibiza). This track was used to characterise the popular Villolobos/Luciano/bongo movement in techno which last year became sound of the white isle (that means Ibiza, I think). And, although the sound doesn’t translate quite as well to cold British car parks (That’s where the best raves are these days kids). This remix by the ever freezing German - Paul Kalkbrenner - does a good job brining the sound into the dark.

Calibre – Steptoe

You got to feel for Drum and Bass, there it was leading the light for UK underground bass music, then along comes Dubstep stealing it’s thunder, Radio 1 air-time and student audience… Mostly un-true but still here’s one answer - half-time 173 bpm work out from the scene’s most outrageously prolific and talented producers Calibre.

PREVIOUS EDITIONS OF G8HAUSMUSIK:

G8HausMusik Vol.5
G8HausMusik Vol.4
G8HausMusik Vol.3

It's Happening Again.

Mon, 04 Jan 2010 14:37:05 GMT

So, it is all happening again. Sigh. On the positive side, it will be stop being cold in four months. HOW ABOUT THAT? Whew, this is the place to come for your hope, eh?

So this site will relaunch in a month or so. THAT IS EXCITING. It means things will also be busier and bustier.

Got that? Bigger. Bustier. Whew.

Speaking of busts, have you checked our latest issue? It's real hott. Try it here: www.notionmag.com. You can read it and everything - digitally! The world we are in today, eh?

We hope none of you were eager for a grand ol' Notion listicle-athon. We made them, sure, but we thought it'd be like sooo much moore unnergrown of us if we didn't publish them. Fancy! If you do want to know what we thought, email editorial(at)musichqmedia[dot]com and we'll let you know.

One of your editors contributed to the big Rockfeedback list, who's SHOCK WINNER is revealed here.

That's all, really. Hi there! Again. We wish you a sincerely good new year and encourage you to spend it with us.

[We've no idea why that picture of Deadmaus is there either, IT JUST IS.]

[On the stereo: Greymatter's rather eclectic dub-electro debut. It's good, actually! We give it a 7.8. Go have a listen somewhere.]

Get Loaded In The Dark midnight guest announced, and it's actually a cracker

Wed, 16 Dec 2009 18:29:02 GMT

As if Get Loaded In The Dark wasn’t looking great enough with Simian Mobile Disco, Herve, Chase and Status and Sub Focus, the mystery midnight surprise guest has been revealed to be… the Klaxons!

Jamie Reynolds and James Righton will be taking over the decks, and are flying back to London from LA where they are currently recording their new album especially to play this exclusive set – which also happens to be their first DJ set in well over a year!

Early Bird and Saver tickets have sold out, but there are still a handful of tickets left at £35 +bf from www.ticketweb.co.uk. More info can be found at: http://www.getloadedinthedark.com

***UPDATE***

Klaxons have PULLED OUT of Get Loaded In The Dark, but to replace them, the organisers have called upon Switch, who has the hallowed Midnight set and is making his only London appearance of 2009, Kissy Sell Out and Killa Kela. Hmmm... Close but no cigar!

Pre-NYE Panic? Solved. WIN TICKETS TO MOS LIVE!

Wed, 16 Dec 2009 16:39:10 GMT

The countdown to Ministry of Sound Live, the biggest NYE party to take place in Europe, has been ticking in anticipation since the event was announced in September with its all star line up including Calvin Harris, Justice, Deadmau5, Eric Prydz, Plump DJs, Dave Spoon and Example plus a live BBC Radio 1 broadcast from the stroke of midnight.

Ministry of Sound Live will offer revellers all night entertainment with nine hours of music accompanying spectacular visuals especially created for the event. A unique production policy will transform the arena via multiple stages, breathtaking lighting, pyrotechnic displays and an aerial walkway that will see artists and entertainers performing along an LED lit stage high above the crowd.

For the midnight moment a bespoke pyrotechnic display will be unveiled programmed to Calvin Harris’s set offering the audience an unforgettable experience as they see in 2010.

Ministry of Sound Live at the O2 arena is rapidly becoming the most talked about and sold out NYE event to take place this decade. Do not miss out on this unique 2010 countdown – Be There!

For your chance of winning a pair of tickets and solving your NYE dilemmas, go to www.planetnotion.com/competitions

Tickets are priced at £75, £50 and £35 and available from www.ministryofsound.com/NyeO2 / www.ticketmaster.co.uk / 08444 775 775

THE ONLY THING TO DO THIS SATURDAY?

Fri, 11 Dec 2009 13:38:01 GMT

...is HYP! HYP! HYP!

Srsly the only night you need to go to this Saturday. Big ass batty bass, Wonky, UK Funky, Dubstep, Electronica, Garage, you got it.

Just trust us on this, ok? We don't ask much of you, not often, but this is one of those things where we say, if you are within 2 hours journey of London, drop whatever it is you think you're doing this Saturday because it is not this good. Get on a train, bring your happy gear, and come the fuck to Brixton. Go all night, leave at six and go back from whence you came. This is gospel.

The important details are as follows:

H!H!H! 1st Birthday Special
Saturday 12th December
Plan B Brixton

Featuring:

MJ Cole, Brackles B2B Ben UFO, Bok Bok B2B Jackmaster, Tomb Crew B2B Shortstuff, Rattus Rattus B2B Klose One, Warlock B2B noyeahno, Magic B2B Reecha, Boog-a-loo Crew, Mackaveli.

9PM – 6AM.

Plan B, 418 Brixton Road, SW9 7AY

www.hyponik.com

www.plan-brixton.com

So, just do it, yah? Kthxbai.

Hot New Sailor Jerry Presents... Gigs Announced WHICH YOU COULD WIN TICKETS FOR, OMG

Fri, 11 Dec 2009 13:14:36 GMT

Sailor Jerry Presents…sold out in record time last week so Sailor Jerry Rum has added two more nights of undeniably great international music talent and today announces the release of the free tickets.

The third night will be Sailor Jerry Presents…A Place to Bury Strangers on Tuesday 15^th December at the Camden Barfly in London. After successfully supporting the likes of MGMT and Nine Inch Nails on tour in 2008, the band released the acclaimed EP ‘In Your Hear’t in 2009 and the band are expected to make a huge musical impact on 2010. Now they bring their acclaimed sounds to an intimate Sailor Jerry crowd.

Wrapping up the series will be Sailor Jerry Presents…The Joy Formidable on Monday 21^st December at the Camden Barfly in London. The Joy Formidable have had an amazing 2009 which started with the release of their debut album ‘A Balloon Called Moaning’ and culminated in high profile support slots with Editors and Passion Pit. Their live set is in such demand that they went on to release a live album last month, so tickets for their free show for Sailor Jerry will not be around for long.

IMPORTANT BITS ALERT:

Number One:

Sailor Jerry Presents…is a free show for an exclusive audience, with guest support to be announced. Tickets are available at www.sailorjerryrum.co.uk from Friday 4^th December at 10am

Number Two:

AND DO YOU KNOW WHAT'S BEST, HUH, DO YA? WE'VE GOT TICKETS YOU CAN WIN!

To do that, go to www.planetnotion.com/competitions.html

AMAZING.

OMG! Emma Bell has just visited the 80s!

Fri, 20 Nov 2009 13:27:46 GMT

Notion friend and supermassively amazing fashion designer Emma Bell is our occasional extra-special correspondant. Emma does things no one else dares to dream. (Cf. Her fashion designs.) This time around, she is our occasional extra-special travel correspondent. But, being dear Emma, she has travelled to no mundane place like Machu Pichu or Atlantis. NOSUH. She has travelled to the Eighties. Amazing. Look at the results! LOOK AT THEM.

----

Yesterday I went back in time to the 80’s, not only that, I heard some very juicy gossip whilst swinging through the grapevine eating Findus Crispy Pancakes…

Word on the street is that Bid TV are set to launch their Christmas workout DVD starring none other than Pat Butcher, Paris Hilton and Dolly Parton!

In other news, rumour has it that Corrie’s Gail Platt has embarked upon a saucy affair with Big Brother hottie, Mikey Dalton. I heard they met over a pint at the Rovers.

And finally, ever wondered what Spuggy from Byker Grove is up to these days? Well, she’s presenting a successful turn as a break-dancer on the Social Club circuit!

I would say ‘April Fools’ with a couple of jazz hands thrown in, but it’s November.

You too can create your very own magical images and fictional scenarios courtesy of Russell Athletic and their 80’s-Izer…

Prepare to flex at Muscle Beach or rock a bad perm in your very own workout video!

http://80s-izer.russellathletic.eu/

----

Ladies and gentlemen! Emma Bell.

It's funny, thinking about Spuggy. Your editor shares a Geordie past with Emma Bell you see, and growing up at the time of Bykerbykerbykerbykerbyker-Grove, YEAH, we were all kind of defined by it. There was this one girl your editor went to school with who - just like Spuggy - was defined by her vast, expansive mane of ginger hair. Of course, we witty fellows at school immediately dubbed her 'Spuggy'. This stuck, long after Spuggy was killed off in a youth centre related accident or whatever. Thinking back, we can't even remember her name. She is, in the corner of some childhood memories, forever Spuggy.

It's not easy, being ginger.

G8HAUSMUSIK Vol. 5: Feat. Poxy Music, Joker, Tinchy Stryder, P-Money & Headhunter, yall

Thu, 19 Nov 2009 14:46:56 GMT

Ben Gatehouse, aka G8HAUSMUSIK, the music man wanderlust who wanders to the grimiest and this week grime-iest outer corners of the internetosphere and traverses the filthiest sarf lahnan clubs, so that he might return with tantilising morsels of a distant, different life.

Heeeyyylllo, Gotta say that this week’s selection was without doubt the easiest to compile so far. Don’t know if that’s a reflection of the ouput or what but I’m feeling pretty inspired by music right now, especially the grime scene which I’m slowly starting to understand… that isn’t really the right word, maybe “connect with”. Whatever! Hopefully the following will give you an idea of what I mean!

Headhunter – Sex at the prom

http://www.myspace.com/dubstepheadhunter

Via Radio one and Myspace

Ha, after all that this isn’t even grime. Headhunter, represents the - as he puts it - anti-wobble brigade of the dubstep community, taking influences from techno and Juke, apparently. Sex at the Prom for me sets the bench mark on how to produce 2 step techno at 140bpm. Awesome, just a shame we only have this radio clip to go on, oh well. Although it does also feature on the recent Modeselektor podcast!

Watch out for the new Headhunter album coming on Tempa soon.

Joker – My Trance Girl
Via youtube

A few weeks back I posted Joker’s Tron and also mentioned this track as one to watch out for. Ripped here from his Sonar set back in June it’s been a highlight of his performances throughout the summer. I imagine we’ll see this on the forthcoming album, until then we just gonna have to make do with enjoying it on the local soundsytem, could be worse.

P Money feat OG’z – Hot ones
Via Logan Sama’s kiss 100 show

Par is officially the word of the year, here another brilliant execution of the word no one has a description (“a par is a Par, innit”) reckon this could cause similar damage in a club as par pioneer Tempa T’s Next Hype… Oddly grime is one genre that suffers from a lack of real exposure, a topic recently debated between Kiss FM’s grime show host Logan Samaand 1xtra’s Mistajam via twitter. I’m not enough of an expert to offer a reason, but the production on this track, especially in the vocal shows that with the right content grime can still be the UK’s answer to US Hip-Hop.

Tinchy Stryder – Unknown
Via syro rinse podcast

Grime again and to prove that I’m not stupid and do know that one of the most commercially successful artists this year came from the grime scene, it’s Tinchy Stryder. To be honest I never thought I’d be featuring him on this blog, It’s not as if his mainstream output has really had anything to do with grime or really MCing, but in this tune he answers all his critics and wins over any doubters of his underground credentials in the space of one line (highlighted by the mc riding over the track), this is how MCing should be done! Not sure if it’s new or old or whatever but it’s taken from Spyros’s recent rinse podcast, listen to it for new music insight that blows this blog out of the water.

Poxy Music - War Paint feat. Gina Mitchell (Claude VonStroke)

Via Roska XLR8R podcast

So one from last year I completely missed, Claude Von Stroke doing what he’s famous for and getting the attention from UK funky main man Roska who featured the track on his recent XLR8R podcast. Enjoy!

Previous G8HAUSMUSIK:

Vol.4
Vol.3
Vol.1

Shop gig ahoy! Elmor play Henri Lloyd.

Wed, 18 Nov 2009 19:52:30 GMT

Hello! What's this? A gig in a shop! We're really rather fond of these. There's something about the compromised anarchism that really tickles us.

Elmor, a UK band sponsored by HL Jeans Co, the little brother of Henri Lloyd, played the HL store on Carnaby street - amazingly, about 200 people gathered outside to see it. Super! The band even took the time to chat with people outside.

What you see in these images and read above is basically a vision of the not-at-all-very-distant future, the co-mingling of art and commerce, which will, frankly, be the only way you will get to enjoy free culture-y things. So much you enjoy for free on the internet will be gone, BEHIND THE PAYWALL (a sentence we all find ourselves saying far too often these days as it is), and in our dotage we will sit in chairs with progeny at our feet, who will look up dewy eyed as we recount the wild west days of the internet and how we read the Guardian for free. They will nod, and make noises, and then grow up to read arts criticism brought to you by Trafigura for free and always wonder what a "Theguardian" was because it will have closed down by then, as no one wants to pay to read, or, especially, to have to look at, Tanya Gold.

Go and have a listen to Elmor on HL Jeans Co's website: they're surprisingly not bad at all.

www.hl-jeans.com

Announcement: Ware is Blessed with New Clubbing Destination

Wed, 18 Nov 2009 14:18:46 GMT

New venues Billie Jean’s and Mantra and Tao are to open in Ware, Hertfordshire this weekend (20^th-21^st November).

Under new management, the venues previously known as ‘Club Sky’ and ‘Storm Bar’ are being revamped into the 21^st century hosting both a late night club and bar.

Late night venue, Mantra & Tao, offers ‘class and sophistication to another level’ captivating a range of ages on special nights: Thursday’s over 18’s, Friday’s over 25’s and Saturdays exclusively to the over 21’s. Opening from 9pm-2am, Mantra and Tao boasts breathtaking décor, sound and lighting.

Billie Jean’s, the downstairs bar, is taking the public back in time calling itself the ‘ultimate 80s bar’. Open to strictly over 18’s on Thursday to Saturday, Billie Jean’s is free admission every night 7pm-Midnight.

Both venues can be found at 20 Amwell End, Ware, Hertfordshire SG12 9HQ. For any further information call 01920 48 48 98.

LEVI'S ONESTOWATCH 5 NIGHT REVUE

Fri, 06 Nov 2009 12:47:59 GMT

The word ‘revue’ is not used often enough, in our minds. It’s a great word! Let’s see what it means.

CLICK HERE TO SEE WHAT IT MEANS

Amazing. Basically, it’s a fancy Victorian word for a party with loads going on. What’s not to like?

Indeed! And what’s not to like about Levi’s Ones To Watch staging a five night revue in London’s dear old east end?

Over 5 nights in the Hoxton Bar & Kitchen and Cargo, Levi’s OTW will settle in, make themselves comfortable and, seemingly, blow your mind with actually-really-quite-good line ups of pretty much every genre. It’s super hot!

Our particular favourites would be, actually, all of them? Cherbourg’s pretty lush folk, Crystal Fighters are ABSOLUTELY AMAZING genre-bending rave up madness, Marina & the Diamonds are super fun, Beth Jeans is completely mad and love and her dad’s really nice too! And then the big closing party at Cargo has a series of wonderfully named bands plus “VERY special guests”. When the capitals come out, you know it’s excite time. Here’s the full set of line-ups below. Full line up below and then pictures of pretty ladies! Click on them - and also click here - to see a wonderful Levi's video. And surprises!

Monday 16^th November: Hoxton Bar & Kitchen

Cherbourg (Andrew Davie solo) + Goldheart Assembly + Young Rebel Set

Tuesday 17^th November: Hoxton Bar & Kitchen

Crystal Fighters + Violens + Wild Palms

Wednesday 18^th November: Hoxton Bar & Kitchen

Marina & The Diamonds + Wolf Gang + Clock Opera

Thursday 19^th November: Hoxton Bar & Kitchen

Sky Larkin + MPHO + Beth Jeans Houghton

Friday 20^th November: Levi’s®OnesToWatch® 2009 Closing Party @ Cargo 83 Rivington Street

The Whip + Alex Metric (Live set) + Totally Enormous Extinct Dinosaurs + Ezra Bang & Hot Machine + VERY special guests

The lovely Beth Jeans Houghton. Click on her!

And the equally lovely Marina. Click!

Fin.

World Unknown & free Andy Blake mix!

Thu, 05 Nov 2009 01:55:14 GMT

Sick of twats dancing to the same old remixes of everyone but especially La Roux? Well turn your back on east London this Friday and head to Brixton for World Unknown, a new night that deals in electro, synthpop, ebm, new beat and acid house. As well as DJs Andy Blake (Dissident, Black Editions) and Joe Hart (Body Hammer, Bloc), there will bea live set from Radical Majik, who'll be showcasing some of their stuff soon to be released on dissident. The venue isa 'proper old railway arch with a dub soundsystem' - perfect for all that synth and doomy drumbeats.

Here's a taste of what to expect - a free Andy Blake World Unknown mix:

Here's Andy's brief guide to potentially confusing sub-genres from the 1980s which will feature heavily at World Unknown:

Belgian new beat: a far wider selection of musical styles than most usually take it to mean. Often takes the form of industrial and European synth pop slowed down to 33rpm to accentuate the groove and low frequencies

cold wave: vaguely scary European synth pop and experimental instrumental stuff. Imagine Depeche Mode records sung in Polish by bands you've never heard of, and you're getting there.

synth-pop: imagine Depeche Mode records sung by Depeche Mode, and Blancmange and countless others including Simple Minds before they were shit.

italo: electronic disco from Italy, often with out of tune vocals in badly sung English

jacking acid house: nuff said - surely?

techno: kids from Detroit trying to make Ultravox b-sides.

electro: quite like techno but instead of going bmm, tsch, bmm, tsch it goes bmm, tsch, bmm, bmm, tsch

£5 before 12/£7 after

Arch 269
Coldharbour Lane,
Brixton,
SW9 8SE

See the Swedish House Mafia at Brixton Academy on Friday!

Wed, 04 Nov 2009 12:22:54 GMT

House heavyweights the Swedish House Mafia have added another date to their Brixton Academy take over... And you could be there! thanks to the lovely people at Cream, we have a pair of tickets to the recently announced November 6th show.

2009 has been a phenomenal year for Axwell, Steve Angello and Sebastian Ingrosso - collectively known as the Swedish House Mafia - and saw them oversee a Monday residency at Pacha Ibiza, release a never ending string of club hits and thrill audiences all over the place.

They had such a great time, they even made a thank-you video - awww.

To win, simply email kara@musichqmedia.com before 6pm November 5th. Good luck!

Scared you'll miss out? Don't be! Tickets are still available for the November 6th show - Details below!

Cream & Loudsound Presents

Swedish House Mafia @ 02 Brixton Academy
211 Stockwell Road, London, SW9 9SL, £25+BF / Info: 0207 771 3000 / 0151 707 1309 / www.cream.co.uk / Times: 10pm – 4am

Tickets available from:-

Ticketweb: 08444 77 2000 / www.ticketweb.co.uk

See: 0871 22 00 260 / www.seetickets.com

Ticketline: 0844 888 4401 / www.ticketline.co.uk

Ticketmaster: 0844 847 1748 / www.ticketmaster.co.uk

The Soft Pack

Fri, 29 May 2009 11:26:58 GMT

Nuts and Bolts: Matt Lamkin, Matty McLoughlin, Dave Lantzman, Brian Hill
Stomping Ground: San Diego, formed 2005
Set to Soundtrack: many, many Ipods
Destined to Upset: People that like a nice clean, crisp production
You’re in Business if you like: The Strokes, The Walkmen, The Velvet Underground, the Stooges, the Modern Lovers

Notion misses the Modern Lovers. In the early seventies they were crafting clever, inch-perfect pop music with a solid backbone of art-rock and new wave. Don’t get us wrong; some of their later work was a bit dodgy, but the early material - circa ‘Roadrunner’ and ‘She Cracked’ - was incredible. Well, the heirs to their long-vacant throne have arrived in the shape of the Soft Pack. The four-piece sound like Jonathan Richman’s old band but with a less off-kilter sense of weirdness.

They played a triumphant set on the ‘Levi’s Ones to Watch’ stage at the Great Escape and Vice magazine and the Guardian are among the publications claiming they are in-line for big things. Rightly so. Their tracks are low-fi, underproduced gems with the occasional heart-breaking melody that will have you coming back for more time and time again. ‘Extinction’ is a simple, straightforward track that drips with emotion; its minimalist guitar refrain and snare driven beats are paired perfectly with absent minded vocals that are strangely captivating. While ‘Bright Side’ is a bass driven number that occupies the fertile ground between the Only Ones and massively underrated Compulsive Gamblers with slightly out of tune - in a good way - ooohs and ahhhs. If you miss the Modern Lovers, or just like great music, check them out.

Dinosaur Pile Up

Fri, 29 May 2009 11:24:08 GMT

Nuts and Bolts: Matt Bigland, Tom Dunford, Steve Wilson,
Stomping Ground: Leeds, formed 2007
Set to Soundtrack: Good ol’ fashioned moshpits
Destined to Upset: the Shoreditch crowd
You’re in Business if you like: Jimmy Eat World, Grandaddy, The Melvins, Smashing Pumpkins, Mudhoney

Dinosaur Pile Up are a band that take things back to basics. Out of the window with any pretensions and into the mix with Brontosaurus sized riffs, pounding drums and impassioned vocals. If the original glimmer of promise shown by the Vines hadn’t descended into mediocrity, then DPU are a bit like they would have sounded.

Notion caught their set on the ‘Levi’s Ones to Watch’ stage recently at the Great Escape music industry shindig in Brighton and can confirm that their balls-out sound is every bit as all-engrossing live as it is on record. They put on an ear bleedingly loud, raucous show the highlight of which was their track ‘Traynor’, which came into life with the squeal of feedback before a crunching, distortion-soaked riff and screamed vocals were unleashed.

You might think their name is a reference to their heavy, aggressive guitar-led sound. Or maybe a tongue-in-cheek joke about their 1990s musical reference points being out of fashion and pretty much extinct in today’s musical climate. But you would be wrong. ‘I went to see the remake of King Kong,’ laughs singer and guitarist Matt Bigland. 'It was really overblown and ridiculous and there’s this huge chase sequence where about 12 dinosaurs just pile into each other, at that moment I just knew I wanted to start a band called that. It’s not really meaningful or anything, I just thought it was funny.’

David E Sugar

Tue, 28 Apr 2009 16:26:41 GMT

DAVID E SUGAR

Nuts and Bolts: David E Sugar – guitars, blips, beeps, vocals and everything else

Stomping Ground: London, since 2004

Set to Soundtrack: the later part of this year, if you are lucky

Destined to Upset: Those who want a new album right now

You’re in Business if you Like: Calvin Harris, Aphex Twin, Squarepusher, Hot Chip, George Demure

He’s played to massive audiences in Germany and Switzerland, but somehow David E Sugar is a criminally unknown quantity in this country. The lord above only knows why; he ticks all the right boxes with euphoric keyboard lines, fuzzy backbeats and heartbreaking melodies drifting below laid-back East End slacker vocals, which merge seamlessly into a crooned baritone.

He’s currently unsigned but has recorded 37 new tracks, and is in talks with a handful of labels over the release of a full-length album later this year. Here at Notion, we’ve been lucky enough to get our grubby hands on half-a-dozen of his new unreleased tracks, which veer from down-tempo electro with delicate, harmonised vocals, to autumnal acoustic numbers with haunting keyboards and the occasional burst of bleeps and blips. The pick of the bunch is ‘Fleamarket’, which slips from a verse of serene synths and shuffling drums to a surprisingly poppy chorus that sounds like Talking Heads if they had stopped writing about architecture and laid down some bitter-sweet tracks dripping in nostalgia.

You will have to wait for a while before you hear a full album, but in the meantime, to sate your appetite, you can pick up a few limited edition vinyl singles if you trawl the internet, or just check out his myspace page, which isn’t as much fun, but is cheaper.

Extracted from Notion Magazine 38. To subscribe to Notion Magazine CLICK HERE!

My Toys Like Me

Tue, 17 Mar 2009 10:22:43 GMT

NUTS AND BOLTS: Frances Noon, Lazlo Legezer, Charlie Boud, Alfonso Pisanelli
STOMPING GROUND: London, formed 2005
SET TO SOUNDTRACK: Piled-up underage raves
DESTINED TO UPSET: People who are easily unnerved
YOU’RE IN BUSINESS IF YOU LIKE: The Ting Tings, ESG, Cibo Matto, Etta James, Tricky

This is unnerving stuff. My Toys Like Me are reminiscent of Tricky’s dark trip hop, circa ‘Maxinquaye,’ but with his hushed whispers replaced by Francis Noon’s unsteady, pubescent vocals. That’s not a bad thing. It’s just odd. If you imagine Lilly Allen’s privileged upbringing and breezy pop mentality replaced by formative years spent in the gutter eating gummy bears and clinging to a soiled teddy bear, then you are along the right lines.

The standout track of the band’s debut, ‘Where We Are,’ is the dub-inflected track, ‘Superpowers’. It’s a slice of noir electro, underpinned with a weird, menacing bossa nova rhythm, staccato slashes of treble-loaded guitar and politically-edged, child-like vocals. Elsewhere there’s a minimalist pop sensibility, like the track ‘Barnaby,’ which shuffles through a glitchy verse of blips, beeps and bass, before a surprisingly uplifting chorus, which occupies the strange terrain between Rachel Steven’s throwaway hit, ‘Some Girls,’ and Neu!’s influential early meanderings. MTLM won’t be to everyone’s taste; the saccharine vocals will give some people an ice-cream headache, but if you can get past that, then some great pop songs gradually emerge.

WHERE WE ARE OUT IN MAY (DUMB ANGEL) WORDS: ROB DABROWSKI

Jimmy Screech

Fri, 06 Mar 2009 17:01:08 GMT

Nuts and Bolts: Jimmy Screech – vocals, DJ Mr Mosmo – decks and FX, Sam - drums, Leon – guitar, James - bass

Stomping Ground: London, since 2006

Set to Soundtrack: Hash filled rooms everywhere

Destined to Upset: Reggae purists

You’re in Business if you Like: Jimmy Cliff, Toots and the Maytals, Roots Manuva, King Tubby, Nas

Jimmy Screech embraces a distinctly British variant of dancehall reggae, eschewing the clichéd

historical baggage of love, peace and harmony that’s weighed the genre down since it became a parody of itself in the early eighties. His formative years were spent steeped in Jamaican gospel roots acts, like Toots and the Maytals, but it’s his basterdisation of the genre with British hip-hop and dub that’s seen him selected for support slots better known artists would kill for.

Roots Manuva handpicked Jimmy as his support act and old school hip-hop crew, Ugly Ducking, were second in line to whip him away on the tourbus for a handful of dates. Listen to his recent single, ‘Wood 4 the Trees’, and you will know why... it sounds like latter day Lee Scratch Perry swamped in heavy basslines, with flourishes of brass, and sweetly intoned vocals, contrasting with breathless rapping.

On other tracks he veers further towards vintage dancehall, like ‘England’, his ode to down-and-out Britain, in which he sounds like Blighty’s answer to East Coast hip-hop duo Nice & Smooth transposed to the days of the great Jamaican sound clashes. Since the eighties - when Don Letts, Steel Pulse and the Specials were shunted from the airwaves - British reggae has been dominated by dreadlocked, acoustic guitar-toters regurgitating the same hackneyed style. Most reggae produced on our shores after ’82 has been dire. Jimmy isn’t; he’s great. Listen to him.

Single ‘Scandalous’ is out now (MAP Music)

Extracted from Notion Magazine 38 (On Sale Now)

The Kabeedies

Wed, 11 Feb 2009 13:25:01 GMT

Nuts and Bolts: Evan – Microphone and guitar, Fab – Drums, Katie – Microphone, Roary – Microphone and bass

Stomping Ground: Norwich, UK, formed in 2007

Set to Soundtrack: The carnival march of Lego men

Destined to Upset: Your stomach if you’re allergic to fun

You're In Business If You Like: The Unicorns, Cheeky Cheeky and the Nosebleeds, I Was A Cub Scout, Let’s Wrestle, Thomas Tantrum

How can a name be so indefinable, yet so appropriate? Kabeedies sounds like a Wurlitzer crossed with a cuddly toy carousel animal. So you get all the lovability and cuteness of stuffed fabric and the spinning, vomit-inducing insanity of a fairground ride dosed up on sugary donuts and candyfloss. ‘That's how a performance is meant to be, chaotic and fun. Rory's got himself a massive blotch on his forehead from smacking his face on the microphone, and usually I'm passing out from exhaustion and Katie and Evan have lost their voices,’ explains Fab. The whirling dervish that is Katie can’t help but be the band’s focal point, but every one of them looks like they’re having the time of their lives on stage and they’re only 16-18. We’re jealous.Having mapped out their deliciously sweet sound on forthcoming Cool For Cats single, ‘Treasure Hunting,’ a crossed-swords balance of galloping bass, chiming guitars and hyperactive voices, it can’t be long before those saccharine sounds capture everyone’s sweet tooth. They already had ‘close to 1000’ people watching them at Latitude Festival this year, in the rain. Come next year’s festivals, they may well still be that sweet lil’ indie band but they’ll be towering over you…probably on unicycles and stilts.

‘Treasure Hunting’ is out now (Cool For Cats)

Extracted from Notion Magazine 37 (On Sale Now) Photo courtesy: Andy and Alex 2008

You Love Her Coz She's Dead

Thu, 22 Jan 2009 17:12:11 GMT

Nuts and Bolts: Elle Dead – vocals, Jay Dead, vocals, synth, bass, programming

Stomping Ground: London, formed 2007

Set to Soundtrack: Fashionable parties in outer space

Destined to Upset: Your ears

You’re in Business if you Like: Digitalism, autoKratz, Justice, Los Campesinos, Bikini Kill

There are some shit names floating around the music industry, take David E Sugar, for example, great tunes, but his name makes him sound like a Butlins Redcoat who can bring middle-aged women to their knees with his wry smile and cheeky version of ‘La Bamba.’ Then there are those bands which deserve fame and adoration for their name alone. You Love Her Cos She’s Dead fit firmly in the latter camp.

It would be easy to just discuss their name for the next few paragraphs, maybe with a Freudian psychoanalytic approach to the implied necrophilia, but, alas, we haven’t the time, so on with the music... There have been plenty of 8-bit post punksters knocking out scuzzy dance tracks over the last year, but YLHCSD differ in that they are one of the few to walk the tightrope of melody and ear bleeding buzzing and come out the other side without a hair on their fashionable barnets out of place.

Their track ‘Superheroes’ was last year selected for a compilation by très cool French label, Kitsuné, and is all taut drums, a conflicting spider-web of synths and a chorus that batters you into submission with a wall of distorted electro. But it’s not all about post-nu-rave; YLHCSD indulge in moments of vintage krautrock, which could easily have come from 1970s Düsseldorf. Great band, incredible name.

‘Inner City Angst EP’ is out now (Kitsuné)

Extracted from Notion Magazine 38 (On Sale February 18th)

Cats In Paris

Mon, 12 Jan 2009 15:56:54 GMT

NUTS AND BOLTS: Ben Summers - drums, Sara Beard - synths / vocals, Lorien Edwards – bass, Michael Watson – synths / vocals
STOMPING GROUND: Manchester, UK, formed 2006
SET TO SOUNDTRACK: Planets colliding
DESTINED TO UPSET: Anyone still clinging to the Madchester dream
YOU’RE IN BUSINESS IF YOU LIKE: Los Campesinos!, Broken Social Scene, Munch Munch, Fuck Buttons, Blonde Redhead

We should be grateful to Cats In Paris, because they scoff at the archaic tradition of every band from Manchester sounding like The Stone Roses, The Smiths or Joy Division. Their fresh, jagged art pop is a desperately needed addition to a city which has been living off its musical heritage and producing vile, offensively middle-of-the-road pap like Starsailor for far too long.

The four-piece burst forth from the musical capital of the north with off-the-wall hooks, layers of dissonant guitars, fuzzy synths, waltzing violins and plinky-plonk keys. Every now and again they even lean towards Jean Michel Jarre, but in a good way, honest. The epic tour-de-forces they unleash threaten to overload the speakers, only to fall away from crescendos onto delicate moments of lo-fi twinkling. Imagine if Los Campesinos! weren’t scared of their own shadows, or if Blond Redhead weren’t so fucking miserable these days, and you have a rough idea of Cats In Paris’ spiky, irreverent anti-pop.

DEBUT ALBUM ‘COURTCASE 2000’ IS OUT NOW (Aa RECORDINGS)

Extracted from Notion Magazine

Volcano!

Wed, 07 Jan 2009 11:34:42 GMT

NUTS AND BOLTS: Aaron With – guitar / vocals, Mark Cartwright – electronics / bass, Sam Scranton – drums / percussion
STOMPING GROUND: Chicago, Illinois, formed 2005
SET TO SOUNDTRACK: Lord above only knows
DESTINED TO UPSET: Those who like clearly defined boundaries
YOU’RE IN BUSINESS IF YOU LIKE: Dirty Projectors, Deerhoof, Whirlwind Heat, Efterklang, The Red Paintings

Volcano! aren’t an easy band to figure out. Their second album, ‘Paperwork,’ is a weird and wonky mix of post-punk, art-rock and free jazz, punctured with forays into ambient electronics. If you like your music coherent, then you’d best stop reading now, but if you want to listen to a sprawling amalgamation of squealing guitars, shotgun percussion and off-kilter melodies - which, let’s be honest, you really should - carry on...

One minute the three-piece is battering your ears into submission with out-of-tune guitar riffs, out-of-time drums and out-of-the blue electronic squawks; the next they slide into soothing moments of leftfield reprise. Any band that can combine the minimalist noise-rock of Steve Albini’s ‘Shellac,’ with melodies that sound like Ariel Pink at his prettiest, deserves your attention. After one album, which had critical plaudits raining down on the band, but popular success giving them a wide berth, Volcano! are back and leaner and tighter than before. Admittedly, it’s odd stuff, but well worthwhile for the slow-burning melodies which gradually emerge.

‘PAPERWORK’ IS OUT NOW (THE LEAF LABEL)

Extracted from Notion Magazine

Dent May & His Magnificent Ukulele

Wed, 17 Dec 2008 12:37:07 GMT

NUTS AND BOLTS: Dent May – ukulele / keyboards / vocals
STOMPING GROUND: Jackson, Mississippi, since 2005
SET TO SOUNDTRACK: The return of geek chic
DESTINED TO UPSET: Anyone who dislikes twee music
YOU’RE IN BUSINESS IF YOU LIKE: Lee Hazelwood, The Partridge Family, The Beach Boys, The Russian Futurists, Serge Gainsbough

Notion’s jaw dropped in baffled admiration after stumbling across the Youtube video to ‘Oh Paris!’, a track from Dent May’s first split EP. The 23-year-old troubadour has crafted one of those perfect pop moments that breaks your heart while dripping in originality. The track is imbued with an aching sadness as Dent croons about his love for Parisian girls over a gently strummed ukulele line, finger clicks and layers of doo-wop backing vocals.

On the other side of the vinyl EP is ‘Meet Me In The Garden,’ which sees Dent lamenting his way through three minutes and 19 seconds of bitter-sweet musings on unrequited love, with more harmonised backing vocals and bursts of wobbly synths. These betray a love for electronic music pioneer, Bruce Haack, who made children’s records in the sixties using weird and wonderful homemade instruments. And the man himself… what a man! He is all inch-thick circular spectacles, bad dancing, tight-fitting beige jeans and he lives in a trailer in the back-end of Mississippi. Listen to him - now.

‘MEET ME IN THE GARDEN/OH PARIS!’ IS OUT NOW (MAKE MINE)

Extracted from Notion Magazine

Damian Lazarus' Guide to the Galaxy

Thu, 25 Jun 2009 15:43:46 GMT

echo park

I moved to Los Angeles in October 08 and settled in a beautiful house at the top of Echo Park. The sunset every night is incredible and my views on all sides are something else. The pace of life here is very different to that in London; I wake up real early, I don't party too much in the week and I feel pretty healthy. My area is populated mainly by musicians and artists and the place is rich in musical history, the underground club scene here is electric and the glitz, glamour and trappings of Hollywood only enter your life if you allow it, which I don't.

scott walker

I recorded one cover version on my album, 'It's Raining Today' by Scott Walker. I'm a big fan of Scott and recently saw the movie about him, 30th Century Man. I find it so bizarre that such an incredible talent, in production, arranging, writing and singing, could be so overlooked for so many years. His weirdness appeals most to me, his ability to tell a story and suck you right in, whilst the music around the tale twists and turns and often blows your mind. Recently I've been playing this track called 'The Electrician' to death, possibly one of the most intriguing, gorgeous and strangest records of all time.

crosstown rebels

The label is my pride and joy. Having your own record label as an artist is a must. I've come to realise that the process of releasing a record is so self-absorbing that it is easy to find yourself only concerned with your own music. I find that working with other artists and releasing other records keeps me grounded, reminds me that the world doesn't solely revolve around me and that music is not a competition. I have some great people working for Rebels and I think we produce some excellent, forward thinking stuff, and of course our parties are pretty legendary.

bear grhyls

I think the fact that I am so unfit is the reason that I'm attracted to Man vs Wild. I just discovered this show and I think it's the perfect way to spend a night in; watching this lunatic eat snakes, climb up mountains, sleep in caves... just mental. Nothing much appeals to me on TV (certainly since The Wire proved to be the best thing ever made and unlikely to be surpassed) but Man vs Wild hits the right note, we love Bear round my place!

mustang 66

So I moved to LA and did the obvious thing, bought myself a classic Ford Mustang. I never really appreciated cars before coming here but it feels so right to be driving around in a vintage design classic. It's tricky driving with a gear stick after being used to automatic in London but it helps having a v8 engine inside. I get stopped in traffic quite often, it seems that alot of people here had a Mustang at one time in their life and they like to chat about it and reminisce at traffic lights.

serial killer fashion

Recently I came across this incredible jacket that was made for Charles Manson; it was hand woven by members of his cult gang; braided with locks of hair taken from all the Manson girls. It took 4 years to make and on it they recorded/embroidered all the killings and rituals. Seeing is believing.

west ham

I've been a life long West Ham fan, I was a very young kid when they beat Arsenal in the FA Cup in 1980 but I was there at Wembley Stadium with a claret and blue nylon scarf wrapped around my wrist. A week later I met the players at their training ground and was given a signed football... I ditched my season ticket a few years later and switched my weekend activities to girls and parties. I watch a game whenever I can these days but I will never forgive the team for causing me so much aggrovation and so little joy over the years.

larry david

There's a little bit of Larry in me it must be said, the constant pursuit of getting away with murder maybe? The star of Curb Your Enthusiasm is such an unlikely hero but there's something about the way his twisted mind works that appeals to me. I have a few Larry-isms but then again, I think most people do.

smoking

I will probably quit one day but I've been doing this for so long now I'm not sure people would recognise me without a fag in my hand. It's unhealthy, it stinks, most people hate it but it's simply something I do. I don't do yoga but I do smoke, surely there must be some good to come out of it?

weird sculpted heads

I have a bizarre collection of sculpted head carvings from around the world. Some sit on the floor and form a little group, others hang on walls. Some are animal like, others are wood carved or made of iron. Every now and then I find something odd on my travels around the world and get a weird fetish for it, the next thing I know Im searching for add ons to the collection every where I go. These appeal to me because they are so painstakingly made and its great to imagine the origins of each one and the thoughts and process that went into making them; I guess its an adult extension of playing with dolls.

Words: Damian Lazarus

Extracted from Notion Magazine 39. To subscribe to Notion Magazine visit our subscriptions page. Notion Magazine is a bi-monthly (6-yearly) magazine, with an annual subscription priced at £18.99.

Copyright: Ibiza '09 Interview

Thu, 21 May 2009 17:06:50 GMT

Gavin Mills and Sam Holt are better known as Copyright, an international DJ duo signed to Defected, who have been rocking beats on dance floors for over 10 years. With a solid reputation as hot producers and skilful DJs, they come to us with news of their residency at Pacha, explain why they do not have a normal life and why their new Ibiza 09 mix is the first of its kind.

You’ve been playing together for a long time now, would you actually consider yourselves veterans of the scene?

Sam: It’s been 10 years now - I feel like a veteran (laughs). I was chatting to Axwell the other week and he said ‘we are all now veterans of the scene’, so maybe we are. Gav is a veteran.

Gav: I’m feeling like a veteran because you see all these kids out on the dancefloor and think, ‘wait a minute, this is a whole new generation now’, so yeah, I feel like a veteran of the scene.

When you’re making records, what’s Copyrights musical philosophy; what elements should the songs you produce always have?

Sam: I think you start from the beats up, get rocking beats; that’s always our foundation.

Gav: The rhythm is always the starting foundation and then, when we’re working with singers, we try not to write throwaway songs. When we’re thinking of a song we try to think of a subject and write a song with a bit of a story, quite often if you listen to our lyrics, there is a deeper meaning in there.

You’ve been in Ibiza constantly for the last 6/7 years, what do you think it has in store for you this year?

Sam: Well, first of all, this year it’s Saturdays at Pacha for Defected, which is a massive step up. To have an Ibiza residency at Pacha for us is a massive thing and something we’re really, really excited about.

For all the aspiring DJs out there, can you try and explain as best you can what it feels like to be in front of that crowd at peak time on a Saturday night at Pacha?

Gav: There’s something special about getting behind the decks at Pacha; it’s got an amazing sound system and it’s got one of the best crowds, who are there purely because they love the music.

Sam: When we’re making records we try and imagine playing it at Pacha, that shows how we value it, that is almost as good as it gets.

Can you explain what it’s like not having a normal life like other people, where you can do normal things on a Friday or Saturday; how does that feel for you?

Gav: Well, you have to have a very understanding Wife or Girlfriend, that goes without saying.

Sam: Our weekend nights are Wednesday and Thursday. It’s very important to go out and have some fun, if it’s all in the studio or all travelling it’s too much. So I’ve found I’ve got quite a few hangovers on Friday mornings going to Heathrow (laughs).

What are the differences between the two mixes you’ve done for your new album?

Sam: Well we wanted to try and replicate the Ibizan experience and so one of the CD’s kind of reflects the day - and maybe the beach vibe - and the second CD is a bit more about the club experience. hopefully people can put this CD on and get a taste of Ibiza.

What is special about this mix? What’s the thing that’s hasn’t been performed on any other mix?

Gav: We bought Shovell into the studio.

Sam: We’ve all been contributing the ‘Drum Warrior’ experience and we’ve brought that into the compilation. There are little interludes of Shovell throughout the album and as far as we know it has never been done before.

Gav: We try to catch little flavours of what it’s like when Shovell’s actually playing in the club.

You’ve gone to even further lengths than just having Shovell put percussion over your tracks. You’ve actually put together a special intro track. What was your inspiration behind that?

Gav: We had this picture of Benirras Beach with all the drummers playing at sunset and I had this vision in my head of Shovell leading all the drummers down there and everybody joining in. So the whole track is just made up of the drums and with Shovell doing a little bit of chanting over it.

Sam: We’ve also re-edited Harry Choo Choo’s ‘Cumbria’, which is a massive record for us and there’s a bit of Shovell on that. Throughout the album we’ve used acapellas, it’s gone through two stages this mix; we developed the mix, then we did some trickery and then we put Shovell on top. So it’s not been just a standard sort of compilation process.

How do you feel about your own tracks on the album, including your new track ‘Ready or Not’ with Yasmeen?

Sam: Yasmeen was over for the Defected 10th anniversary party and we managed to get four or five days in the studio; ‘Ready Or Not’ is the result of that. So far the reaction to it has been great and it seems to be really working.

What about Roots?

Gav: We made this Afro beat tune and we needed a vocal that summed up the feeling of Africa and that original house feeling, so we came up with the idea of getting Jazzy B to do a vocal; in just one take he dropped this thing about roots and the tribal expression and we said, ‘that will do mate, that’s the vibe’.

So how many exclusives do you think there are on this album?

Sam: I’d say that about 70% of the album is exclusive, and that is amazing for a compilation and that’s what made it so exciting to put together, that fact that it’s all new.

Can you pick out a few of the standout tracks on the album that are not your own?

Sam: The first track on CD1, Dennis Ferrer ‘Symphonia Della Notte’, which is coming out on Strictly Rhythm. Again, it’s a total exclusive and a record we’re really excited about.

Gav: I’m loving the Brian Cox track ‘The Wizard’. I’m definitely going to be looking out for some more stuff by him.

Sam: P’taah ‘Dance Until We Die’, the Kenny Dope mix is something we’ve been playing in our set, so those three on a sort of more groovy tip. Also a track that has been smashing it out there is Gilbert Le Funk ‘African tastic’ the David Tort mix.

Gigwise what have you got coming up?

Sam: We’ve got four Defected dates this summer at Pacha Ibiza and we’ll be on our usual crazy European tour around most of Europe. We’ll be at all the key Defected festivals this summer like Tomorrowland. We’ve also got a big party in Japan coming up on the 28th April.

Gav: It’s at a club called Agahar and apparently this place is huge, holds about 2000 people; we always love going to Japan.

Words: Toni Tambourine / www.defected.com

Martijn Ten Velden in the House!

Mon, 11 May 2009 16:31:22 GMT

Velden has carved a successful international career as an innovative house producer and DJ. With a reputation for killer club records, he constantly pushes for fresh sounds to include in his productions. His remix talents have already been picked up by Ms Dynamite, The Shapeshifters, Sugababes, Tom Novy, Bodyrox and The Rock Steady Crew! Although Dutch, he has spent the last 18 years in the UK working with various producers including Mark Knight and Mark Yardley from Stanton Warriors.

A long time fan of Defected Records, he was invited to create a mix for the label that was different and inimitable. The result is a mix jam-packed with original mash-ups and exclusive edits, together with a little bit of added 3 deck wizardry.

So how come you followed a House path when the Dutch are so well known for their Trance?

I moved to London 18 years ago and, at that time in Holland, house music wasn’t that big. It was never my vibe in Holland musically, even though there are some really good artists coming from Holland at the moment like Sander Kleinenburg, Fedde Le Grande and Roog (the Hardsoul guys). I really like what those guys do, so there is some good music out there now but at the time I was more drawn to London, so my whole musical background when it comes to house is totally UK based.

So is that why you moved, were you more inspired by the sound in London rather than in Holland?

Yeah, totally; also in London there has always been more innovation, you can try out more things because there’s a bigger market for things and there is more openness to new styles of music. I mean so many styles of music come from the UK so it’s a really good place to try and find your own style because you have more freedom.

How would you say you’ve evolved since you started; how would you describe your personal DJ-ing style and what is your sound?

I like the mixture between Tech and House, when it’s not too techy, when it’s still got funk; as long as it’s got funk and a good groove to it, I like it. Basically it’s a very broad spectrum. So I would say I play House, but it’s anywhere from normal house, tech house, even some progressive house - some deep house - it’s a mixture of everything.

And what about your productions, what kind of sound have you aimed for with them?

Again, it’s House but a little bit more techy. I really like some of the new sounds, when a new kind of production style comes out, that’s what really interests me. So I always try to come up with fresh sounds that are really now. Like the Chime remix I did for Defected last year; the intro is quite techy - its got all glitchy sounds, but then it goes big house anthem and then it goes techy again. That’s a kind of good example between styles really.

So what have been your biggest tracks and remixes?

My biggest track was two years ago and was ‘I Wish You Would’. We licensed the record to nearly every country in the world and it became a huge crossover record in Brazil, Australia, Spain, Netherlands et cetera. In the UK we shot a promo for it at a crazy old theatre down in South London and Luciana (the singer on the track) features in the video too. It was regularly played out on UK TV music stations. Another really big one was a project under the name Splittr which I recorded with Mark Yardley from Stanton Warriors.

You‘ve gone on to do a few more, tell us about them?

My all time favourite remix that me and Mark did on Defected was ‘Sandcastles’. I can still play it now, just sit in the cellar and play it; it’s wicked still. And then we did another one on Defected when we remixed Kings of Tomorrow ‘6pm’.

Let’s talk about your new mix for Defected because it quite a special mix, it’s not just a straightforward DJ mix, what’s so unique about it?

As its Defected’s 10th Anniversary I really tried to put a bit of that in there, I tried to mix some of my personal old favourites and mix it in with the new ones to make the mix. That was the initial thought behind it. But then I ended up practically re-editing every single track, putting extra drums over the top, putting acapellas over the top, I just couldn’t stop because there are so many great acapellas on Defected, so I ended up putting a lot of work into it to keep it really interesting, putting lots of little snippets of old tracks in there from 5, 6, even 8 years ago to make it all sound modern and make it sound now. That was the aim of the mix.

Is it true that you’ve done a whole heap of mash-ups in there that are going to be available to buy?

Yeah, I would say almost every track is a re-edit apart from maybe two or three. On almost every track I changed the arrangement to make them shorter, more concise, added extra little drum sound effects, extra acapellas or mixed the beats of another track underneath it, like a one bar loop of drums from another record by Defected.

So you would say this mix represents what you play out?

Yeah the kind of mixing style for sure but I think the first half of the mix is more warm up. It’s more cool, calm; it’s almost like before you go out, so it would be early evening for me. But the mix obviously progresses from quite deep and nice and musical, to a bit tougher. Musically it definitely represents me, yes, so that’s quite a broad taste. Words: Toni Tambourine

BSTARDCNT

Tue, 28 Apr 2009 16:44:25 GMT

Dance music: it’s like doing a really good shit after a heavy weekend and a dodgy curry; the parting of butt-cheeks and a 100mph blast of brown-shrapnel, ‘SMACK-BANG’ at the porcelain. That moment can bring either an overwhelming sense of, ‘OHHH FUCK, YEAH’ euphoria or ‘GOOD GOD, NO,’ sickness. Thing is, I love the relief of a splattered pan, and, to a large extent, I wouldn’t give dance music a second looking… Which I guess pisses all over my introductory analogy. Que, sera, sera.

But having ventured upon Bastardcunt’s self-professed ‘UNINTELLIGIBLE DANCE MUSIC’ I was moved to rethink my perspective. See, as the kinda guy who fits music into varying degrees of the high-night/low-night category, I usually forget about the period where I’m dancing around like a paraplegic being buggered with a pitch-fork.

All one remembers are those closing moments, early next day; when Aphex Twin’s ‘Come To Daddy’ is ricocheting from one side of your frazzled consciousness to the other. That’s when you’re really slipping Over The Edge and the realisation dawnsthat sleep will be a praying mantis wearing a bowler hat; trying to gouge your eyes out with a chop-stick and a knitting-needle. That’s the end of the end of the night… And probably the night after the night you think it is. That’s precisely the kind of schizoid-sound offered by 27-year-old Bastardcunt.

‘I started making music as a soundtrack to what me and my mates were getting up to,’ the Merseyside DJ/Producer told Notion. ‘[We were] doing our ‘Crack Zombie’ night. We'd have 3-day after parties called 'Smack-Witch,' where we'd get completely twisted and play all kinds of loud, horrible music.’

These mixes are the perfect soundtrack to the middle-ground; somewhere between pure euphoria and pure paranoia. Bastardcunt soundtracks the teetering on the edge of the abyss… that moment when you’re having a real good time but the realisation that something’s seriously wrong is tapping on your shoulder like a 16-stone queen in a prison shower block.

‘I make music that’s really dirty and scummy, that all the wrong kinds of people will like,’ Bastardcunt continues. ‘These are mainly recordings of people who may have lost the plot in some way, who are trying to communicate something.’

A ‘James Blunt Rough Mix’ sounds like the dead and the damned, screaming to break free as Satan cuts them a new arsehole: ‘DO YOU REMEMBER ME!? JESUS FROM MOTHER’S CUNT!’ Then it launches into this sick brain-raping beat. ‘The Speed Train’ is similarly haunting; a twisted, cackling sample, opening into a kinda funk, female vocal on a rough, consistent beat.

Bastardcunt: ‘In the case of ‘James Blunt’ it's just utter despondency and nihilism; some sound - frightened or in pain, and many samples, manipulated to increase the effect… but it's more of a sick joke than an expression of anguish. It's all done with a sense of humour and the people who like it seem to get that. I rarely see trendy people dancing to my sets… I enjoy playing to all the scruffs and misfits.’

Alas, Bastardcunt is planning to release his 'Bastardcunt's Arse-Soul' vinyl this June. ‘It’ll be a mini album of my best stuff which I'm in the process of re-rendering, polishing and remixing at the moment.’ Until then, why not rupture your pre-frontal cortex and pay Bastardcunt’s MySpace a visit: MySpace.Com/djBastardcunt Words: Dangerous Dave

Extracted from Notion Magazine 38. To subscribe to Notion Magazine CLICK HERE!

Red Bull Music Academy: Tony Allen Interview

Wed, 28 Jan 2009 17:25:31 GMT

“I don’t want to see electronic music taking over drums, but in ten, twenty years, who knows… who knows. But I think that electronic music is taking over the drummer. Who’s going to care about the drummer in the future?” So says Tony Allen, a man described by Brian Eno as “[possibly] the best drummer in the world”. Quite an accolade, PN’s sure you’ll agree; kind of like Tommy Lee telling Rosie O’Donnell she’s the worlds finest f*ck.

PN had been knocking the drinks back prior to our interview with Allen, the legendary drummer collaborating with Chicago horn band the ‘Hypnotic Brass Ensemble’ at a gig for the Red Bull Music Academy. “They create a sound, a vast sound,” Allen would tell PN. “They create bass, beat, rhythm with the horns. I played with them on their album, but Red Bull will be the first time since that we’ve played together. They’re amazing musicians.”

3 pints, 2 double whiskey and cokes and a whiskey on the rocks, might seem NAUGHTY or BAD or a SACKABLE OFFENCE half-hour before an interview. But, like Tony Allen, we all have our methods - whether good, bad or mad. Difference is that Allen’s methods have revolutionised modern drumming. Our methods have gained us 3 formal warnings and a string of complaints.

Both Allen and the Hypnotic Brass Ensemble are signed to Damon Albarn’s Honest Jon’s label, but Allen’s career began a long time before that. Like PN, the Nigerian-born musician, alongside the revered Fela Tuki in the band Africa 70, was sticking two fingers up to authority. That said, whereas PN is against regulations surrounding WORK, Africa 70 were against what Allen describes as a “militant regime” and an oppression of the people by the powers that be. By challenging dictatorship, Africa 70 showed African people that they do have a voice, and, by doing so, became one of the most important bands in history to emerge from the African scene.

“Music is powerful,” Allen told us. “Music will always be powerful. But it isn’t dangerous, it doesn’t kill – it’s not like a NUCLEAR BOMB! Music inspires people. That’s the message me and Fela were sending. It was very important. Music is important.”

It was more recently that Allen’s ability - his mastery of the infamous 4-LIMB DRUM TECHNIQUE - caught the attention of a younger audience. As drummer for the Albarn fronted anglo-centric rock band, The Good, The Bad and The Queen, Tony and his band mates would “play music like no other band out there was doing at that time.” As one of the primary instigators of both the Afro-Beat and Afro-Funk sound, Tony brought a new dimension to the band. And despite Afro-Beat having a direct influence on electronic-beats, the role of the drummer in modern music is a major concern for Tony.

Tony: “How many good drummers are there now? Where are they? People can still get a sound electronically but they can’t achieve the same effect as drums. It isn’t possible.” And does that sadden the wizened drummer? “Yes, it saddens me.” Hence why having The Good, The Bad and The Queen’s album produced by Gnarls Barkley’s Dangermouse, a producer in a love affair with electronic music, was a bitter pill (at times) to swallow.

“Dangermouse and me are different,” Tony revealed. “He has his methods and I have mine. We’re from different backgrounds. He’s electronic so he couldn’t produce what I was doing…” So what we hear on record and what we hear live are completely different? “Yes, there was a big difference between the record and the live experience. Live and on record are very, very different.” Despite his disdain as electronic music gains a strangle-hold on traditional drumming methods, Allen still has the greatest respect for Dangermouse as a producer.

But to see the man and his method, LIVE and in action, head to Cargo, Shoreditch on Thursday 29th for the Red Bull Music Academy and Broad Casting presents: Tony Allen and the Hypnotic Brass Ensemble. To read the full line-up CLICK HERE. Catch the whole night on Red Bull Music Academy Radio, tune in at RBMAradio.com.

Street-art exhibition explores history of dance

Fri, 23 Jan 2009 16:17:12 GMT

Once upon a time, in fields the country wide, people descended en masse to unite under the influence of Class A drugs and Acid House. The people were happy and the country was, um, reasonably happy, but the government was pretty pissed off. So they brought a halt to the raves and everything went mainstream and crime figures rocketed and the world ended in 2020. Probably.

Anyway, February marks the launch of three special art exhibitions at the Ultralounge in Selfridges, London. Based on the art-scene that emerged from and was influenced by Britain’s dance movement, the works on display will be auctioned following the exhibitions closure.

The first of the exhibitions, Artcore, will be a visual representation of 21 years of rave culture. Work on display will feature flyers and posters from some of the most iconic clubs and raves of the last two decades. These include The End Club, Hacienda, Spectrum, Queer Nation, Beyond Therapy, Raindance, Tribal Gathering, Warp, Trade, Circus, DIY, Back To Basics, Sign Of The Times and many more.

The second of the exhibitions, Urban Art, will feature the works of street-artists, many of whom were influenced by the visual techniques used to promote raves and parties of the early period. International street-artists contributing to the exhibition include Banksy, Antony Micallef, Guy Denning, Jeff Aerosol, Mimi the Clown and D*Face. In addition, a host of artists, including Goldie, Inkie, Pinky and Silent Hobo, will be creating works especially for the exhibition.

The rave movement, largely based around Acid House, evolved from a society of youngsters repressed and depressed by the Thatcher government. Basically, they were bored sh*tless and seeked unity with others who felt the same way; so an underground party scene was created that would unite them as one. The government’s disdain for the illegal raves eventually led to the Criminal Justice Bill, after the infamous stand-off of Castlemorton between 30,000 followers and the police.

Course, the government may have won the battle but they didn’t win the war. The dance-scene is as strong now as it ever was; despite the underground scene diminishing greatly, dance has become the main staple of the revelers diet – thanks largely to the emergence of the infamous Hacienda.

In addition to the Artcore and Urban Art exhibitions, the Success Exhibition will also take place to raise money for the Prince’s Trust. The auction will contain works by leading figures on the British street-art scene.

The exhibition opens on February 14th, followed by an invite only Old Skool celebration rave featuring DJs, figures and artists related to the exhibition. The auction will take place February 26th.

HOME PAGE IMAGE

Ryca (British, b.1981)

Acid Head, 2008

Oil, 24 carat gold leaf, resin and tulip wood

Signed and numbered in pen 3/3 on reverese

80cm x 80cm

Estimate: 400-600

Provenance: S-Editions

MAIN FEATURE IMAGE

Martyn Passey (British, b.1956)

Sign of the Times Poem, 1989

Giclee print 1/1

Signed lower right and lower left

59cm x 42.5cm

Provenance: Sign of the Times

January Download Watch: Part 1

Tue, 06 Jan 2009 12:25:53 GMT

Turkey may have been chewed, crackers pulled (not just on Christmas day) and a trillion squids worth of wrapping paper disposed of, but the season of good-will is far from over.

See, bands from far and wide have been releasing FREE downloads. Course, listening to FREE downloads is a good way to waste 60 Seconds, which is why we’ve posted it on this part of the website. Anyway, here are PlanetNotion’s top three free downloads:

Foals: The Oxford band previewed some etchings of work from their forthcoming album. Frontman, Yannis Philippakis, wrote on the band’s MySpace: “Work is continuing on writing the next record. Which is sounding less and less surf the colder it gets. surprisingly.”

He then added: “Most of this stuff is me messing round late at night lonely on a loop pedal. It's for the most part formless and semi-instrumental. Figures i guess.....” Um, yes Yannis, it does. Although it’s still pretty god-darn special. CLICK HERE to check it out!

The Black Lips: Gearing up for the release of their new album, 200 Million Thousand, The Black Lips have celebrated by releasing a free download of new single Starting Over.

PlanetNotion reckons they called their album 200 Million Thousand to f*ck with our imbecile brains and make us pull out a calculator. We did, and 200 Million Thousand is exactly the same as 200 Thousand Million.

Anyways, we gave the single a brief listen and we like what we hear. It’s nice and twee and sounds like a 60s love-in moving through to the 90s or something. Only, where the music is surprisingly sweet, the vocals are kinda trademark, garage rough. So, I guess you could call it brutal but fantastic sex. CLICK HERE to check it out!

The Beatles: Okay, so what’s new? We all know The Beatles music and practically all of their songs. Well, the ones released on albums anyway. Abbey Road and Revolver are personal favourites; especially when you're smoking an 8-ball in a joint the size of a party hat.

Anyways, The Beatles back-catalogue has finally been made available to download. For FREE! Furthermore, it’s perfectly legal. Double exclamation mark!! The catch? It’s courtesy of a Norwegian broadcasting station, taken from a long-running show dedicated to the band. Hence the weird Norwegian bloke talking at the beginning of each song… Still, CLICK HERE to check it out!

Liverpool Music Week: Rob Da Bank Interview!

Tue, 21 Oct 2008 15:38:06 GMT

Liverpool; 2008 European Capital of Culture. Steeped in history and drenched in Scouse; naturally. Not to mention home of the annual Liverpool Music Week (LMW), brimming with big events and even bigger names. We’re talking Vampire Weekend; Dizzee Rascal; Noah and the Whale; Wiley; The Fall - and that’s just for starters. Anyways, as part of the week long celebrations, the irrefutable Rob Da Bank, master of Bestival and ever-popular Radio1 DJ, will be putting on his very own Bestival Reunion Tour. PN caught up with Rob to shoot the shit in 60 Seconds. Well, it was about 2 minutes actually… Anyways, here are the results:

It’s been a busy year for you, what with the DJing and Bestival and the general workload that goes with the whole shebang… how did the ‘Bestival Reunion Tour’ at Liverpool Music Week come about?

We had such a great time doing our Bandstand party in Liverpool this year that we wanted to come back with the Bestival gang and finish off the party! Liverpool’s always been an important city for me for clubbing, ever since the glory days of Cream! Ah, the good old days.

But what specifically attracted you to Liverpool Music Week? Has it always been an event you’ve admired and if so, why?

It had more to do with when we were planning on coming really – it was just good timing, and the Mystery Jets weren’t playing Liverpool so we wanted to get ‘em on there with us... The rest of the week looks great, and I just hope everyone’s got the energy to come to our party after all the other shindigs!

So what can we expect to see on the night you’re playing?

Some amazing live music; DJs who aren’t scared of playing something a bit different and some crazy fancy dress no doubt!

One DJ that particularly caught my eye - who’s playing with you guys on the night, was Kissy Sell Out. Big things are expected of Kissy at the moment. What does he bring to the circuit that’s fresh and new?

A weird haircut! Seriously though, Kissy is one of the most up for it, energetic DJs out there - without being cheesy, and he has a massive fanbase, so that’s a help too.

Kissy’s also joined Radio1. Is everyone there pleased to see him on board… what does he bring to the station?

Yup, he plays music no one else is championing, and probably knows clubland better than most of us too, so he’s keeping us up to speed nicely.

Who else, in the way of DJs and acts, should people be keeping an eye on at the moment?

An act called La Roux, who are gonna be massive next year – think Lykke Li meets Salt N Pepa and Spank Rock – kinda... Also Little Boots, Ramadanman and Ebony Bones.

Are there any surprises we can expect from the Bestival Reunion Tour at Liverpool Music Week? You know, any surprise inclusions or exciting plans for the night - that may not be too surprising if you let the cat out the bag, like, now?

That would be telling!

How did this years Bestival compare to other years? Have you seen a consistent improvement as it continues to grow?

Much muddier than previous years due to the 10 inches of rain that fell in 36 hours; aside from that an amazing crowd bang up for it whatever the weather, and some supreme performances from the likes of Grace Jones, George Clinton, Chromeo and My Bloody Valentine.

And finally, what can we expect from Rob Da Bank in the future? Any exciting plans you’ve got in store, either for yourself or for Bestival?

More of the same! I’m loving Radio 1 at the moment, with my two shows there; Camp Bestival, our new family show, had a great start this year and I’m enjoying DJing more than ever, so watch out!

O and is there anything you’d like to add, some pearls of wisdom maybe?

Say what you mean and act how you feel, because those who matter don’t mind and those who mind don’t matter; that was Dr Seuss who said that... so there!

Rob Da Bank performs at Nation on Friday 31st October with The Mystery Jets, Kissy Sell Out LIVE, The Cuban Brothers, Sombrero Soundsystem & special guests The Presets, as part of MTV Liverpool Music Week. Tickets on sale now: £15.00+BF / www.ticketline.co.uk / Tel: 0151 256 5555 / Info: www.liverpoolmusicweek.com

ATFC Interview!

Fri, 10 Oct 2008 16:33:59 GMT

ATFC is one of the biggest names in dance music; a household name who has tasted chart-topping success and is greatly admired by those around him; DJs and dance fans alike. Despite the fact you may think certain countries haven’t heard of him or any other DJs in his field, Defected Records has recently been introducing dance to India. Yes indeed, the power of the dance now has one more country under its euphoric control! Defected Records’ brand new compilation, Defected in the House: Goa 09, has been remixed by Simon Dunmore, DJ Pearl and ATFC himself. It marks Defected’s commitment to India, and highlights the fact that the label and ATFC will be visiting Goa during the New Year for the Sunburn Festival. We caught up with ATFC to discuss life in sunny Spain, his love of House music and what the big man has in the pipeline.

Tell me a few things about ATFC that I wouldn’t necessarily know?

I was a model for a knitting magazine when I was 4. I appeared on Record Breakers, but only to ask Norris McWhirter a question in 'On the Spot'. My inside leg measurement is only 29.5 inches and no, this has nothing to do with my appearance on 'Record Breakers'. I thought House Music was rubbish until I was 23. And my real DJ idols are Gilles Peterson, Norman Jay and Trevor Nelson.

You’ve experienced a bit of a renaissance lately – would you agree? What’s inspired this?

A lot seems to have happened since I moved to Spain a year ago. The pressure of living and working in the UK was lifted and I started having more fun with music. I'd left my fancy purpose built studio back in England and began working from a spare bedroom, trying new sounds and arrangements, not caring if something was thrown together in a few hours. My mix of Dubfire's 'Roadkill' attracted a lot of attention and it marked a slight change in style for me. It came together in a couple of hours and its sound gave me inspiration for a number of other successful records that followed… Ya Killin Me, my remix of Speed Up… Tribute to the JB's… Overall though, I'd like to think the sound I've fallen on is peak time house that can stand up to most Electro and even some Techno, but with a touch of funkiness to make it accessible to a wider market.

How is the house scene different now to that of the 90’s?

It's a whole lot broader musically. The boundaries are really very blurred and as DJ's we have the luxury of being able to play Techno, Electro, House and even Breakbeat in one night. The change in the way labels sell and release their music has also made the scene a lot more democratic. It's no longer possible to get ahead as a DJ by being 'upfront' or playing music that has yet to be released; unless it's your own of course. Another massive change is the shift in attention from the US to Europe. In the 90's, the States pretty much dominated the House market, both in sales and DJ's. Obviously we always had our own stars as well, but there was a time when any American could buy 50 records, call himself a DJ and tour Europe. Now it's becoming much more global; the Australians are doing really well and it won't be long before Asia starts making waves on the dance scene as well.

Do you still have the same burning passion for music and clubs?

It's always been more about the music for me rather than the whole clubbing experience. When I first started going to clubs, it really was down to who was DJing rather than whether there were hot girls there or if it was a really cool venue. When my friends and I used to go clubbing, we would simply dance, trainspot and listen to the music. I have the same burning passion for making music that makes people dance and see the music work. I wouldn’t be doing what I do if I were a millionaire or unemployed, so I guess the answer is yes, I do have the same burning passion for music.

‘Praise to the JB’s’ is a fierce track, a Beatport no.1! What is the reaction like when you drop it?

It's great! The track has been in my CD wallet for about a year now, and I originally made it as a backing to The Jungle Brothers - I'll House You Acapella; it was something just to play out and give to a few friends. When I made 'Juss-A-Beat' for Defected, we were looking for something to include on the EP and decided to take the Jungle Brothers vocals off and simply release it as an instrumental bonus track. It's crazy that an after-thought got to Number 1 on Beatport, and even crazier considering it's just a one note samba. See kids, it only takes an index finger and a keyboard in this game!

What other things is ATFC interested in apart from music?

Being a Husband and Dad and the associated pastimes that go with that. I'm in the studio Monday to Friday and then DJing Friday and Saturday. I guess my closest other interest is Photography; I love taking good photos of my kids and I’m learning Photoshop. I went to Art College too - I guess I have an eye for these things - as I also collect paintings and sculptures from our travels. We've run out of wall space now so we’ve had to slow down. Moving to Spain has also meant that we’ve suddenly become very popular with our friends and family! We need to get revolving doors on the guest room… I enjoy a good glass of wine on the Naya and simply spending time with them.

What are the other tracks that are hitting the spot for you at the moment? Are there any on the compilation?

There are three or four of mine, including one that's forthcoming on Strictly Rhythm. I'm excited about that as it's my first release for the label that’s a cornerstone in house music history. I love Mark Trophy's ‘The Ripper’ and I've combined it with a Mike Dunn acapella that gives it a real modern day, Hip-House vibe. Also, the Laidback Luke mix of TV Rocks’ ‘Been A Long Time’ is massive for me in the clubs. Oh and not to forget my new mix of Bad Habit! Again, I did a little dub edit to play out and gave it to the Shapeshifters. They requested it for their ITH album, which has precipitated an entire re-release - including 6 mixes by myself.

Are there any plans for you to play Goa or India in the near future?

It looks like I'll be playing for Defected at the Sunburn Festival in Goa around New Year. I'm really excited as it's a whole new continent for me and I've heard great things about the dance music-scene over there. Copyright came back from a tour earlier this year and were blown away by the parties and vibe they experienced, so I have it on good authority that I'll enjoy myself.

How have you designed the mix to sound?

It had to strike the right balance between a current club set from ATFC and a CD that translates well into other environments. In the club I don't play that many vocals but a CD of banging beats just won't do. I'd say it's a pretty rounded perspective of where I'm coming from as both a DJ and a producer. I guess my track-listing is naturally going to reflect my personal taste, and therefore you'll be able to hear a little bit of me in each track, even if it isn't my recording.

What are you working on at the moment and are there any gigs you can tell us about?

I have singles coming up with singers including, Mone, Yasmeen and Rae. A collaboration with Seamus Haji featuring KC Flightt - also sideline projects with Paul Harris. This week I'm remixing Chris Lakes next single and will be starting the promotion for Bad Habit - pretty soon no doubt. Toolroom Records are due to release my ‘Bad Weed’ EP in the next few weeks. And on the DJ front, I'm away every weekend from now until January visiting, amongst others, Egypt, MOS London, Vienna, Amsterdam, Switzerland, Cardiff, Belfast, Liverpool, and hopefully ending up in Goa around the New Year!

Royal Treatment Plant Interview!

Thu, 02 Oct 2008 12:26:41 GMT

If I were to dissect Royal Treatment Plant and pull back the layers, I’d probably be faced with many things. But what?

With steel handle pressed nervously against my sweaty palm and secured against the base of thumb, I extend my index finger along the scalpel, ease my hand forward and - with the gleaming metallic blade, make an incision.

As the blood slowly seeps, the first thing you notice is a tender and fragile heart beating at the centre; one of lyrical heartache and defiance. Underneath a confident and bolshy exterior, lays a fragile skeleton that has been broken before; now rebuilt and resolute.

Through the veins pump elements of Throwing Muses’ ability to create shifting melodies, the rushing of Pixies’ quiet/loud dynamic and the poised, nonchalant elegance of The Duke Spirit.

Royal Treatment Plant’s background is a little more unconventional than many bands. Singer and guitarist PP was brought up in New Guinea, an Island just north of Australia, to a devoted church going family. Studying classical music into her teens, she talks about her childhood, reflecting that, “my background was very religious, we wasn’t allowed to listen to any new music”. So, having been sheltered from the larger world, she decided to leave that behind and come to London.

Here enters DJ. When he isn’t slapping the bass for RTP, he’s a teacher, dancer and Musical Director/Arranger, for the Phil McIntyre approved ‘Into The Hoods’ show.

At 18, a career as an opera singer beckoned; until a stumbling block appeared: “There was something about having to wait until you were 27 to do it, so when I went to Uni I thought, ‘sod that’ and ended up trying lots of stuff out”. And thus, discovering Guns ‘n’ Roses and Nirvana was the fire in the belly needed to propel him into RTP.

Beefing up the cannon is Sam on Guitar, Tommy T on Keyboards and Chris beating the heck out of Drums. XFM have jumped on their wagon, whilst the mighty rock titans at L.A.’s KROQ have been belting out RTP since they got their grubby little mitts on their debut single, Get Played.

But the attention didn’t stop there, one Mike Chapman (Blondie) popped up into view, as PP explains: “(He) found us on MySpace - we thought it was a joke - and said he really liked us and just kept tabs on us. “

Having been sent rough mixes, Chapman worked his magic, producing ‘Hope Is Not Enough’ and ‘Undercurrent’ from RTP’s debut album ‘Hope Is Not Enough’.

Musically the album sweeps from all directions, cascading with taught rhythms and boisterous melodies. ‘Get Played’ drips with sensual and fiery energy; unforgiving riffs charge relentlessly forward, stopping only to whiplash you into a painful jolt. Scornful vocals utter, ‘you didn’t come here to make a new friend’. Then you have ‘Hearts and Minds,’ where the tempo slows down into a dreamy and melancholic acceptance, ‘Undercurrent,’ a bittersweet frenetic journey, twisting through pinball melodies, and the punky new-wave of ‘Carry Me’.

DIY to the core, the band put out their own records, direct and film their own videos, and book their own tours; like so many other bands, they’ve become disillusioned with some areas of the music business.

The album title itself sums up their experiences and attitude to date, with PP softly saying: “Sometimes it’s true, hope is not enough; you can’t hope things will be ok”. Lee Puddefoot

Free Energy

Wed, 18 Nov 2009 00:47:52 GMT

"Free Energy is a band from Philadephia as well as a concept and a lifestyle, a lifestlye we have chosen for ourselves, to live in a dirty abandoned city where the rent is cheap, the bands are good and the ladies are smokin'."

If that statement from singer Paul isn't wierd enough, then this might be. Free Energy is a band channelling the vibes and sunny disposition of the 1970s who openly admit that their bluesey, summery, sunbleached garage rock is influenced by Fleetwood Mac and are... signed to DFA Records. Yes, that DFA Records that count Hot Chip, Pixeltan, Plastique de Reve, Gucci Soundsystem and of course label boss James Murphy's LCD Soundsystem amongst their ranks.

How did a band so straight up and down guitary end up on such a dance-punk orientated label? Their debut album, 'Stuck On Nothing' is infact produced by Murphy, a move that came after a lot of waiting. "There's a guy that runs DFA Records day to day who actually signed us, and he kept saying about it to James, but he never had time, he's very fickle about his time and we pretty much played the waiting game with him. We just kinda hung out and kept recording, and eventually, James had enough time for us," Paul explained. "He wasn't instantly like, 'Oh I have to record this band', it was more like we hung out a long time and eventually he was like, 'Yeah, OK I have time for it, I'll do it', turned out he really loved it and spent a whole year working on it. He cleared his schedule, but before then we were just kind of on the back burner."

Obviously, the next question is if working with Murphy influenced the band's sound on the new LP? "We're influenced by the pop melody, and he might be more enthused by, like wierd production stuff, but there is a lot of cross over. Like the way the drums are recorded on the new record are very similar to the LCD records, warm and dry," Paul said. "We listen to, like, Fleetwood Mac and he listens to weird post-punk, and weird disco and dance, but there's a time in the mid to late 70s and early-80s where all those things like crossed over and Fleetwood Mac sounds like weird post-punk and disco. When people hear the record it's going to make sense, but it is a rock band, and he is more electronic, I guess. But yeah, there's a lot of crossover."

And long term, are there any remixes on the horizon from any of their new labelmates? "They've always told us they were going to steer us away from doing a lot of remixes, but we did a remix with James in the studio of a song called 'Hope Child', which will maybe never see the light of day, but sounds like a Daft Punk song, but it's still like, a lot of big mean guitar, and stuff. So I dunno, maybe, one day.Or maybe they'll totally rip us off and the next LCD LP will sound like Free Energy!"

So, with all the 'band stuff' out of the way, I had to ask stuff that mattered. For those of you who don't know, there are several conspiracy theories surrounding the concept of free energy. In a nut(insert 'case' here if you're close minded and a bit of a sceptic)shell, the idea is that there are existing ways for people to get their energy and power for free, but greedy, faceless, multi-national corporations won't allow it, and systematically kill any inventors or scientists that could blow the lid off their dirty scam or simply steal their ideas - and then kill them. Free Energy, what is your favourite conspiracy theory? "I kind of believe that the World Trade Center was done by the US. I like that one. Um, you know that the world's energy demands can be met by one day's worth of sun, that kinda shit I tend to believe. I wanna believe it. 2012 I don't see as much of a conspiracy, as a probability. When it comes, it comes."

Free Energy's album, 'Stuck On Nothing' is coming January 2010.

Geekfest photodiary

Sat, 07 Nov 2009 15:50:28 GMT

Comic Con – a convention of comics. Or a comical convention of comic book aficionados who dismiss conventional clothing for a whole weekend and crank their geek knobs up to 11? Henry and Keith headed to London’s exCel Centre for the recent MCM Expo (or as we affectionately call it, ‘the geekfest’) to find out….

Whilst it may not attract as many ‘hardcore fans’ (or some would cruelly say, nerds and sociopaths) as similar events in America, there were still plenty of colourful characters out and about and a smattering of sweet memorabilia to gawp at. This was the event’s 16^th year and highlights included meet and greets with cast members from cult shows Merlin, Warehouse 13 and True Blood, and the Comic Village had over 80 creators/writers displaying their work. There was also a heavy video game presence as well as previews of movies from Universal Pictures, 20th Century Fox & Optimum Releasing. For people who didn't go, there’s a video of it here that makes it look like it would have been the best weekend of your life.

Henry and Keith kindly took some snaps of their fave bits of the expo…

After the cancellation of their show, two of the Mighty Morphin’ Power Rangers got stuck in to steroids.

Comics! That’s unexpected!

Simon… you really shoulda gone to Specsavers.

Who you gonna call? Probably Yvette and the Most Haunted team, to be fair.

Girl you a sexy bitch... and your owner ain't bad neither.

A replica of the Ecto-1 went on sale in 2007 for a staggering $149,998.000!!!

"Hey, Ho! Let's go! LEGO!"

Remember, they’re not losers, they’re people with a ‘specalised interest'.

Henry keeps an eye on the Delorean whilst The Doc popped out to take Einstein for a quick walk.

LADYFAG GOES TO THE BABY FAT SHOW!

Tue, 27 Oct 2009 16:59:11 GMT

Amber Rose broke my camera. Before you begin twiterring rumours, I fully admit it is was my fault. I rarely take a photo of someone I don't know, celebrity or not. While at a party last week I chose to snap a photo of Kanye's sexy alien arm candy and my lens froze....serves me right. I got my faithful little point and shoot fixed just in time for the Baby Phat show, and then lo and behold there was Amber Rose again...

Kimora Lee Simmons IS Baby Phat. She makes clothing for what she calls the "glamorous hip-hip lifestyle" Her brand is about celebrity, her brand is about her. The spring 2010 collection did what it does best, branded, wearable, sexy street wear. In between a far too loud hip-hop soundtrack a sprinkling of shirtless sixpacked males in baggy jeans walked the runway between girls in swimsuits, and a collection filled with crisp corals, bright aquas, rich purple, gold's and bohemian prints inspired by Morroco but ready for urban living. While I'm not one who thinks herself a Baby Phat customer, I could easily see myself slipping into the glittering disco leggings, metallic gold stilettos and sling one of the amazing oversized purses around my shoulder....Kimora knows her market.

The show ended with four models wearing a different coloured shirt spelling out BABY on the front and PHAT on the back. Each girl sported one matching coloured sequined glove and strutted out to Pretty Young Thing in a sweet tribute to Michael Jackson.

A tribute to celebity in a show packed with celebrities like Russell Simmons, Ice-T and Coco, Kim Kardashian, Sherre Whitfield, Tinsley Mortimer, Miss Jay, Lisa Rinna, Amanda Lepore, and Amber Rose. Of course the grand finale is always Kimora herself coming down the runway with her daughters and new born baby.I could practically see the lightbulb go on over Ms.

Kanye West's head as she watched Ms. Russell Simmons from the sidelines....I think I see a new line of streetwear coming to a runway very soon.

--Ladyfag

Amanda Lepore, stylist Tre Knight and Ladyfag are off to the show!

Amanda Lepore in a Baby Phat gown styled with a Dolce and Gabbana belt.

They put me in the UK press area and I was surronded by Cockney!

Soon to be a full house.

Doing runway beside the runway.

Ms. Kanye West.

Finally my shameless moment with Amber Rose!!

EH1 FESTIVAL PHOTOBLOG

Tue, 20 Oct 2009 12:47:52 GMT

Notion went undercover to capture the gossip, collaborations and shenanigans that emerged when the genre’s biggest stars gathered for an 18 hour mash up in Edinburgh, to celebrate 20 years of dance and 21 years of Gio Goi clubwear. Words by Abigail Outhwaite.

Upon arrival, Notion was ushered to the Gio Goi VIP area, where a host of hand-picked DJs were spinning the decks from the top floor of the brand’s white Routemaster, whilst the likes of Jeremy Healy, Black Box and Shaun Ryder propped up the VIP bar and reminisced over BBQ food and pic ‘n mix sweets.

With the festival starting at midday (an hour when only the most hardcore would brave watching djs outdoors), Notion and the dedicated early bird crowds were treated to exceptionally intimate sets, before acquainting themselves with the fairground rides, oxygen bars and food vans scattered about the site.

After a couple of hours spent hobnobbing in the VIP area, Notion witnessed an enlightening set by Peter Hook (of Joy Division and New Order fame) in the Hacienda tent, with an audience of no more than thirty. Referencing both contemporary and classic tracks, Hook layered thick, throbbing house beats over some of Joy Division’s best tracks, before spinning remixes of MGMT’s ‘Kids’, David Bowie’s ‘Rebel Rebel’ and laying an assortment of Lady Gaga tracks over Queen’s ‘Radio Ga Ga’.

Afterward, Notion headed back to the Gio Goi bus and arrived just in time to hear the Happy Mondays’ Shaun Ryder tell a gaggle of VIPs an outlandish anecdote about what he alleges is his current residence – a green wheelie bin in Manchester’s crime-ridden Mosside suburb. But, before there was chance to elaborate, Ryder was whisked away to the Hacienda tent, where a packed-in crowd awaited his live PA, which he –rather dubiously- delivered amongst a shower of silver confetti.

Several songs and a twisted melon later, Notion happened upon an unlikely celebrity punter, in the shape of The View’s Steven Morrison, who - somewhat surprisingly - admitted that he was eagerly anticipating Carl Cox’s oldskool set. Before we could express our dubious surprise, Lisa Lashes (who’s set would later wow the Kiddstock arena) bustled into the green room, accompanied by Above & Beyond. “It sounds like it’s going to be a pretty crazy night.” She gushed airily.

Notion was then treated to a natter Godskitchen Manager, Neil Navarra, over the pic ‘n mix bowl. “This is really exciting - I don’t think we’ll ever get a line-up like this ever again. We’ve got an amazing cross-section of people from the last twenty years; I’m like a kid in a sweet shop.”

“I’m especially looking forward to catching up with a lot of people I haven’t seen in a long while – I’ve got so many friends who are djs that I don’t get a chance to catch up and have a drink with, but tonight I might actually get a chance to,” he told us, before running off to do just that with Above & Beyond.

After diving into the pic ‘n mix bowl for our twentieth sugar rush of the evening, we whisked off to catch the end of Adamski’s set, where he and Jeremy Healy shared the decks for the last few tracks. “It’s nice running into people I haven’t seen for like 18 years,” Adamski admitted when Notion collared him afterwards.

While milling about the festival site later on, we caught up with long-standing Streetrave comrade, Hooligan X, who was reminiscing about the Hacienda years: “The last time I was with Shaun [Ryder] was in 1989. Me, him and Bez were coming out of the Hacienda and we were going to The Kitchen, right in the middle of Mosside, but we couldn’t get in so we went to a club called Buttons. A couple of weeks later, someone was shot outside of it.”

And on that happy note, we joined the throng of neon-clad dance lovers, to spill into the Godskitchen vs. Colours arena, to find the newly-reformed Orbital wowing the crowd with an emotional and euphoric set.

If anything was to banish the clubbers-fatigue Notion began to experience as we came down from such a blinding return, it could only have been a 20-year-old set from Godskitchen mainstayer Carl Cox. Attended by what must have been the majority of the festival’s punters, it even included a wry nod to Colours’ birthplace, with bagpipe samples signalling the finale.

Safe in the knowledge that we had witnessed a live, blow-by-blow soundtrack of dance’s 20 year history, and having ticked off about half of our ‘people we’d like to see before we die’ lists, Notion retired into the strobes, to soak up the last of the birthday celebrations.

INTERVIEW: Brodinski

Tue, 06 Oct 2009 18:32:44 GMT

We dropped Brodinski a quick email to find out about how he chose what to include on his recent Suck My Deck compilation and get the latest on his new side project The Krays, which sees him and fellow Frenchman and partner in crime Yuksek get gansta with an ex-Channel 5 soapstar!

--Kara Simsek

So you’re the latest curator of a Bugged Out! Suck My Deck compilation - how did you go about selecting the tracks?

I just choose the track I love since a while. A lot of friends’ stuff too, I think it's the trick :)

I'm in good contact with the people from Bugged Out! and I play a lot for them. Big up to Johnno & Charlotte.

How does clubbing in Paris compare to clubbing in London?

I prefer the London one. It's totally different; in Paris it's not possible to see something really different all nights. In London the scenes are so distinctive and they have so much different place. This is pretty crazy… and they have bugged out of course...:)

Who would you most like to remix and why?

Maybe 50 Cent, or The Very Best because they are so much different from my original music.

I love to work with different stuff.

You’re well known for working with Yuksek, how did you guys meet?

He lives in the same city of me, in the same street actually :D

Do you have any recommendations for hot acts/bands/DJs that we might not know about?

Noob, Marina Gasolina, Jaimie Fanatic, Roska, Soko, shortstuff...and so much more.

Do you like playing in large state of the art clubs or do you prefer smaller, grottier, venues?

I love all the different venues, even really small club for 80 people. This is amazing, you can play different set every times.

What can we expect from ‘The KRAYS’? Why did you and Yuksek decide to set up this side project? Does it allow you a different sort of creative freedom?

You can expect track, remixes, and maybe some show too :D

It's a really good project for us because it's totally different of our own style...and when we have something to do together we does it with this project, it's more interesting.

I see that The Krays are remixing Ebony Bones. I don’t know if you know this, but she used to be a soap star in Britain in a show called Family Affairs. If you were in a soap opera, what kind of storylines would you like to be written for you?

I don't know i'm really not a good writer.... :D

Merci, Brodinski!

INTERVIEW: Paul Woolford talks shop, space and ticking clocks

Wed, 16 Sep 2009 15:12:18 GMT

So another summer draws to a close, and Ibiza shuts up shop for another year. But, for one lucky bedroom DJ, a chance to play at Space’s closing party is up for grabs thanks to G-Shock and The Burlington Project. As part of this collaboration, three of the super club’s super residents have designed limited edition Casio watches. One of these is techno maestro and Intimacy label boss Paul Woolford. We caught up with him to talk shop, Space and ticking clocks.

The BurlingtonProject competition has a fantastic prize. When you were starting out as a DJ where was the place you most aspired to play? Have you achieved this goal?

It does have a fantastic prize, and to whoever will win, it's important that they know that this is an opportunity that needs to be used as much as enjoyed. It's by no means the end-result, it's a huge push upwards, albeit one that very few people have the chance to take. It's an interesting question you ask, but my trajectory was not always based solely upon which clubs I wanted to cross off the list. You have a huge amount of different things that show themselves to you as being things that you want to explore. What happens then is down to how much work you want to put in. Assuming that you have the skills to do these things, it's of the optimum importance to then work as hard as you possibly can and really go for it. Basics was the first club that I really had the urge for, and that urge started when I was 17! Since then there have been many clubs that I've had that desire to play. Electric Chair in Manchester, Warung in Brazil, Panaramabar in Berlin, The Sub Club in Glasgow, Il Muretto in Venice where I ended up playing a summer residency in 2007, there have been so many different establishments that you have on your list, and over time, as long as you keep to your ideals musically, you cross everything off. I'm making my debut at D-Edge in Sao Paolo in October which will be another one of these type of nights. It's a constant process that never ends.

How much did you have to do with the design process of your G-Shock watch?

We had a number of discussions with the team at Casio and I went to their main store in Carnaby Street in London to do some exploring. I had worn a G-Shock watch for years so when the opportunity presented itself there was no hesitation. The team at Casio have been a lot of fun to work with and very open to different ideas, although some of my ideas were a little too complicated to work on these watches. I had proposed the idea of a decibel meter so you can actually see how loud it is in any club situation, but understandably this would create a whole new set of design solutions that needed to be found. In the end, I looked at 2 classic G-Shock shapes and used the iconic Acid House smiley face which we'll get into next....

Do you think it’s ironic you chose to use a smiley face associated with rave culture when Ibiza is arguably the total opposite of the rave scene? What was your reasoning for choosing this imagery?

Well if you are alluding to the cliched utopian hippie ideals of the rave scene - then you could be correct in thinking that Ibiza is the exact opposite of this. That was a ridiculous and simply unrealistic fantasy anyway. If you're actually talking about raving itself then you'd have to be a hardened cynic of the most pernickety persuasion to try and tell me that the rave scene and Ibiza has no parallels. Every Sunday for the last 14 weeks I have watched about 5000 people per week doing an activity that is exactly what you're saying is, arguably, the opposite of Ibiza - raving, to the music of people such as Joris Voorn, Carl Craig, Derrick May, Metro Area, Steve Lawler, Miss Kitten, Chemical Brothers, Grace Jones, Ivan Smagghe, DJ Hell + loads more people I could mention. If you asked most of these, roughly 70,000 people what they would say they have been doing, I'd think most of them would say "raving" or something very similar...

One of Paul Woolford's Casio G-Shock watches.

What was going through your mind when you produced Erotic Discourse. It sounded like nothing else I’d ever heard at the time, was it your intention to produce something that sounded completely abstract?

It was the result of an instinctive muting of most of the channels on a Freeform Five remix I was working on at the time. I had used the main noises that were the theme of 'Erotic...' during the introduction of this remix, and in working on the myriad of dub versions, I ended up muting everything off except the kick, and THAT sound. I then pressed record on the hard disk and set off the effects manually as the sounds came and went. There was never even an arrangement on the screen and, as with the best pieces of music, it was entirely without thought, it just came out. The irony here is that you always strive to produce your best work in the studio, and I had particularly wanted to innovate in some capacity at some point although in reality the chance of this happening is minute. The time comes when you are not thinking about anything, just working instinctively, and this is what happens! The track took on a life of it's own and I still didn't truly believe the reactions that we had in for the track from people such as Francois K, Laurent Garnier, Trevor Jackson, Erol Alkan, Richie Hawtin + so many more, until I played it our for myself. It was crazy.

People from Leeds in dance music really seem to look after their own, do you think there’s a special type of camaraderie that comes from up there?

I would say definitely, although it's very easy for people who are not strong minded to get swept up in a drug culture that can be so corrosive. We all like to have a party but I always know that I need a good reason to be out for days, not just out for days because that's all you have in life. There is more to life than the next after party, so make sure the next after party you are at is WELL worth your attendance...!

It must be a special relationship you have with the 2020 Vision people, as they have done a lot to push forward Leeds artists over the years, will you be helping them to celebrate their 15th birthday this year?

Indeed I will, 2020 Vision have pushed Leeds acts very hard and it's fantastic to see them reach the 15 year mark.

Do you think people down South realise how good some of the nights up in the North are? For techno it gets a bit overlooked, events up there are easily equal to London parties, do you think Leeds gets enough recognition?

Well it depends on where you want to see this recognition - it's no secret how healthy Leeds' techno-based events are. Especially now with what the guys at System at the Mint club are working on. They have nurtured their links with the scene over the years and are now capitalising on this, and it's fantastic to see a promoter re-investing in their venue to the level that Mint have. Their work with Cocoon was something that was fresh for Leeds, and I'm looking forward to playing for System in December alongside an amazing pioneer whos name I can't mention just yet...

How important is Basics to you? It’s helped you to be in the position you are in as resident at Space – one of the biggest, most famous positions in dance music. But do you view your success as a 2-way street, with your Basics residency a helping the club to move forward as well? Would you consider being resident there again? How much impact on your profile has the Space residency had?

Basics was an incredible opportunity, which came to me through Ralph Lawson, as he'd let me open up for the first hour of his residency at the Mint all those years ago. Slowly I worked my way in and then became a full resident. The experience of breaking records and learning how to open a club properly, how to warm the floor and begin the evening in the right manner was something I taught myself at Basics. These things are the building blocks of a career to any DJ who is worth their salt. I was a resident for about 7 years in total, and I went from occasionally opening to closing the club regularly and breaking various records there as you do in any residency. It was a moment in time, and one that I'm very fond of. What I'm doing at Space is in a different place entirely, in that it's in a larger, more globally-visible environment, and it's more intense in certain moments. The pressure is greater, and it's rewarding in a very different way. Although you use the skills you have learnt from all those years ago in places, there is a whole new set of codes to observe and the method, especially in the late closing hours, is different. It's important for any DJ or producer in this scene to have a clear forward movement and not to be too caught up in nostalgia or reverence for the past. Whilst I have some amazing memories from that time, my eyes are on the future.

You’ve now got a monthly residency at Matter. Do you like the job of being a resident, building up your own following, knowing what the crowd wants and helping to shape the identity of the club?

Of course, these are the building blocks of any residency as we've discussed. I equally enjoy opening a room as I do closing or the peak-hours, it's a different way to play and can be more rewarding sometimes depending on the way the night happens.

Do you feel Matter on the whole has been a success? It doesn’t have the same identity as Fabric, the way that if you go there on a Saturday you’re going to hear house and techno, if you go on Friday you’ll more than likely get drum & bass. Matter’s programming seems a bit more haphazard, do you think it’s important to have variety?

It certainly has been a success in terms of giving London and the surrounding areas something on a different scale to Fabric. It would be foolish to compare the two as they are providing a different experience. The sheer scale of Matter means that it needs to be a larger lineup in order to fill the club, but having said this, there are a number of artists that do not play Fabric, who are playing at Matter regularly, people such as Funk D'Void, Derrick Carter, Josh Wink, and so on, so as well as the huge headliners such as Trentemoller & Carl Cox, there are some excellent high quality artists surrounding these bookings. I'm at Saved on Saturday with Nic Fanciulli, Kevin Saunderson & Trentemoller, and then I return the following Saturday for the first birthday with Carl Cox & Josh Wink. These are excellent events run by a dedicated team who do an impeccable job. As a DJ, you KNOW that every element that affects your performance is going to be taken care of so you can concentrate on being creative. This is the core thing you need to know before you step inside the venue and with Matter, as with Space, I can relax knowing everything is in the right place.

You have a residency at Space, Ibiza, but if you could take residency anywhere in space where would it be?

Thanks for the offer but there's not enough atmosphere up there....

--Kara Simsek

INTERVIEW: Larry Tee

Mon, 24 Aug 2009 12:21:38 GMT

DJ, record label boss and club owner Larry Tee has been a fixture on the New York club scene since the 1980s, but is most famed for ‘inventing’ electroclash. He was also responsible for introducing the world to Peaches, Fischerspooner and the Scissor Sisters. He’s setting up shop in London this Thursday and Friday (August 27^th/28^th) and has a new album out, Club Badd. We caught up with him to find out if electroclash is still relevant in a world of fidget house, and what he plans to unleash on the world next…

You’ve worked with RuPaul and Amanda Lepore, and now on your new album Club Badd, Jodie Harsh. How did this collaboration come about?

Well, I have always loved Jodie harsh, but to be honest, I had promised myself NOT to do any more drag records. But when Jodie found herself a semi-regular on MTV UK, I decided that the collaboration made sense...dollars and sense. SO we thought about what the UK children would want to hear in a drag song and I suggested a song about Agyness Deyn, the UK supermodel of the moment who is the epitome of cool. Jodie actually resisted for a second or two, but I won her over with my enthusiasm and determination. And then she moved in right below me (Agyness, NOT Jodie). Awkward moment...hehehehe.

Where have you been since the release of Luxury Excess Extravagance, The Electroclash Mix and Electroclash Vol. 2 albums back in 2002/3/4?

Well, actually I did "Gentle Electric" which was a collection sweet electro tunes with some work from Black Strobe, Stephen Merrit of Magnetic Fields, and WIT...it was an attempt to bring more songs into the frothy electro mix started with electroclash. I also started working on songs for my nightclub BANK, which was a mega hit in NYC, and released the first single 4 1/2 years ago called "Licky" with Princess Superstar. Of course it just topped my label ULTRA's top Beatport downloads a couple months ago....I guess I was ahead of my time...but now it's on my new album and people are mixing it with the Crookers and Black Eyed Peas in mainstream USA.

Technically, you invented ‘electroclash’, what are you going to invent next, or are you just pushing the genre to evolve further?

Let me make it clear...I am NOT inventing another genre name ever! I got beaten so badly with electroclash backlash and even from the electroclash artists that I am not gonna put this old turkey neck back on the block with another genre name, hehehehe. But now of course after all the electroclash franchise artists have made millions and kept their brand appeal long after minimal and electro-house artists have come and gone...suddenly it's cool to be electroclash again!! we never sold out!

London’s enamoured with tough electro and fidget house from Europe at the moment. This sound is a lot harder than the tracks on the Club Badd album which to me sound very similar to tracks found on your previous releases from 5 years ago. Do you think electroclash such as this is still relevant when over the last 5 years the popular sound has become more extreme?

Well, on my new album I have Hervé, Bart B More, Edu K, and Afrojack, who are the stars of the fidget scene. I don't have much dubstep on here and the bloghouse style of Justice was never going to be my thing. But am I wrong, or hasn't the harsher high-endy sounds of French bloghouse a bit hard on the ears for a long period of time? The Crookers just requested my new Afrojack mix last week and A-Trak, Laidback Luke and Diplo have all been playing it out. So me trying to go hard would be inauthentic and why bother...? MSTRKRFT, Steve Aoki, Justice, Hervé, you name it...have played my album!! I will settle for being the party guy that they play....and it is weird they keep playing my tracks, eh? I am very different by my very nature than what these guys usually go for? I am forever grateful they have accepted my trash aesthetic!

Electroclash kick-started this millennium. Do you think it will one day be regarded as an important cultural movement, comparable to something like New Romanticism? Or in your opinion is the clubbing scene just a single movement that is constantly evolving?

Any musical moment is to be used and enjoyed and discarded. The fact that Crystal Castles, MGMT and even Lady Gaga have electroclashy moments attests to its true roots in punk mind-think...I actually think clubland is more than healthy than ever when it has more choices and when the genres inter-breed. When electroclash happened the techno guy never did vocals, and the rock guys never did dance remixes...now all that has gone out of the window as producers are encouraged to use whatever influences they have had to create their music without the strict boundaries of before....I hope I helped open that door...those dance guys hated me for it at first though, I gotta say..."electroclash sucks" was as omnipresent as "disco sucks" in the early 80s....heheheh

Are there any acts in New York right that you recommend?

I love so many NYC acts...The Pains of Being Pure at Heart, Grizzly Bear, MGMT, Telepathe, The Fire and Reason, Bad Brilliance, Roxy Cottontail, Chairlift, and the list goes on and on. The clubs are not hot right now in NYC but I guess that means the kids are staying at home making music on their computers....which is probably better... then we can go to Berlin, Barcelona and London for good clubbing..

Do you think perhaps New York (or America in general) has taken a different route to Europe when it comes to electronic music? Please explain.

The USA has always been a rock country responding more to lyrics and images than just techno beats...I think that's why the electro acts do great business here but the minimal guy never gets bookings....it may have something to do with the resistance to dubstep here, also though there is more and more of that popping up via the internet and the kids....

You’ve been involved in the club scene since the 80s, what has been your favourite movement [scene or club etc] during this time and why? What do you predict for the club scene over the next 10 years?

I think the moment when I did the electroclash festival and lost 80,000 dollars, was my favourite moment. Everyone that was anyone here was at the festival and Peaches, Chicks and Fischerspooner sang me Happy Birthday...it was the birth of my new life playing the music I wanted to play and endorse instead of playing that godd-awful tribal house...what do I predict for the upcoming years? more diversity of sounds and dance music...also I expect that it will be a force on radio again here as rap has slowly lost its total control of the charts...I predict Abeyance will go electro-fidget-baile-funk-disco-punk...

Are there any acts or clubs in London/UK at the moment that interest you?

Well, I am excited to try out the new clubs like the Dalston Superstore and Caligula....I am curious to see where that Boombox and Nag Nag Nag energy went after they disappeared. I do love the stuff that Hérve is doing with his label Cheap Thrills and also think the dubstep stuff is amazing.

Please tell me a bit more about your forthcoming show at Cargo.

Well, at Cargo, I am planning to hit it hard with the new techno electro ravey funky-ass music that has been making the festivals go off lately. I never have to change my sound for London as the locals have always wanted MORE. More is my middle name so the UK press has been so kind with great reviews in NME, DJ mag and more....I really feel akin to their desire to have MORE great beats, MORE culture, MORE fashion and MORE fun! Ultimately the reason I have succeeded for so long as others have come and gone is that I’m a party DJ and always watch what makes the girls go crazy!! Because...if you get the girls dance and hot, the dude will be right behind them on the dance floor and will accept my outrageously provocative music....Dudes want pussy and I want them to have it too. I will help them get the girls warmed up. hehehehe. I LOVE London!

--Kara Simsek

Thursday 27^th August

‘Karaoke Presents Who Is Larry Tee?’

Larry Tee

IGNUG live

DJ’s Tom Budiansky and R. Backhaus

Cargo

83 Rivington Street, Shoreditch, London, EC2A 3AY

7pm-1am

Prices: £8 advance/ £10 on the door

Tickets www.cantaloupegroup.co.uk

Friday August 28^th

‘Caligula’

Larry Tee

Warboy

The Bathhouse,

5 Bishopsgate Churchyard London, EC2M 3TJ

11.30pm-5am

Prices: £6 on the door, free before 12.30am

Intern Marce: Critiques Press Releases

Sat, 22 Aug 2009 12:26:33 GMT

Meet Intern Marce! Intern Marce is currently helping out at Maison Notion right now. She has been given great tasks! Your editors took particular delight in gesturing towards an unbelievably large pile of unopened promo CDs which developed while we finished the last issue, demanding that she open and log each and every one, no matter how abominable (90% of them).

The thing about Intern Marce is that she is something of a misanthrope [via understatements]—a kind of nihilistic Bette Davis, if you can imagine, with a penchant for high-brow erotic literature and a glare brought on by others’ idiocy capable of withering a newborn child to a pile of ash.

So as she sat in a corner of our shabby-supposed-“chic” offices going through this mail, we’d occasionally be delighted by snorts of derision and the incredulous reading aloud of some of the industry’s less capable PRs best efforts to sell lank-haired Bristolian grunge funkers and similar. Here, she reports on what she found.

_______________________

A press release, from what I can gauge, is much like a CV – a flimsy yet tangible selling tool, composed in its entirety of lies, hyperbole and then ever greater, better, more expansive lies. The difference however, is that press releases are also pure comedy gold. Having spent a day trawling through perhaps over a hundred and fifty of these things, I implore you; let me share the joy of reading such trite.

“Nobody wants to be a hero anymore”, thus begins ‘Cinders Fall’s effort at shameless self-promotion, setting the tone and calibre for what is to follow. I snort, an entirely involuntary reaction which demands provocation of some standard to occur. This release, contrary to what one might like to think, has clearly had some money put into; printed on high grade, gloss finished paper with what was surely intended to be the group picture that would, through its effortless ability to capture the masculinity and grit epitomised by the band’s music, surely launch a million record sales. Unfortunately, the six blokes standing awkwardly (arms crossed, thumbs in belt hooks, narrowed eyes, tight jaws) staring back at me provoke only another snort and now a somewhat wry smile. This is going to be entertaining.

I delve further into the main text with the absolute intention of unearthing ever greater pleasures, and I’m not disappointed. Lurking right there on the first line is the marvellously wild assertion: “the late 90’s … tapped the solo on the shoulder and showed it the door”. Hyperbolic speech matched with a tone that insinuates coarse male anger and the use of a clenched fist as the sole tool for gesticulation. Oh, the power of words... I assume the intended reaction to such poetry was the grabbing of one’s balls and the inability to do much except shout ‘fuck yeah!’ repeatedly. What oratory! What passion and vigour! Who could resist the call to arms - “Chaos unite!”- when there is “the CF machine” behind it?!

Well, me apparently as I take a leisurely sip of a cold drink and let my eyes saunter further on down the page, where I find myself duly advised to contend with “the sonic assault” of their music. Naturally the primary agenda of this masterful tract is to sell the band, and hence it is at pains to make me understand their “punishing, tectonic force and attitude”. Ultimately, I understand their PR Company’s desperation most clearly. Of course, this is a band that purports to be “critically acclaimed the world over”; I shall admit to not knowing the world press’s views on Cinders Fall and have no intention of finding out, but I have a hunch that this could be a prime example of lies, damned lies and a glaring lack of statistics.

Unfortunately this shall be my final laugh from ‘exhibit A’ as time is ticking and the ever-growing pile of envelopes in Santa’s sack will not open and mock themselves. So, having exulted in the thirty seconds I spent scanning such an article to gather the information I required (that they were a metal band) I must move on to the next delicacy...

--------[possible interlude to break it up *cue lift music etc.]---------

And what a delicacy it is! Within seconds of tearing into my next victim’s sheath of packaging I know that today is a good day and that the sun is surely shining on me. Two irregular pieces of paper come skittering out of my parcel, before the usual avalanche of CD, press release, biography etc. Upon closer inspection, I find these specimens to be band photographs, but not just any band photographs … these are of infinitely greater (comedy) value: cut by what one would assume to be a three year old equipped with a stick, taken on a camera that I’m sure was picked up in Boots for a couple of quid with the prefix of “disposable” and on paper the same grade as toilet roll. Ah yes, here are the fertile fruits of four Bristolian’s desire to ‘make it big’.

Could it get better than this? As I take a quick glance down at the accompanying reams of information, the answer is quickly provided: fuck yes! There is a hand scrawled note reading “if you require digital copies of the pictures please send us an email”; I can barely contain the laughter that ensues and see fit to share the source of my amusement with your noble Editor, who joins me in its wonder.

Yet, there lie further treasures in the non-descript envelope; reading this band’s biography I am thrown into a serious quandary as to how exactly I should ascribe them one of the requisite categories that spreadsheets deem necessary. Are they some form of Para-military organisation seeking to organise a coup by masquerading as a band? Their recent activities apparently include waging “lyrical war” and “shifting their headquarters to Bristol to conquer new territory and expand the fan [air] base”. Another possibility is that this whole charade is rather an exercise in egotism, as they go beyond comparisons and make explicit reference to “Gregor’s cracked Kurt voice and Axl swagger”, not to mention their “Zeppelin bass-lines”. The doppelganger is apparently rife in Bristol...

Other options of course include voice of the oppressed -their music is apparently comprised of “vitriolic working-class poetry” - or group of divorced forty-plus year olds with fuck all to do. My latter remark is made solely due to the excessive use of the word “groove” and their keenness to expose that in a remarkable turn, they occasionally switch the drum-kit for a bongo – in my eyes, two things which are glaring marks of a mid-life crisis.

Overall result: Intern Marce scores again in managing to make Planet Notion’s mind-numbing, monkey-labour tasks of maximum entertainment value. Thank you ‘Fallen Child’.

----------------------

When you unfold a piece of paper, assured that the harsh black print and subject of which will sit at odds with your hangover, for instance opening bills, you are in a similar position to myself about ten minutes ago. When I encountered the large header “Stoked PR” I was unimpressed. When I saw the title of the EP that was being plugged - “Hello Heartbreak” – I was further unimpressed. However, when I saw the artist’s name, my interest was somewhat aroused and I suddenly felt that the time for this third instalment in the ‘rip the shit out of press releases’ series had come.

I’m pretty sure readers could understand this reaction had they also seen the name ‘Michelle Williams’ staring back at them. The rebranding of ‘the boring one’ from Destiny’s Child: perfect subject material. Think you’ve got her “figured out?” the text provokes, “the past twelve months in her career have proved you wrong”. That the PR agency are trying to pretend that anyone gives a damn is funny in itself, but going so far as to pretend that Michelle has had a noteworthy career since she stopped being happy-slapped by Beyonce’s hair extensions is just comedy genius.

The writing style of this particular release is reminiscent of how the older generation interact with the younger one: incredibly uncomfortable in their choice of words yet always pushing the delivery out with a false grin and false confidence in the effort to compensate. Yet, description of music as “groove-laden” doesn’t make me feel that I would enjoy it, just as the description of a woman as a “saucy club vixen” doesn’t make me want to fuck her. Rather, I feel myself in the presence of a pervert. Also, since when was an artist’s “soul-stirring spiritual” solo music more note worthy then having been a member of a group which has sold over 40 million records?

The saddest part of this process is the knowledge that what is in front of me was the best these PR guys could come up with. “Yearning, yet assured vocals” now pass as conducive to dancing and the inclusion of ridiculous, pathetic, trite little quotes - “What can I say? I’m a woman who loves hard and who loves deep. . . But even when it goes wrong, I know that I will love again. My heart is big and open to life’s possibilities” – are seen as an essential selling tool and happily plunged into the heart of a music promo.

Looking at this I can absolutely imagine why Michelle finds herself saluting ‘heartbreak’; if the quality of her music is as piss poor as its publicity-drive then I’d say she’s fucked.

--Marcella Coombs

MONTREAL: It's Still Great! // Notion @ Osheaga Festival, 08/09

Wed, 19 Aug 2009 19:29:32 GMT

Every six months, a new band comes along and reminds you that Montreal is cooler than you. Crystal Castles! The Stills! Broken Social Scene! Metric! Etc etc, so on and so forth. When our man with the passport, Chris Beanland, travelled out there to see the Osheaga festival, he discovered that they're also the festival capital of Canada. Somewhat inevitabe, considering.

“There’s one festival down this street…another over there…and of course the one you’re going to later on an island in the middle of the river.” So explains Brendan Murphy, music blogger, travel writer, gentleman and Notion’s temporary guide to Montreal.

We’re walking through the centre of the most cultured city in North America, at the start of August, and festival season in the city is in full swing.

Notion is here primarily to check out the Osheaga Festival - an indie hoe-down which we’ll tell you about once we’ve given you a flavour of the Francophone city it’s held in. That’s because the festival is *one* of the people who paid for our plane tickets across the North Atlantic.

But, dizzy with jetlag, we’re pleasantly surprised that Gay Pride, the Picnic Electronique, and the Francofolies French Music Festival are taking place within a block of our downtown concrete monstrosity of a hotel too.

There are two things you learn very quickly about Canada. Firstly, it’s like Sesame Street - incredibly racially diverse and everyone is amazingly nice to you and to each other. Secondly, this country takes the arts seriously: the Government pays for festivals, for galleries, for music. Hell, they’re even picking up our tab so we can tell you lot just how damn cultured they are. So that’s a declaration of interest there - but of course if wasn’t actually any good in Montreal then we’d tell you that too, trust us.

There are festivals year-round but during the gorgeously warm months of July and August, it really reaches its peak here. Of course you can still get your thrills when the temperatures plummet (and plummet they really do - the record January low is minus 38 degrees C). In January there is IglooFest, which Notion ran a glove-clad finger over earlier this year.

Before we head to Osheaga for our main course, it’s time for a starter: a tour of “La ville Montreal”. Now anyone who’s ever been on a press trip, or even a guided tour, will realise that these things can be lightning affairs, cramming a weekend’s sightseeing into an hour. And such is our run round the city in an SUV driven by a manic woman who knows literally EVERY fact about Montreal. The Olympic Satdium? “Roof is made of Kevlar”. That statue of Nelson down at the docks? “Faces the wrong way”,

But our speedy and educational visits to the spectacular peak of Mount Royal to overlook the city, and across the mighty St Laurence river through the evocative, crumbling dock yards and the historic old town show us that this is a city that would certainly reward daytime visitors, as well as us night owls.

And don’t forget, too, the French influence here is as palpable as garlicky breath. The women are beautiful, the people civilised, the food delicious, the subway is called the Metro and the reminders of French rule lurk everywhere - everyone is bilingual too.

In fact this mix of past of present is a defining characteristic of the city. They love their heritage but they’re not standing still either. The city spawned Vice Magazine, The Stills, a whole array of 60s Modernist building techniques (including the famous underground city), and most weirdly of all - chips, gravy and cheese curd, which we gobble down after a night on the sauce.

Our final stop then is five Metro stations down the line to the Parc Drapeau, on a beautiful forested river island - home of Montreal’s 1967 World’s Fair, its F1 Grand Prix circuit, and since 2008 the Osheaga Festival too.

Over two nights we watch the Yeah Yeah Yeahs, Arctic Monkeys, Miike Snow, La Roux, Cursive, Girl Talk, and local superstars The Stills and Crystal Castles. And in between Osheaga’s bands we sit by the edge of the St Laurence River drinking beers, befriending local hipsters, getting invited to parties, basking in the sun and staring over at the Montreal skyline from behind the shade of the trees. Tres bien.

FUTURE FESTIVALS IN MONTREAL

SEPT 30 - OCT 4 2009
POP MONTREAL
Francophone, Canadian, and international bands. http://popmontreal.com/

JAN 2010
IGLOO FEST
The mercury may be dropping but temperatures will be rising at the third edition of the Igloo Fest. A hot lineup of electronic music featuring sizzling beats of renowned Canadian’s DJ's, plus US and UK legends. Revelers can dance away those winter blues during four trance-tastic nights at the Jacques-Cartier Pier.

JULY 2010
INTERNATIONAL MONTREAL JAZZ FESTIVAL
Over 500 shows, including 370 outdoor concerts take place in the heart of Downtown Montreal - Stevie Wonder headlined the 2009 Festival.

AUGUST 2010
OSHEAGA
Some 50 indie bands will take over Osheaga’s five stages.

www.tourisme-montreal.org

http://www.tourisme-montreal.org/Blogs/Nightlife

Chris flew to Montreal with Air Canada and stayed at the Hyatt Regency Montreal

KATY BETH OF PEGGY SUE ON PIRATES AND GRUMPY MUSIC

Mon, 17 Aug 2009 13:43:35 GMT

KATY BETH OF PEGGY SUE: On Pirates, Grumpy Music and the New Album

They used to play gigs without actually knowing how to play any instruments at all. But recently they’ve played with big names like Laura Marling and Kate Nash, and they’re working on their debut with well-known producers John Askew and Alex Newport. Katy Klaw found time to chat about all things Peg-shaped…

Weren’t you called Peggy Sue and the Pirates? Where have your pirates gone??

We did used to be called Peggy Sue and the Pirates. Basically it was Rosa [Rex, the other female vocalist] and I – we were a band for a couple of years, and we were called Peggy Sue and the Pirates. This time last year changed what we were doing a little bit, and we got a drummer. We started doing things a little bit more professionally, and probably what we should have done was change our name completely to avoid confusion, but we tend to do the less obvious thing by accident whenever possible. So what we actually did was to change it to Peggy Sue, become a three piece, and confuse lots of people.

Ah. Thanks for that. I thought it might have been because Pete has pirates too, now. Anyway, how did Peggy Sue start?

[Rosa and I] both from London, but we both moved to Brighton to study five years ago or something. We went to school together in London so we knew each other a little bit, and then while we were in Brighton we started a band together.

How did it end up growing into what it is now?

Definitely quite naturally to begin with but just, we saw it as we started being a band when we didn’t – we weren’t really ready to be a band at that point. The first gig we ever played, we only played 3 songs, and I think we’d written one that afternoon. We always threw ourselves in at the deep end and did stuff before we were ready! Neither of us could really play guitars – literally, we just used to play bass lines on the E-string and not do anything else. I don’t think it particularly held us back at that point.

For those not in the know… How would you characterise your music?

Errrr… I’m not very good at that! I dunno, it’s got… it’s definitely got a bit more grumpy, I think! I think the songs are a lot more interesting – mainly because we can play chords now! And Olly, our drummer, since he joined in the percussion element has become really really important to it. He writes really interesting drum parts, he doesn’t write the most obvious thing that you could write, and so the drums become a really important part.

How does your creative process work?

Pretty much how it works is that Rosa or I will write a song at home or wherever – or the seeds of a song, but usually three quarters of a song will be written and we’ll bring it to practice, and we’ll work through the song together and write the arrangements. It’s really fun, because when it was just Rosa and I it used to be just one of us would write a song and bring it to the other one, and we’d write harmonies on it, and maybe some finger clicks, but now we just have such an opportunity for the song to grow.

How would you respond to claims that you were part of a folk revival, and in some ways similar to a band like Noah and the Whale?

There’s always a tendency to group people into groups, and I’m more happy to be grouped into this group than I have been to be grouped into other groups in the past… but at the same time there isn’t that much similarity. I think hw it always tends to happen is that people make music that comes from a similar place but take it other places. That’s what – all those musicians, I have so much respect for, and I think they’re amazing, all of the young folk scene as it’s called – I really love a lot of that music, and I think that they’re doing something really interesting but they’re doing different things really interesting, and that’s why it isn’t a problem, and it’s quite nice.

Also, we definitely have folk influences, it’s just we definitely have other influences as well.

Your EP Lover Gone came out in May: how’s it gone?

It’s good, we’re selling quite a lot on the road. But we’re finding it quite difficult to play Lover Gone in our set, because it’s really short and quite quiet, so we… We tend to play our set and then sell everyone a CD that has none of the songs that we played on it! We get in trouble, so we’ve been trying to work out how to expand it and make it longer and change it, but it just works well how it is.

We did that EP ourselves, so there’s not that much pressure on it, we’ve just got a couple of hundred copies that are sitting in boxes in my house, and I post them out a couple every day. And we sell them at gigs and stuff.

Big plans? What’s next?

We’re finishing our album. At the moment, the plan is that it will come out at the beginning of next year, like the end of January or something. We went and recorded it in America, in New York, with two different producers who wanted to work with us. One of them is called John Askew, and we knew about him because he produced the first Dodos album that we listened to like all summer last year, so we approached him and said, ‘do you want to do some recording with us,’ and he was like, ‘yes please!’

The other guy is a guy called Alex Newport, he produced some of the Two Gallants... They’re both really good. And then we’re gonna finish it with – hopefully, if everything goes to plan, we’ve been waiting for our friend Steve who’s in Blood Red Shoes to finish their second album, and then he’s gonna come back and help us finish off the album in London.

And future gigs…?

We’re doing some touring in the autumn, we’re doing a couple of support shows with people and then we’re playing the ICA in November. That’s our big gig, I’m absolutely petrified of it, it’s really big!

See Peggy Sue at the ICA on the 6^th November. Visit www.peggywho.com for more info.

--Ellie Rose

Dan Le Sac vs Scroobius Pip - The Logic of Chance

Tue, 09 Mar 2010 15:14:15 GMT

A historian 200 years from now, when searching for the poetry to bring to life the feelings and sentiments of this our time at the start of the century, couldn’t go far wrong with the lyrical offerings of Scroobius Pip.

Ok, granted, he doesn’t speak for the whole nation, but who does? But what I find myself saying, as a working-class 20-something man listening to Dan Le Sac vs Scroobius Pip’s albums is, “I was thinking that myself just last night!”

Pip just has that ability to express exactly what his peers all over the country are thinking.

The duo’s latest album, The Logic of Chance, is due to hit the market next month, following on from their critically acclaimed debut, Angles.

The album covers topics including falling in love, politics, the mixed emotions felt towards our country of Great Britain, and musical snobs, all tidily placed over the top of Dan Le Sac’s electronic magic.

In the track, ‘Get Better’, Pip, in one of his more astute observations on life around us comes up with, “Little kids being raised by slightly bigger kids…” which brought an anguished smile to my lips as I sat on the bus, hearing the lyric for the first time, surrounded by little kids being pushed around in pushchairs by, yep you guessed it, slightly bigger kids.

The song looks at the reasons behind the phenomenon in this country of teenage pregnancy.

“There’s not a lot to do, so kids decide to get drunk every night… do drugs every night to hide from their lives…. Kids rolling around the street rowing and fighting,” before dismissing the notion that it’s a class or wealth thing, “it really ain’t a case of rich or poor, it’s a case of self motivation and nothing more… The system might fail you, but don’t fail yourself.”

‘Get Better’ will be the duo’s first single release from the album.

In the song ‘Great Britain’ Pip tackles the tricky subject of knife crime, in a world where the pages of our daily rags are filled with stories of kids knifing kids all over the place all of the time. “Sometimes Great Britain ain’t that great, kids getting stabbed at alarming rate.”

And in ‘Last Train Home’ Pip takes a look at, surprisingly, the last train home. They’re either stinking of weed or stinking of beer, they being loud and obscene or they’re sitting in tears.

‘Angles’ was an amazing album and one that I thought would never be bettered. I was probably right, but it may have been equaled by this classy follow up.

--Kris Mole

The Logic of Chance by Dan Le Sac vs Scroobius Pip is released 15/03/10

Deep Rooted - D.E.E.P.R.O.O.T.E.D

Fri, 05 Mar 2010 15:16:32 GMT

Most people go through a hip-hop phase, I certainly did, but soon the thought of 35 year olds behaving like they’re 12, bragging about guns, girls and gangs makes you realize how ridiculous it is. San Diego’s Deep Rooted want to change this and return to the halcyon days of early nineties hip-hop but unfortunately fall at the first hurdle with Soul Vibe, a track that mentions chicks on dicks, cracking vertebrae and references guns in just the first verse. And from here on in D.E.E.P.R.O.O.T.E.D. becomes just another example of a stereotypical hip-hop record.

There’s the pop sample track Billie Jean, sampling Michael Jackson’s pre-paedo allegations classic, that was no doubt picked as a potential single despite the hatchet job the producers have done to make it sound like a record skipping. Sunshine provides the summertime ‘jam’, but it’s irritating guitar riff and chorus are quite frankly dire. Next comes Closer, the track where rappers demonstrate their political awareness, this time discussing how terrible George Bush is. So original and contemporary – full marks. Squeeze is the ‘I’m so bad’ rap before the album thankfully ends with the cleverly titled The End, which sees Deep Rooted getting deep with the reflective record.

It’s not all terrible, That That is reminiscent of 36 Chambers era Wu Tang and is OK, but otherwise the only objective Deep Rooted have achieved with their tired flow and hip-hop by numbers is to highlight how cliché-laden, unchallenging and stagnant the genre has become. Which leaves the listener waiting for the track where someone wakes this turgid scene from its soporific state before it dies completely.

--Pete Jorgensen

Wax:On Compilation 1

Tue, 05 Jan 2010 10:50:07 GMT

Wax:On Compilation 1

Mixed by Fake Blood and People Get Real

Music Response Records

Internationally loved night Wax:On are venturing in to the branded album seas for a maiden voyage with the mysterious Fake Blood at the helm. Fake Blood is one of those buzz-names that is commonly thrown around with ‘have you heard that sick remix by…’. Of course, this is entirely fair and accurate as he is responsible for muchos dance floor favourites, but how does Captain FB get on when left to steer the good ship Wax:On compilation? Opener is his own “I Think I Like It” which could pass for a Eurovision entry circa 1976 – it’s upbeat, fun and a fantastic way to kick start the album. Sadly, it leads in to “Rasp” a tune which is an oboe solo over some irritating jazzy beats, and will either leave you feeling like you’re trapped in the opening sequence of an Emir Kusturica DVD (not in a good way) or have you wanting to download some more as you’re a sceney know-all twat (also not in a good way).

As it goes, up until the half way mark around 80% of the tracks are annoying, Sonic C’s “Saiph” getting a particular special mention for it’s teeth grating type whirring, but after this point, the mix begins to get a lot better, with better bass, less bleeps and more drive.

The best thing about this album is disc 2, which is mixed by Wax:On residents People Get Real. Like the slaves beneath the flashy ship Fake Blood is commanding, they toil thanklessly, getting less recognition as they’re not the ones with the telescope up the top. Contrasting with the acrid fun of Fake Blood’s opener is their choice of DJ Hell’s “The Angst & The Angst Part 2”, an atmospheric and almost mournful introduction to their role call of refined techno and understated electro. Steve Bug, Miss Kittin and Thomas Schumacher are all below deck, powering the album forward like mechanised trells. In my opinion, this mix is the finer of the two purely for the inclusion of UnknownmiX’s “The Siren”, a dark, threatening and ominous piece of European electro that takes the mix from dark to dungeon.

So, the Wax:On comp, does it sink or swim? Obviously its swims, but that’s thank to People Get Real, not the flashy captain playing a hit and miss mix of annoying and amazing from the crow’s nest.

--Kara Simsek

Gliss - Devotion Implosion

Tue, 29 Sep 2009 14:30:29 GMT

Released: 2^nd November

L.A attracts superficial-ness in a similar way to which light bulbs attract scary looking troublesome moths; so it would be easy to instantly discard anything that rears its head from there as flimsy, scene conscious and ultimately lacking any real depth.

Yet supersonic shoegazers Gliss have crafted an album that stands up and knocks these pre-built notions well and firmly on the head.

‘Devotion Implosion’ is more concerned with that has happened rather then push forth with any type of new ideas; it is a journey through America’s back beaten past, one that backcombs its way over classic American counter culture.

Opener ‘Morning Light’ embraces Phil Spector style production and slams it onto a formalised three minute rock template, a move which results in a thick wall of fuzzed up guitars drowning out minimal drums and smooth ethereal vocals.

Delve deep in and the template shifts towards new directions as traces of the Velvet Underground’s drugged up indifference as well as The Kills stylised, stripped down take on garage rock can be found creeping through the sonic melee. While ‘Sad Eyes’ with its classically simple “Oooh, Ooh” chorus and confident rock ‘n’ roll swagger sounds like it has been torn straight off of BRMC’s debut.

Yet ultimately Gliss have fashioned an album that takes no shame in its undeniable retro-ness, they have plundered artists back catalogues, ripping out the heart, the soul and everything that made these records great and reformed it into a nice looking highly digestible package that is safe for all of us to unwrap.

--Nathan Westley

Raz Ohara and the Odd Orchestra - II

Tue, 29 Sep 2009 14:25:54 GMT

Appropriately named; ‘odd’, this group certainly is. The second record from Raz and friends is a weird mixture of slightly experimental loops infused with mediocre Americanised vocals.

As Raz’s voice enters the second track ‘The Burning (Desire)’, you can’t help wondering if this whole project sprouted from a bloke messing around with his MacBook music programs whilst trying to be the next Justin Timberlake, and failing; these wannabe-husky vocals just sound a bit naff, really.

Can’t say that the accompanying electronic music is great either; although, props to them both for trying to push the boat out and do something a bit different, quirky, in an effort to be individual and stand out. The robotic sounds may appeal to some people but it just seems as if these oddballs were browsing through some default automated synthesizer loops and picked out some space-age sounds that they thought sounded ‘cool’, but in reality those same ones are probably used as sound effects in Stargate SG-1.

What is equally as annoying is that the first sign of real musicality, in the first forty-five or so seconds of the forth track, Varsha, are swiftly eliminated when those weird synthesized sounds enter once again. Up until that point, this song is seemingly raw (apart from the drum machine), beginning with lovely flickerings of broken guitar chords, and joined by a less strenuous side of Raz’s voice, which is admittedly pleasant to listen to. But just after he starts to sing, your ears are greeted by some very unfitting, annoying loop (the sonic equivalent to someone trying to say ‘wick-a-wow’ whilst gesturing a ‘90s hip hop hand movement), which unfortunately remains throughout the track.

It may be the case that Raz and co. intended II to sound like they’re messing around in the production room, and if that is the case then fair play, they’ve created what they have intended. But honestly this album does not work at all. The more decisively electronic tracks such as ‘Frangment I’ and ‘Wildbirds’ stand alongside almost-trying-to-be-folk songs like ‘The Day You Suffered Helpless Out Of Reach And All Lines Were Dead’, and R & B vocals in ‘Praise The Day (No One Owes You Nothing)’. A very indecisive record, although there are glimmers of hope at times when the Orchestra’s organic ideas shine through, so here’s hoping Raz and the rest will find their niche by album number three.

--Bronya Francis

REVIEW: The Orb - Baghdad Batteries

Fri, 11 Sep 2009 14:36:59 GMT

For me the words ambient house strike up images of idiots in zany hats either rolling around on the floor off their face or collaring some poor bystander and bragging that they always get the finest Northern Lights skunk and could beat anyone in a roll the best spliff contest. In other words, I’m not too keen. So when I was given an album by ambient house pioneers The Orb to review I approached it with trepidation, believing I’d have to spend the next hour listening to tubas being played underwater, obscure discordant samples from the BBC Radiophonic, and recordings of Turkmen women tidying up their yurts in the steppes of Central Asia. Luckily I was wrong… in part. There’s still a lot of shit to wade through before you actually get to something listenable, but persevere and you’ll find a couple of decent enough tracks.

If you like your dance music to have a beat, it’s fair to say you should avoid the first four tracks. These enforced all the stereotypes that I had about ambient music; backwards instruments, organs going mental for no apparent reason, noises that have little relation to each other apart from the fact they sound weird. Skip instead to Suburban Smog, one of the few tracks worth coming back to that chugs along quite nicely with tribal percussion and sounds a bit like an Evil 9 record. Orban Tumbleweed is also worthy of note and its laid back hip hop has echoes of early DJ Shadow and DJ Krush productions, which is never a bad thing. The rock steady skank of Super Soakers is enjoyable too, but for moments like these you also have to contend with dross like Oopa, which is quite frankly awful. This beatless treat consists of crackling noises and no melody. Around 3 minutes in a woman cackles hysterically at the word ‘Swedish’, before the song slowly grinds to a halt with what sounds like a kettle boiling. I’m sure it’s very experimental, but it is also very bad.

Woodlarking is another waste of time. Here an organ grinder sound plinks and plonks along pointlessly, bleeping without structure in a way that is no doubt meant to ‘really trip you out man!’ If I ever took so many drugs that this could start to sound good I’d definitely have to start questioning my sanity.

No doubt I am probably missing something in these ambient works that an aging crusty with hemp trousers and dreads can explain to me in detail while snorting 10cm lines of ketamine, but for the time being I’m quite happy to live in ignorance and just enjoy the more coherent tracks this album offers. The Orb have rightfully earned their place in dance music history and their 20-odd years making music, including a number 1 album, is testament to the fact that people still enjoy their music. Unfortunately it mostly goes straight over my head.

--Pete Jorgensen

Review: Radioslave - Fabric 48

Mon, 07 Sep 2009 20:17:39 GMT

Chances are if you’ve been in a club over the last few years you will have inadvertently heard a Matt Edwards record. He rose to fame under the Radio Slave name he shared with Serge Santiago, making a living remixing top 20 heavyweights including Kylie Minogue and Paul McCartney. Following the pair’s split, Edwards retained the Radio Slave moniker and moved away from the commercial work, concentrating instead on developing his own sound and setting up his fledgling label Rekids. Fast forward 5 years and Edwards is one of the biggest names in techno after a string of successful releases that include the stripped down minimal of Bell Clap, Dance and last year’s triumph Grindhouse. It was only a matter of time before Fabric came calling and this CD, the latest instalment of their long-running mix series, aims to give the listener an idea of what to expect from a Radio Slave set in 2009.

Edwards’ own productions and releases on Rekids feature strongly throughout the album, with more housey percussive styles replacing the darker elements that used to be prominent in his sets. Steve Lawler’s well executed remix of Radio Slave’s own Koma Koma is a good example of this new direction – a rich bassline is taken away, leaving just the treble and some Latino chanting to brilliantly build a sense of anticipation. When the bass finally returns two minutes later the effect is incredible, and you know this would sound epic on a decent soundsystem like at Fabric.

There’s only 13 tracks over the 70 odd minutes as Edwards likes to play records in full, but it makes a nice change from the ‘pack in as many as you can’ approach that has become commonplace. He also loves to tease out a mix and none are better than when the white noise fizzes of Daniel Sanchez’s mix of My Heart from Rekids stalwart Spencer Parker blend faultlessly into La Mezcla. This track is a percussionist’s dream, with layers of rolling bongos and maracas gradually fading, letting shuffling snares and soaring pan pipes come to the fore. Throw in some Spanish vocals then bring back the drums and you’ve made anyone with an ounce of rhythm start dancing.

Overall Radio Salve has put together an enjoyable mix with a very summery feel, the kind that would go down a treat on a hot day at Secret Sundaze or with fans of Villalobos or Luciano’s Hispanic influences. At times I did find myself wishing that some of the darker elements from his earlier releases would creep into the mix; the 5am heads down kind of stuff he does so well that scares and delights in equal measures. But then it wouldn’t be Radio Slave if he was still playing these records. Looking back isn’t his style, and he should definitely be commended for his ability to evolve and stay ahead of the curve.

--Pete Jorgensen

Italoboyz: Blablabla

Thu, 03 Sep 2009 15:32:40 GMT

The Italoboyz rose to prominence last year with the John Coltrane sampling Bahia, a brilliant song that was made to be enjoyed on sunny days. An album deal with Claude Von Stroke’s Mothership label soon followed, which has unfortunately given birth to one of the most annoying records I have ever heard. Marco and Federico have unwisely chosen to apply Bahia’s formula – unusual instruments not normally associated with dance music plonked on top of a 4/4 beat – to every track on the album. Someone at Mothership must have been massaging their egos a bit too much, causing them to start considering themselves avant-garde geniuses redefining techno with jazz and classical samples, rather than purveyors of sub-standard rubbish. They have given Bla Bla Bla a unique sound, but that’s probably only because someone else tried doing what they do, quickly realised it sounded shit and made something else.

The album starts with Where is London, made in collaboration with producers Masomenos. Here the chimes of Big Ben are coupled with some classical piano and a techno rhythm. Original, but it doesn’t work, and this failure sets the tone for the following 60 minutes. Next up is Chinese, where an intensely irritating voice repeating ‘I don’t speak Chinese’ is thrown together with oriental melodies and a terrible 2-note horn refrain. It’s like 10 people making one part of a song completely separate from each other then putting the results together unedited. Taka Taka Tashhh might have fared a bit better, had they not chosen to repeat the eponymous title ad nauseam for the song’s duration. It does have a touch of the Chemical Brothers about it, but where and Tom and Ed obviously know when enough is enough, this pair keep adding elements until perfectly sane people are contemplating ripping their ears off and stamping on their eardrums to avoid ever having to be subjected to such crap again. Edo Breiss is the same – underneath the unnecessary saxophone noodling is a decent house tune waiting to come out, but it’s overshadowed by a need to show off and suffers as a result.

I thought Techno Tower might offer some brief respite; sadly it wasn’t meant to be. There are too many things going on, including some chump chanting ‘bumbumbumbumbumbum’ incessantly, the occasional acid stabs and tinkling piano, all of which clash. I won’t even talk about the Salvador Dali sampling L’Anagramme.

Apart from Bahia, the only other track of note is The Pink Uniform. For once they ditch the beat and the resulting ambient piece works well. It makes you think that if they stopped classing themselves as a techno act and played around with different drums and BPMs in the same way they experiment with various instrumental melodies and vocal samples, they could produce something considerably better. By sticking so rigidly to the techno template they create a series of tracks that have the foundations of a promising record but are ruined by self-indulgent pointless experimentation. Avoid unless you are a redneck soldier attempting to extract a quick confession from a prisoner during an Abu Ghraib torture session.

Released September 28, 2009

--Pete Jorgensen

How To Cut and Paste: The Thirties Edition

Mon, 17 Aug 2009 13:20:10 GMT

The '30's edition' is the latest in DJ Yoda's 'How to cut and paste' series; a now well established blueprint from which we've received an 80s mash-up, a country and western themed disc and a foray into movie soundtracks. On this mix, Yoda samples a range of 1930s music and 'updates' with an array of beats and scratches.

The cult of the mash-up has enjoyed popularity of late due to the rise in availability of easy to use software. But the basic concept of 'the remix' has its roots in something far older than Ableton. Historically, folk music relied upon certain pieces which were passed down and reinterpreted. A DJ's role is no different. Scouring an archive, reinterpreting. It's a similarly communal experience, rewarding those who pay attention. Faces on the dancefloor light up as they recognise a sample. From a DJ's perspective, such reappropriation can be a safe bet. And here's where it gets problematic.

The '30s edition' is, no doubt, enjoyable. Who wouldn't care to listen to Cab Calloway croon over 'Minnie the Moocher' or reminisce for the 'Big Rock Candy Mountain'? And if Louis Armstrong's ode to 'Cheesecake' doesn't elicit a smile on first listen, you're incapable of human joy. The problem with this mix is not the source material; it's the lack of imagination applied to it. DJ Shadow and Cut Chemist applied a limited scope and achieved maximum results with their 'Product Placement' tour- through juxtaposition of samples. Yoda, however, seems content merely to apply morose beats and spoken word samples. It's a surprisingly lazy effort that would make Kool Herc shudder. Like all you have to do is spin an LP and drop a drum-loop on it.

I kept hoping for something engaging: a Robert Johnson riff against a Raekwon a-capell. Thelonius Monk vs Biggie. Instead, we have almost-verbatim re-performances. Maybe this mix wasn't intended for these discerning ears - perhaps it's meant for people who can only listen to vintage music once it's been co-opted into a known style. Something goes against the very premise of being a DJ. If Yoda can craft a career from putting beats on records, fair play: But if kids can't listen to the originals on their own merit, then I despair.

RELEASED: 24 August 2009

--Amir Adhamy

The Lab 2

Mon, 17 Aug 2009 13:16:44 GMT

Well, well, well, a dance music compilation album. You don’t see many of those around these days. With podcasts and thousands of mixes readily available online, all for the princely sum of zero pounds, the cult of the mix CD seems to have died a death. But NRK are no strangers to releasing compilations and, after Loco Dice’s first instalment of The Lab went down well with critics, they’ve picked Poker Flat label boss Steve Bug to be in charge of number two.

For the uninitiated Steve Bug has pretty much done it all. Owner of three record labels, kick-starter of the minimal explosion, Fabric regular, international DJ and producer – on a ‘things DJs should do before they’re forty checklist’ you’d see a lot of ticks by Steve’s name. Here he is given two discs and two and a bit hours to showcase the various facets of his sound.

Deep house is the order of the day for disc one, the sound that seems to be flavour of the month with the sunglasses at night, artfully sculpted hair and low V-neck t-shirt crowd. Steve however has been releasing house records before it became ‘cool’ again, so he’s allowed to get away with it. Starting off with the shuffling rhythm of Nick Höeppner’s Makeover, proceedings move along pleasantly enough, but when there’s deep house there’s usually some deep soulful vocals lurking around the corner. Whining vocals are up there with the words ‘filthy, dirty, sexy electro’ on a flyer as two of my most hated things in dance music, but luckily impassioned warblings are restricted to just a few tracks. The overall feel of the mix for me is one of relaxed enjoyment, particularly when the hypnotic melodies of Huub Sand, released on every respectable deep houser’s label of choice, Running Back, merge into the breathy percussion of Claire Ripley’s Kismet.

The second disc focuses on more peak time tech house and techno sounds – the kind of stuff I’d want to hear if I was going to see Bug play. Beginning in a similar manner to disc one, parred-down house soon makes way for assertive basslines and the crashing cymbals of DJ Koze’s reworking of Strange Behaviour by Blagger. For a moment Steve returns to more percussive territory, but this is just a segue into the bumpity Chicago groove of Joris Voorn’s version of Steve’s own Swallowed Too Much Bass. And by the time he drops some proper techno in the shape of Traffic Jam by Cobblestone Jazz I’m a happy man.

So I reckon Steve’s done a pretty good job, but this compilation definitely isn’t for everyone. For those with both feet firmly placed in the ‘techno really is mind-numbing repeatitive rubbish’ camp, this mix, and the first disc in particular, will certainly do nothing to change opinions. But anyone who has ever found themselves on the middle of the dance floor at 4am swaying their head to monotonous rhythms and thought ‘this is actually really good fun’ should definitely give this compilation a try.

Release: 27th September 2009

--Pete Jorgensen

HOT CITY 'YEAH!' EP RELEASED THIS MONTH!

Mon, 22 Dec 2008 14:08:16 GMT

Hot City is dropping some severely skewed house music, twisting it up with his own blend of jackin' chicago house, 2step/UKG, and bass bumpers. With a new EP out on Highpoint Lowlife featuring remixes from Eats Tapes and TVO (responsible for the legendary Numbers night in Glasgow) – here is a free mp3 from the 12:

http://highpointlowlife.com//downloads/hotcity_headworkedit.mp3

MMM / Soundhack 10th Anniversary!

Mon, 31 Mar 2008 17:09:32 GMT

For the last 10 years MMM, Soundhack, Soundstream, Errorsmith and Smith N Hack (you still with me?) have been forging some of Berlin’s finest minimal edits. Emerging from the Basic Channel/ Hardwax camp, the team have been pioneering ‘forward-thinking’ techno and have gained recognition remixing the likes of Herbert & Villalobos. To celebrate their anniversary they've dropped a bombshell split 12 featuring MMM and Soundhack, featuring brand new productions as well as 'from the vaults' tracks, goodies they found on tapes from back in the days, when they just started these projects. TIP!

http://www.zentrale-mmm.de/

JEHST

Mon, 05 Feb 2007 13:50:14 GMT

The drifter returns, spitting the colourful multi-syllabic rhymes that have become his trademark. Dominated by monster percussion with a dash of disco and an infectious funky baseline, Dynamite Sound is a real head-nodder - with the vocals, which match the standard reached by 'High Plains Drifter' becoming more urgent as the track progresses. On the flipside is the slower paced 'Psychedelic Phlegm.' This Eastern influenced beat features the much loved warm crackling vinyl effect, laced with distant Asian female vocals, and topped with playful braggadocio battle raps and introspective wordplay. RH

http://www.myspace.com/jeh5t

THE CARDINALS

Sun, 04 Feb 2007 13:43:47 GMT

Back with the release of their second double A side, mixed by the talented Mark Freegard of Manic Street Preachers fame, who marries their epic sound and uplifting choruses superbly. There is a dark edge to frontman Seven's lyrics - 'Hold On' is a song with an overriding message of hope, whilst 'Hello' is a sarcastic 'Wake up!' expressing the futility of searching high and low for answers at every turn. Inspired (noticeably) by some of Manchester's great song writers and bands such as Joy Division, The Smiths, and more recently The Doves, this offering shows promise and whets the appetite for their upcoming debut album 'We must learn to walk again'. RH

www.myspace.com/thecardinalsmanchester

SOME VELVET MORNING

Sun, 04 Feb 2007 13:36:56 GMT

Rather worryingly, Notion's first attempt at accessing the myspace page of these fuzzbox lovin' rock-n-rollers threw up some 16 year old girl's personal page. So, Sarah from Staines, you can thank Some Velvet Morning’s PR for the spike in traffic. 'Losing My Mind' is the first single from this Cockerney three-piece, and opens with a bassline soaked in what I believe the Germans refer to as "schmutz". The gutsyness doesn't quite stay for the whole track, and if they're not careful, heathen legions of rock journos will be comparing them to Jet in about three months time; but this is a promising start, nonetheless. JA

WITNESS THE FITNESS

Thu, 01 Feb 2007 13:27:42 GMT

Still on the turn-on tip, Yahoo! are also launching the first Online Music Video Awards, with our favourite category being the Sexiest Male and Female. Tapping into the youtube led trend for on-demand music video viewing, the OMVAs will recognise the best and worst in music video talent, as voted for by you. Head to the site to suck on these and see…

Most Sexy Male

Justin Timberlake

Robbie Williams

Jake Shears

Ne-Yo

Luke Pritchard

Most Sexy Female

Lily Allen

Rihanna

Beyonce

Cheryl Tweedy

Fergie

SEXUAL HEARING

Thu, 01 Feb 2007 13:11:05 GMT

Yahoo! Music ran a study revealing the track people find most sexually arousing. The study, which involved a scientific analysis from leading music psychologist Dr Tomas Chamorro-Premuzic and over 2000 people, looked at music from the last 40 years to reveal which tracks put folk in the mood for lurve. Tomas concluded that in order for a song to stimulate, it must have 'a single lead voice and involve romantic or sensual lyrics with which the listener can identify with.' Yahoo! fashioned these findings into a Love Channel playlist they hope will have you creaming your pants. On the bill are Kylie, Madonna, Barry White and of course good old Mr Gaye.

THE TWILIGHT SINGERS

Sun, 07 Jan 2007 14:52:13 GMT

The Twilight Singers stormed the UK with their partner in crime Mark Lanegan, Greg Dulli and co proved once again that he is one of the most charismatic frontmen in music. Their set is always full of dark pop covers and their own inimitable twisted lounge-art-rock, so get in line now for their next live dates in November. A new EP 'A Stitch in Time' is out now on i-tunes, and although no one loves us enough to send it to us yet, we just know it will rule in the most deliciously depraved way.

HI TEK

Sat, 06 Jan 2007 14:54:58 GMT

It's time to play spot the guest MC as backpacker hero Hi Tek returns with the second instalment of his Hi-Teknology series. Another sturdy collection of beautiful beats and superstar guest appearances, Tek's genius has always come from the most unlikely of combinations - Q Tip and Kurupt anyone? - and a strong infusion of nostalgic soul into every track. With appearances from Talib Kweli, Ghostface and Busta, prepare yourselves for an even deeper journey through the mind of an uber-producer.

XZIBIT

Fri, 05 Jan 2007 14:21:23 GMT

Xzibit reached his peak with tracks like 'Paparazzi' and 'The Foundation', and while this album tries to straddle the gangsta rap and hip hop fields, it too often sounds clunky and forced, albeit refreshingly straightforward. As an MTV presenter he is relaxed and humorous, as a story-teller he is close to the bone and honest – never more so than on 'Scandalous Bitches' where he finds out the girl he loves is sleeping with Usher. Producers please - give the man some better beats and let him shine as an emcee.

HOW'S MY RAVING?

Wed, 20 Jan 2010 12:57:23 GMT

Like a bit of garage, do ya? Remember it first time round, do ya?

If you answered yes to either of these questions then you should probably head to the Big Chill Bar this Saturday for the first HOW’S MY RAVING? party of the year. They've only gone and got original 2-step pioneer ZED BIAS! Yes, Zed Bias who did that massive Neighbourhood choon at the start of last decade. Since then, he's' been all over the globe pushing UK bass music so expect a rumbling repertoire of everything from garage to UK funky to dubstep .

Also on the bill is East London producer DEADBOY, who is probably going to be the name on everybody's lips by the summer if his future releases prove as popular as the tropical yet pared down Well Rounded.

Old-skool legend turned leader of the nu-skool and label boss of Rag and Bone, WARLOCK will present a mutant mix-up of dubstep, bass, fidget, funky, electro and old-skool.

Whilst HOT CITY reps for the residents’ crew as he drops an exclusive set of material from WERKS DISCS signing NOCHEXXX. Finalising the line up is DISCO OF DOOM, fresh from remixing DIDDY and smashing NYE in at THE GREATEST SHOW ON EARTH in Bristol, expect wonky bass and rave.

SAT 23 JAN 2010

THE BIG CHILL HOUSE / KINGS X

BLAST OFF: 2100 – TOUCH DOWN: 0300

www.howsmyraving.com

Ian Carey @ Pacha Preview Interview!

Wed, 16 Dec 2009 16:43:45 GMT

If you've not heard the absurdly catchy but ultimately annoying 'Baby Get Shakey After School' song at some point this summer, you're either a) deaf or b) better at hiding from relentless (aural) assaults than Osama Bin Laden, as trust me, it has been everywhere. Anyway, the man behind it, Mr. Ian Carey is hitting up Pacha this weekend, and in fact, we're giving away some tickets [insert link to comp here] to see him. But, who is he? Well he's an American producer who has been 'on the house scene' for donkeys, and he did a stint in Europe too, which is probably why his stuff doesn't sound like American house (i.e. Armand Van Helden). But what has he got to say? Oooh, let's see...

How's your year been, what were the highlights?

It's been a great year, had allot of success with my singles, and tons of touring, finishing off my album now to end the year out, so 2009 has been a busy one for me.

What is house music to you?

Well it's pretty much been my life for the last 12 years....Lately dance has been encompassing tons of other genres, which keeps it really interesting to me.

Do you prefer producing or DJing and why?

Both equally. When I make something in the studio, I can't wait to go play it out in a set. When I DJ, I get ideas and can't wait to get into the studio to work them out. They both feed each other.

What do you aim to make people feel with your music?

I always have an emotion or memory in mind when I'm making a track, and I hope that it translates though when i finish the track out.

How has the scene changed in the years you have been involved?

Well genres come and go, producers and DJs come and go...It's been a big blur since about 2003, I've pretty much been touring nonstop since then. I think it’s going in a good direction, I only see it getting bigger all around the world.

What's been influencing you this year - musically and otherwise?

Since I come from a hip hop/urban/rnb background, I'm really happy to see house music starting to mix with these genres, and happy to start to hear urban records using dance beats now. I'm really excited about what's going now.

How long each week do you spend looking for new music to play, and what do you look for?

I'm constantly on the lookout, checking promo emails for good tracks, checking beatport and dj download, etc. I look for tracks that I see working on the dancefloor, ones that have something new and cool to add to my set.

What can people expect from your set at Pacha?

Well of course I'll be playing my big records and a few of my classics, as well I have some really cool new remixes and records I'm working on that I want to test out. On top of that I will be dropping some things I've picked up here and there that I am feeling.

Dub to Dubstep tour

Mon, 07 Dec 2009 18:23:28 GMT

Demonstrating the musical connection between dub reggae and dubstep music, this UK wide tour promises to bring together a fusion of dub and reggae beats, through the sound system, acts and DJ’s that will be taking to the stage.

The line-up features Channel One Sound System, who are celebrating their 30^th anniversary this year and are widely acknowledged as one of the top dub reggae soundsystems in the world. Channel One, with Mikey Dread as selector and Ras Kayleb as MC, will bring their custom built soundsystem to each venue. With its rich bass heavy sound, the system is used to showcase their heavyweight selection of old and new dub reggae classics, which have kept crowds across the globe jumping.

Next in the line-up is The Uplifter who has been playing roots, reggae dub and traditional Jamaican ska music across the globe since 2003. His set offers a twist on dub that includes live visuals, animated art projections, live percussion, vocalists and an explosive live DJ set.

Alongside Channel One and The Uplifter is JazZstePpa, one of the UK’s leading dup step acts and dubstep favourite Kromestar who is well known for his unique and extremely diverse and precise production. Also on the bill is Rob Smith aka RSD, a Bristol-born producer who has worked with Massive Attack.

9 December: LONDON - The Den

10 December: BRIGHTON - Digital

12 December: BOURNEMOUTH - Old Firestation

I Love This Song! Launches 15th Nov

Tue, 10 Nov 2009 09:28:14 GMT

Most of us know the feeling of dancing the night away to mind-numbing beats and relentless basslines and all the time we’re still searching for at least one clearly recognisable song that we can hum the next morning in the shower or on the tube when our i-Pod has run out of juice. It’s like looking for a needle in a haystack.

Well Uncle Jim (aka Jim Warboy) thinks he knows what you want, what you really, really want - I Love This Song. This new, weekly Sunday night will celebrate all those tunes that guarantee to have you singing along. Whether the crowd sounds like a binge drinking, birthday party or a speaking-in-tongues, Gospel choir – the aim is to get everyone dancing and having fun.

The party, complete with helium filled balloons and shimmering curtains, will take over East End hotspot Dalston Superstore. This venue has rapidly established itself as the most popular bar for the in-the-know crowd since it launched earlier this year. It is also included in Time Out’s Very Best of London 2009.

Take Request DJs will be rummaging through their 30,000+ song collection and guest DJs will be popping down to spin the tunes that are normally hard to get away with. From Abba to Lady Gaga; Jay-Z to ZZ Top, this will be an effervescent mix of old treats and new hybrids including Dalston Soul, Blingo Disco, and Champagne Pop.

The launch night has East End pop aficionado Prince Nelly and Circus door person and DJ Alexis Knox delving into their treasured archives to have the audience lip-syncing away as the bounce around like Mexican jumping beans.

Art performer and twisted showman Scottee and ‘tranny with a fanny’ Holestar will be overseeing the synchronised dancing, pop performances and competitions.

Jim Warboy is already established as a successful promoter that knows what a crowd wants. He currently co-promotes the hugely successful Caligula every Friday night at the Bathhouse. The night was picked out by MTV as ‘the London answer to Studio 54’ and sees massive queues of the fashion elite queuing every week to get in.

This new free entry night is the light-hearted round off to the weekend and a great way to party in the run up to Christmas.

I Love This Song – how could you not? You’ll be hooked.

I Love This Song is a weekly Sunday night party at Dalston Superstore celebrating everything pop with Take Request DJs, synchronised dancing, competitions and loads of glittering fun. Free Entry.

World Unknown

Thu, 05 Nov 2009 01:59:00 GMT

Here's a taste of what to expect - a free Andy Blake World Unknown mix:

Here's Andy's brief guide to potentially confusing sub-genres from the 1980s which will feature heavily at World Unknown:

cold wave: vaguely scary European synth pop and experimental instrumental stuff. Imagine Depeche Mode records sung in Polish by bands you've never heard of, and you're getting there.

synth-pop: imagine Depeche Mode records sung by Depeche Mode, and Blancmange and countless others including Simple Minds before they were shit.

italo: electronic disco from Italy, often with out of tune vocals in badly sung English

jacking acid house: nuff said - surely?

techno: kids from Detroit trying to make Ultravox b-sides.

electro: quite like techno but instead of going bmm, tsch, bmm, tsch it goes bmm, tsch, bmm, bmm, tsch

6th November

10 - 5

£5 before 12/£7 after

Arch 269
Coldharbour Lane,
Brixton,
SW9 8SE

WAX:ON 5th birthday/album launch tour

Sun, 01 Nov 2009 01:32:11 GMT

WAX:ON is one of the biggest nights in the UK, hosting events in major cities at home and away on the hedonistic haven Ibiza. This year, their Reclaim The Dancefloor night was one of the island's biggest succeses - as well received as their official aftershow party for Ibiza Rocks, so it's not really much of a surprise that they are branching out in to compilations. Their first release (and his first compilation album) is presented by Fake Blood and comes out on 16th December, with a second disc of party-starters from WAX:ON residents People Get Real.

To support the release of the Fake Blood album - and to celebrate its 5th birthday - WAX:ON will be hosting 5 events in 5 UK cities, with the man himself heading up the London date and a whole host of other great names (Sven Vath in Newcastle!) taking over the decks to get a bit Mr. Miyagi on yo'ass.

14TH NOVEMBER – SHEFFIELD O" Academy

ZANE LOWE // SKREAM //SCRATCH PERVERTS //DOORLY // ESKIMO TWINS

23:00 – 05:00 tickets £13 adv + bf

20TH NOVEMBER – LONDON – COMPILATION SERIES NO1: RELEASE PARTY:

FAKE BLOOD //BOY 8 BIT //DOORLY //SHACKLETON //RACK N RUIN VS KLOSE ONE

ESKIMO TWINS // PEOPLE GET REAL // MORE TBC

21ST NOVEMBER – BIRMINGHAM Custard Factory

AEROPLANE // JAMES LAVELLE // PEOPLE GET REAL // ESKIMO TWINS

22:00 – 05:00 £10 earlybirds

28TH NOVEMBER – LEEDS Stylus

BRODINSKI //AEROPLANE //MATT WALSH //THE COUNT & SINDEN // JACK BEATS

DOORLY // MUMDANCE //NERO

22:30 – 05:00 £15 ADV + bf

04TH DECEMBER – NEWCASTLE Digital

SVEN VATH // EROL ALKAN //DOORLY // ESKIMO TWINS // PEOPLE GET REAL

THE SONIC EMPORIUM

22:00 – 05:00 £15 ADV + bf

11TH DECEMBER - LONDON

TBC

Night Of The Living Bassheads

Tue, 27 Oct 2009 16:37:28 GMT

This year's Halloween is shaping up to be a great one for clubs as boils and ghouls get grossed up and hit the town to get even messier. One event that really caught my eye is Night Of The Living Bassheads, which sees two of London’s most fiendish bass party crews Hyponik and Greco-Roman soundclash to bring the underground out into the open for one night…

Who better to summon the undead for Greco-Roman than their very own lord of the swamp rave Drums of Death - the good Catholic Scotsman consumed by a voodoo curse and now destined to a life of destroying soundsystems and ravaging disco virgins - bringing his full live band to London for the first time. And Rob Da Bank knows a thing or two about zombies too, broadcasting his cult early-hours radio show to thousands of them and hosting Britain’s most notorious all-night festival Bestival. They come aided by Untold who has emerged from the dark depths of the underground over the last 6 months with his forward-thinking fusion of UK funky and dubstep, all accompanied by the infamous Greco-Roman Soundsystem.

But the good Hyponik fight back the Undead! Led by the world’s most fearless Dubstep footsoldier Rusko, backed in turn by the mighty Dub army that is Iration Steppas, whose monstrously heavy soundsystem has left many in their hometown of Leeds reeling, maimed for life, or sometimes just plain dead. Debruit fends off the demons early on with his live wonktronica while cult vinyl collector Jonny Trunk also sets the tone down in the vault with his weird collection of haunting spook-jazz. Hyponik DJs round off the proceedings with their selection of death-defying terror bass.

Playing host to this terrifying battle of the bass is the newly refurbished Plan B whose 24 hour license means the crews pledge to play until the last body drops, with the Graveyard Shift in the basement for all those too scared to ascend into daylight.

Be very, very afraid.

-- Kara Simsek

£12 on the door / £10 for zombies

£8 advance tickets from Ticketweb.co.uk or Phonica Records

www.hyponik.com / www.greco-roman.co.uk

Greco-Roman and Hyponik present

NIGHT OF THE LIVING BASSHEADS

Hallowe’en Soundclash, Saturday 31^st October

Plan B, 418 Brixton Road, London SW9 7AY / 02077330926

10pm ‘til the last body drops!

Rusko

Rob Da Bank

Drums of Death

(live London debut)

Iration Steppas

Untold

Greco-Roman Soundsystem

Debruit

Hyponik DJs

Night of the Dead - Tropical Soundclash!

Tue, 27 Oct 2009 15:46:06 GMT

In case yall were wondering, the Notion-endorsed Hallowe'en party is...

[Drum roll / unnecessary parenthetical paragraph break for suspense.]

Night of the Dead - Tropical Soundclash! Soundway vs Sofrito face-off!

*Applause*

We can barely contain ourselves. Sofrito is a super hip world music warehouse party fandango set of guys operating straight outta Hackney, while Soundway Records are a Brighton-based label purveying only the finest, most accomplished and commercially suicidal compilations of supremely amazing post-war music from around the world - taking in Panama, Colombia, Ghana and more.

Do you want to know how much we love them? Well, in issue 40 we ran a big feature when then Culture Editor and now Big Editor MCL wrote about Soundway's amazing compilation of cumbia and stuff, Panama!2. Then, er, in issue 41 we interviewed Quantic! Who was in the midst of compiling, of all things, Panama!3. And finally, in issue 42 we reviewed Tumbélé! [It's on page 81 of the reader, FYI] in the most glowing of terms: "it is colourful, varied, restless, and most of all - irresistable."

It's Tumbélé! which has bred this clubnight: Sofrito member Hugo Mendez was the compiler of Tumbélé for Soundway.

So, ah, see you down there, yah?

Moby at Ministry of Sound

Tue, 27 Oct 2009 13:47:02 GMT

Many scoff at Moby for making 'advert music' - perfectly fair - but it's good advert music, not shit like the Calgon jingle. This is why you should head to M.o.S on 14th November when Saturday Sessions presents Moby, plus Tom Middleton and Christian Smith taking control of the Box.

Over the past ten years, Moby has become one of the most iconic figures in the music industry for his unique style, having topped charts with hits such as ‘GO’ and ‘Raining Again’ he'll be spinning out a condensed mix of house and electro.

Tom Middleton will be doing what he does best, and pelting solid encrypted beats not for the fainthearted. Challenging a slightly more tribal take on sound, Middleton slices between tribal percussion and futuristic synths, meshing together a night of house music at its finest.

Spicing up The Box with forward-thinking techno is Christian Smith. With recent releases on Bedrock going straight into Beatport’s top ten techno chart, and a forthcoming single due to be released on his own label ‘Tronic’, Smith is one of the leading DJ/producers on today’s scene.

Saturday Sessions presents
Saturday 14th November - 23:00-07:00

Box:
Moby
Tom Middleton
Christian Smith

Bar:
Lottie
Idiot Proof
We’re Not Cool!

Loft:
Glovibes
Leonardo Glovibes
Sam aka DSM DJ
Julius
Emanuele Esposito
Micky Galliano

Baby Box:
Soul’d Skool
2 Good Souls
Jerry Frempong
Josh Watt
Ian Morbey
Mogsey

£15 Advance // £6 from 4am // Students £6 before midnight £10 After

Tickets available from:

www.ministryofsound.com/tickets

www.ticketweb.co.uk // 08700 600 100

Ministry of Sound Turns 18

Wed, 16 Sep 2009 15:06:42 GMT

Ministry of Sound is turning 18! If only it was turning 21 and based in Harringey, it could foster all the kids that keep getting overlooked and ‘rehomed’ with terrorists. Like a Dickensian workhouse but with a better soundsystem and less mutilations. But they aren’t, so get down to Lambeth next weekend for an 18th birthday party to remember!

Guests of honour Sasha and Nick Warren will be unwrapping some suitable party bangers from the Box, with MOS regulars providing banging house and electro in the Bar and Baby Box. Ministry is more than a club, it’s an institution known the world over – what better excuse to go venture down to E&C than its coming of age birthday!

Full line-up

Saturday 26th September

23:00-07:00

Saturday Sessions presents

The 18th Birthday

Box:

Sasha

Nick Warren

Bar:

Fred Falke

Lifelike

We’re Not Cool!

Loft:Twisted Audio

Sarah Rodin

Warren Mooney

Andy Newland
Stuart Wilkinson

Rich Weller

Baby Box:
The Cosmonauts

Ministry of Sound, 103 Gaunt Street, London, SE1 6DP

Nearest Tube: Elephant and Castle

£20 Advance // Limited Early Bird £15 // £6 from 4am // £6 Students All night

Tickets available from: www.ticketweb.co.uk // 08700 600 100

www.ministryofsound.com/club

--Kara Simsek

Birmingham celebrates Capsule�s 10th birthday, epicly

Mon, 07 Dec 2009 18:21:05 GMT

Birmingham’s most eclectic music curators celebrate a decade of adventurous music with a series of special gigs across the city. Capsule is behind the acclaimed annual art and music gathering Supersonic Festival, and are also curators of the unique cultural heritage project, Home of Metal, a celebration of the music that was created in the West Midlands, its legacy and influence across the world.

The city will host performances from some of the most groundbreaking international musicians, who have all played under Capsule’s auspices over the years, including cult doom outfit Sun O))), the thrilling Lightning Bolt, plus Modified Toy Orchestra, and Portishead’s Geoff Barrow, to name but a few.

The programme will also feature a series of exhibitions and workshops, with Capsule taking over the VIVID warehouse gallery space in Birmingham’s Digbeth, plus special performances at the Town Hall, Asylum venue in Hockley, and an afternoon of film and music by 7 Inch Cinema. Plus as a backdrop to the performances at Vivid, Capsule will delve deep into their archive exhibiting 10 years worth of flyers, photos and related ephemera.

Tuesday 8^th December

Lightning Bolt

Tweak Bird

Pete Prescription

Vivid, 140 Heath Mill Lane, Birmingham B9 4AR

Advanced Tickets http://www.theticketsellers.co.uk

The mighty Lightning Bolt will be performing an intimate gig in Vivid art gallery as part of Capsule’s 10^th birthday celebrations. This strictly limited capacity show re-lives the first time Lightning Bolt played for Capsule back in 2004 in what is now the theatre space of the Custard Factory. Nothing less than a thrill to witness, Tweak Bird’s heavy, progressive psychedelia has earned them a reputation as an exciting new live act. The man behind the world’s only and best Happy Hardcore covers band, Pete_Prescription completes the line up, expect Krautrock, melody, Noise or something else entirely.

www.laserbeast.com

www.myspace.com/tweakbird

www.myspace.com/misterprescription

Thursday 10^th December

Sunn 0)))

The Asylum, Hockley, Birmingham B19 3LS

Advanced Tickets http://www.theticketsellers.co.uk

Capsule’s favourite cult doom outfit Sunn 0))) will be performing their ‘Monoliths and Dimensions’ album, illusory, beautiful and not entirely linear Sunn 0))) have become one of the most important experimental acts in the world. Om provide support to create what should be a show rich in darkness and intensity.

www.myspace.com/thegrimmrobe

www.myspace.com/variationsontheme

Sunday 13^th December

Capsule and 7inch Cinema present:
Afternoon Tea – a light buffet with a healthy serving of films

Vivid, 140 Heath Mill Lane, Birmingham B9 4AR FREE Event

Almost since day one, 7 Inch Cinema have been crouching in a corner at Capsule gigs with a video projector gaffa-taped to a stool showing films of hairy men shouting and small dogs in space. To celebrate the grannies' remarkable and unexpected longevity they shall be gathering up some filmic highlights from the last decade and showing them at Vivid, alongside the customary mix of light snacks and word-searches.

Wednesday 16^th December
Beak> (Geoff Barrow – Portishead)
Einstellung
Thought Forms
Vivid, 140 Heath Mill Lane, Birmingham B9 4AR

Advanced Tickets http://www.theticketsellers.co.uk

BEAK> were formed in January 2009 by three Bristol musicians, Billy Fuller, Matt Williams and Geoff Barrow. Geoff Barrow is a musician and producer best known for forming and producing music group Portishead and part owner of the independent record label Invada Records . Einstellung blend glorious monotonous Krautrock with melodic tones and heavy slabs of Sabbath riffage, whilst finding time to declare sonic warfare on those tinnitus victims who have passed the point of no return.

http://www.myspace.com/beak2009

Thursday 17^th December
Capsule in collaboration with Created In Birmingham host
‘Knowing Me, Knowing You’

Vivid, 140 Heath Mill Lane, Birmingham B9 4AR

FREE Event

An informal get together of some of Birmingham’s most exciting creative talent, a chance to put a name to a face and find out what others are up to.

Saturday 19^th December

Capsule 10^th Birthday Closing Party
Modified Toy Orchestra

PCM
Calvados Beam Trio

Plus a selection of special guests

Vivid, 140 Heath Mill Lane, Birmingham B9 4AR

Advanced Tickets http://www.theticketsellers.co.uk

The closing party to Capsule’s 10^th birthday celebrations will see a gathering of some of Birmingham’s most mind blowing experimental live acts – paying tribute to the ten years of exciting, genre pushing music that Capsule have produced and provided a stage for. Modified Toy Orchestra are a collection of abandoned and reconstructed children’s electronic toys, conducted by a selection of musicians to create electronic music in a league of its own. PCM, the dark lords of drum n bass have long been key figures in the Midlands underground dance scene and firm Capsule favourites.

SGP Xmas Voyage: Best Festival Hosts What Is Likely To Be Best Christmas Party

Fri, 20 Nov 2009 18:23:02 GMT

The Secret Garden Party Christmas Voyage

December 12^th, HMS Ulysses aka The Troxy, London

Those ludicrously wonderful Head Gardeners are treating the folk of London to a hedonistic night of overindulgence aboard the HMS Ulysses in the way only the Secret Garden Party know how to properly nail.

We’re told to expect radical performances, big band swing, Rats Shooting Craps, Badger Bar Fighting, dance offs, Bearded Kitten’s Pick Pocket Wenches, magicians and conjurers, Turkish baths, life-drawing, science experiments, explorer tales and high-stakes poker aboard the HMS Ulysses.

As always they’ve rather sternly insisted on an outlandish dress-code that MUST be adhered to, this time ladies and gentlemen are required to embody Silly Fillies and Dilly Toffs, Futuristic Pirates, Ancient Sea Creatures from the Deep and Naval Officers from the Bridge.

No doubt the best parts of this evening of wonders aboard the HMS Ulysses will be the spontaneous, disorganized moments of disarray that are such an absorbing part of the Secret Garden Party’s shambolic image. With such excess, it’s the bits they leave out of the press release – the bits we make up for ourselves as we go – that will undoubtedly be the stuff of myth, shared over Martini cocktails between now and the main event next July.

Tickets are available at £45 for the Christmas Voyage via www.secretgardenparty.com, with the night setting sail at 10pm Saturday night and returning to port at 5am Sunday morning. Of course, it’s not really a ship… we must remind you of that, in case you’re worried about where the Dickens your passport is, fear not. What they’ve done is morph East London’s Troxy venue into an ocean liner for the night, turning every room there into a self-contained carnival while Rinôçérôse, The Correspondents, The Destroyers and Ta Mère play live in the main ballroom.

With smoke-billowing turrets and red carpets, all who sail on her will find themselves in first class luxury; the lure and lore of glitzy 1920’s elitism with all the frenzied atmosphere of the lower decks. With everybody dressed in their finest, and prepared to go down like ladies and gentlemen with their vessel, the party shall reach a climactic celebration of excess in the final few hours before dawn.

An Evening of Music and Comics with Dev Hynes

Tue, 03 Nov 2009 09:21:42 GMT

To celebrate the launch of the new Ctrl.Alt.Shift Unmasks Corruption anthology, the ICA’s annual Comica Festival is playing host to a very special event, which sees Dev Hynes (Lightspeed Champion / Test Icicles) performing material from his new project, Blood Orange, for this debut UK show.

Dev Hynes has collaborated as a judge and a contributor the Ctrl,Alt.Shift Unmasks Corruption comic anthology, a new comic book exploring corruption as a barrier to overcoming poverty, which is available to buy from November from all good comic retailers and www.ctrlaltshift.co.uk/unmaskscorruption.

Live support at the ICA comes from Erland & the Carnival, with their very own brand of folk-tinged, psyched up, fuzzed-out brilliance. Their bewitching sound is enriched by their unorthodox approach: they’ve played gigs at miniature railway stations, and their debut EP was individually re-recorded for each of its limited run, meaning no two copies were the same.

DJs include comic book contributor Woodrow Phoenix, plus some of London’s most exciting young DJs and promoters, including No Pain in Pop, Adventures in the Beetroot Field and more to be announced.

Profits from this live show and from sales of the 5,000 comics will go to Ctrl.Alt.Shift, the experimental youth initiative politicising a new generation of activists for social justice and global change. Using creativity, photography, film, stories, illustrations and music, it aims to give a voice to the silent majority.

An accompanying exhibition of the same name is running from 6 - 28 November at Lazarides Gallery in Soho, featuring an eclectic and powerful range of political stories created by some of the world’s best comic and graphic artists such as Dave McKean, Hunt Emerson, Paul O’Connell, Pat Mills, Peter Kuper, and Dan Goldman.

Comica hosts a full programme of talks, panel discussions, screenings and workshops at the ICA throughout November including a special Ctr.Alt.Shift panel exploring comics and politics.

Clapham Weekender, August Bank Holiday

Thu, 06 Aug 2009 16:36:15 GMT

August Bank Holiday weekend. The end of the summer. The final barrier between you and Christmas. It’s an annual pinnacle which deserves to be rammed full of as much late night wreckage as possible, after all, the next three day weekend is a depressing four months away!

Clapham Common will as usual play host to the Clapham Weekender on the 29th and 30th of August. Saturday’s South West Four will feature prog house masters Sasha & John Digweed, as well as David Guetta, Eric Prydz, Armin van Buuren, Richie Hawtin, Dubfire, Danny Howells, Nic Fanciulli, Mark Knight, Sander Kleinenberg, Markus Schulz, Timo Maas, and Steve Lawler.

Sunday sees Get Loaded in The Park, with live performances by Röyksopp, Peaches, Magnetic Man ft Scream and Benga, ‘Innerzone Orchestra’, Mpho, and Roni Size Reprazent will be making their only UK festival appearance. There will also be DJ sets from Crookers, MSTRKRFT, The Bloody Beetroots, The Count & Sinden and Chase & Status. All this packed in to 9 hours? Amazing!

Freakin’ Orbital are headlining! They apparently promise a spectacular new audio/visual show as darkness descends over SW4…Now, anyone who has seen Orbital before will tell you that they always deliver – what a great way to end the day!

No tents, no mud (probably), last Tube ride home, good times.

Tickets are still available for both days, with weekend tickets priced at £75. Day tickets for each event are £40. Visit www.ticketmaster.co.uk - 0844 847 2467

Kara Simsek

Nic Fanciulli presents Saved at Matter. Saturday 25th July.

Mon, 20 Jul 2009 14:44:51 GMT

Saved at Matter, Saturday 25^th July

Have a look at this beaut of an event, coming up this Saturday. A fantastic line-up on the turntables at Matter presented by Nic Fanciulli, to follow their series of sell-out gigs of 2009. The nice people at Matter have got a few limited advance tickets left, available at £8 from Ticketweb – enter TIGA as the promo code here: http://www.ticketweb.co.uk/user/?region=gb_london&query=detail&event=328702&inteface=matter

Check out the lineup and these lovely downloads, bound to get your ears in the mood for this weekend. This one really will be special, so have fun, and don't do anything we wouldn't do...

10pm-7am. £12 advance / Students £10 on the door.

ROOM 1: Tiga, Josh Wink, Nic Fanciulli, Matt Walsh, Andy Chatterley.

ROOM 2: Hosted by Black Rabbit. Duke Dumont, Yousef, and Guy Williams, with more TBC.

Recent mixes from Nic Fanciulli, Tiga & Matt Wash:

Nic Fanciulli Cocoon mix, available at http://rapidshare.com/files/250829748/cocoon_exclusive.mp3

Tracklist:

1: The Mole -'Acadian' - Original Mix

2: Kiki feat. Chela Simone - 'Good Voodoo' - Seth Troxler, Ryan Crosson & Lee Curtiss aka Visionquest remix

3: Sebo K - 'Sax' - Reboots twisted Fist rework

4: Andrade - 'Jamm' - Original Mix

5: Yaya - 'Fresca de l'Agua'

6: Josh Wink - 'Hypnoslave' - Nic Fanciulli remix

7: Change - 'Peace for Freaks'

8: Steve Mac - 'Hate'

9: Joris Voorn - 'We're All Clean Test'

10: Handy Craft - 'La folle du 6'

Tiga promo mix: http://www.turborecordings.com/media/tigamarchset60pt1.zip

Tracklist:

1. Zombie Nation - Worth It pt. 1 - UKW

2. ZZT - The Worm (Original Munich Version) - Turbo Recordings

3. Zoo Brazil & Adam Sky - Circle Jerk (Milano 309 Remixes) - Turbo

Recordings

4. Jonas Kopp - Cero - Ghostly

5. Proxy - Raven (Marseille Remix) - Turbo Recordings

6. Tiga - What You Need (Proxy Remix) - Different

7. Tiga - Overtime - Different

8. Phonogenic - Release the Dancer - Turbo Recordings

9. Guy J - Shaman - Turbo Recordings

10. Tiga - You Gonna Want Me (Tocadisco Remix) - Different

11. Mr. Oizo - Positif - Ed Banger

12. Tiga - Shoes (Mr. Oizo Remix) - Different

13. Tiga - What You Need – Different

Matt Walsh Fabric promo mix:

http://www.blackplastic.co.uk/storage/media/Matt%20Walsh%20-%20Fabric%20Podcast%20June%20200.mp3

Tracklist:

Remote - Public Service (Meanwhile)

Clouded Vision – Outside (Vox Accapella) (White)

Plein Soleil aka Chloe & Krikor - Casus Belli (Brontosaurus mix) (Kill The DJ)

Tucillo - Panorama (Kalabrese Mix) (Delusions of Grandeur‏)

Juan Maclean – Happy House (Audion Remix) (Dfa Records)

Abe Duque feat. Virginia - Following My Heart [DJ Hell Remix] (Process Recordings)

Monty Luke – Panik Attack (Mothership)

Daniel Steinberg - Cocolips (Heinrichs & Hirtenfellner Remix) (SUPDUB)

Tom Flynn - Zinga (UNO)

Julian Jewell - Marjo & Linda (Craft)

Noob – Da Brusse Test (White)

Alvaro - Ultimate Rise feat. Luxx (Seductive Remix) (Samsobeats)

Madkid – Bang Bang (Boka Records)

Deepgroove – Freya (White)

Okain, Thomas Muller - Somewhere Around Tristram (Bpitch Control)

Peaches – Lose You (Matt Walsh & Alex Jones Remix) (XL)

Twisted Licks presents Acoustic Ladyland. Cargo. Thursday 9th July.

Thu, 02 Jul 2009 17:01:01 GMT

Work is so dull, so mundane, the same old f*cking story. Occasionally something happens to momentarily brighten proceedings, but these incidences are few and far between.

And many people have it worse than us. Worse than waiting, waiting, waiting for something to happen from one day to the next. Some people wait YEARS for something to happen.

Finding two ‘team members’ f*cking on the boss’ desk. A pigeon flying into a window. ASBO kids throwing eggs at the building. The mail guy sh*tting his pants… etc.

We quite like the idea of a mouse chewing through someone’s computer wires and causing the whole network to crash. Yeah. That would be great.

Don’t get us wrong, we wouldn’t want business to seize forever. Just a week or so. Hmmm… does sabotage really work like in the movies or is it just a myth like the leprechaun?

Before we ponder that question, here’s a preview for the next Twisted Licks event.

This one will mark the album launch of a band Twisted Licks holds dear to its bosom: Acoustic Ladyland. It’ll be taking place on July 9th at Shoreditch venue Cargo.

Acoustic Ladyland will celebrate the release of their new album, the follow-up to the jazz/punk band’s critically acclaimed 2006 offering Skinny Gin, by headlining a bill featuring The Invisible and melodic experimentalists Grasscut.

Living With A Tiger marks a slight change in direction for Acoustic Ladyland, a four-piece who received the BBC Jazz Award for Best Band back in 2006.

We haven’t heard the album, but have been told to expect hip-hop and grime influences among the usual hardcore, avant-jazz offerings. Apparently, they’re f*cking great live, to boot.

The Invisible burst onto the scene with the release of their self-titled debut album earlier this year. It’s pop Jim, but not as we know it.

Actually, we haven’t heard them, but they’ve been compared to TV On The Radio and are very highly rated. Grasscut offer glitchy electro with stunning melodic vocals for a truly unique experience.

Now then; how much do mice cost in the pet shop these days?

Twisted Licks presents Acoustic Ladyland

Thursday 9th July

7pm – 11pm

Cargo, 83 Rivington Street,

London, EC2 3AY

Tickets: £10 (adv)

Ticketweb.Co.UK

Wilkkommen Records Mini Festival. Stanmer House, Brighton. July 5th.

Wed, 01 Jul 2009 16:06:29 GMT

God damn the sun!

It’s okay when you’re sitting in a garden with a crate of beer, a joint and a BBQ; the windows wide open and good time music blaring through (we’re thinking Wilbert Longmire’s 1978 classic: Sunny Side Up).

But sitting here at our desk, sweating like a self-conscious virgin in an Amsterdam whore-house, just doesn’t cut the mustard.

It’s horrible. Not least because we’ll have to endure two London buses and a London train home; which inevitably means burger wrappers and chicken bones on chairs, stinking and rotting the place out.

Not to mention the sweaty commuters, each prone to fits of outrage at the merest brush of contact. Each one more insane than the last. Buy beer; open beer; endure. It really is the only way.

Alas, for fans of Wilkkommen Records, we bring momentary cheer.

The label, featuring bands and artists that form the Wilkkommen Collective, will present a mini-festival with two stages at Stanmer House, Brighton, on July 5th.

Playing will be a artists signed to the label, including Ivor Novello nominated The Leisure Society, twelve piece post-folk orchestra Sons of Noel and Adrian, Peggy Sue and multi-instrumentalist Robert Stillman.

The festival, which was previously held at Charleston House, situated between Brighton and Eastbourne, will move into Stanmer House with the intention of more acts and bigger performances.

The Grade I listed building, erected in 1722, is situated in the middle of a stunning Sussex nature reserve and is just a 5-10 minute walk from Falmer train station, which is easily accessible from major train stations including London Victoria.

For full line-up and further info visit WilkkommenRecords.Co.UK

PUMA AND MODULAR @ THE PUMA STORE, BERLIN W/LADYHAWKE & HOT CHIP

Tue, 30 Jun 2009 13:17:03 GMT

Those of you in Berlin this week should consider the following: 1. in November, it will be 20 years since the Wall came down, presaging the end of the Cold War; 2. no, that is not a piece of the Wall you just bought from an 'interesting' looking man near Brandenburger Tor; 3. I don't care that he gave you a commemorative certificate of authenticity signed by Erich Mielke, Mielke wasn't in the habit of signing such things. You've been had. 4. Fun fact! Gorbachev actually thought that by opening the borders people would choose communism over the West. Bless 'im.

BUT MOST IMPORTANT OF ALL IS 5. Ladyhawke and ~~Jean-Luc Godard of French Cinema's nouvelle vague~~ Joe Goddard of Hot Chip shall be your sttylishly-clad DJesters for a night of chic amusements at the launch of Puma's Rudolf Dassler AW09 collection this coming Thursday in Berlin! Alongside them will be ~~rubbish early noughties baseball comedy with the then unknown Zach Braff~~ Berlin crew who are cooler than you Broken Hearts Club (You did the strike-through text gag already, get on with it. Ed.)

C'est magnifique! (Wrong country. You're fired. Ed.) Here are the important details:

PUMA AND MODULAR PRESENT
RUDOLF DASSLER AW09 LAUNCH PARTY
Thursday 2nd July 2009
@ The Puma Store
Tauentzienstrasse 18, Berlin

LADYHAWKE
HOT CHIP'S JOE GODDARD
BROKEN HEARTS CLUB [Ingrid, Niki and Conny]
MODULAR DJs

Look out for your Notion Fashion Crew there! They will incorporate: a man with one white eyebrow+lashes, presumably looking at his reflection in whatever shiny thing is around him; a loud, lovely colourful girl; and a man with an enormous afro, talking loudly. Go to the bottom of this post for some images to recognise them by.

[Your regular planetnotion editor is away, probably sat on a toilet somewhere reading the collected works of Charles Bukowski and occasionally swigging from a bottle of Dr Maudlin's Special Juniper Drink. Forgive the brief change in style, normal service will be resumed shortly.]

Le Cool presents Le Party w/Tim Ten Yen. Queen of Hoxton. June 10th.

Mon, 08 Jun 2009 13:47:48 GMT

How can people say that darts isn’t a sport?

You hear it all the time. People say: “look at the gut on that fat f*ck, this isn’t a sport. If it was a sport he’d be walking around like Jet Li”.

Thing is, we just played two games of table football, or foosball as it’s better known. Now, some people might say that, like darts, foosball isn’t a sport.

WRONG. Foosball is a sport. Our arse crack has that sweaty smell wafting from it, our pits are rising damp and our curly locks have gone all Einstein on our arse.

So DARTS and FOOSBALL are sports. Both are mentally and physically draining. Terribly so, truth be told. So let that be your first, second, third, fourth – or whatever – lesson of the day.

With school-time over, kids, we now bring you some exciting news about Le Cool presents Le Party at the Queen of Hoxton, London.

The night will feature a selection of DJs, acts and bands, currently hitting it big on the London scene (and beyond) right NOW. In addition, there will be drink giveaways, live arts, babes and bass.

Nice.

Playing on the night will be Terence Teh, Tom McCarthy and Alex Stevenson, who together make-up Patchwork Pirates, a DJ collective who have become one of the biggest names on the London circuit.

DJ duo Slutty Fringe will complete the DJ bill, following a mega year which saw them play with Little Boots and The Klaxons, as well as support Justice and throw their own East-End rave-up attended by over 800 people!

Soul-drenched folk band, Lulu and The Lampshades, are fast becoming big names on the London gig scene, swapping banter and instruments between infectious ditties, for a memorable live experience.

Completing the bill will be Tim Ten Yen, who falls into the kind of lounge-pop bracket. His debut album, Everything Beautiful Reminds Me Of You, received blinding reviews last year.

Plus, his MySpace credits Simon and Garfunkel live in Central Park as an inspiration, which automatically earns him a double positive from Planet Notion.

For further info on Le Cool presents Le Party, visit the Le Cool Facebook page.

Twisted Licks featuring James Yuill. The Macbeth. June 10th.

Tue, 02 Jun 2009 18:02:28 GMT

Today is sending us into a heavy state of lethargy and depression. For one, we spunked £6 on the horses in the hope of spicing up the day.

Scenario 1: our horse comes in and we head down the pub, worrying about the inevitable consequences tomorrow.

Scenario 2: we lose and feel crap for the remainder of the day, before spunking our money on another horse in the inane hope of regaining funds.

Munching Mike didn’t win. We’re as bad at gambling as we are at everything else in life:

Like writing, pulling and having just the one drink; being a civilized member of society who drinks in wine bars, dines in fine restaurants and visits galleries wearing a cravat.

Still, we have £7 left. Enough for a packet of king-skins, a cold can of lager and a packet of tobacco. And we have some of those little beers indoors, like the Australians drink in the movies.

If we were more careful with money, we’d be able to go to the next Twisted Licks event at The Macbeth on June 10th. It’s really good according to certain newspapers of national notoriety.

Playing on the night will be James Yuill. He’ll be playing a DJ set.

We’ve heard of James but we haven’t heard his music. We’ll add ‘being up-to-date with the latest music’ to the long list of things we’re crap at.

We gave his MySpace a listen, though. And we read his biography. Apparently he’s one of the best up-and-comers on the folktronica scene, which is a cross between folk and electro.

As a result, James’ music tends to kick off with music that makes people dance like retards (electro), before a nice bit of guitar comes in to accompany James’ vocals (folk).

Then the electro kicks back in over the top; hence folktronica. The result is a pleasant head-fuck. Like pulling a whitey while watching previews on the porno channel.

Making up the bill will be Run Toto Run.

Once again, we’ve heard of them. Once again, we can’t recall ever listening to their music. We do know that they have many fans and that, like James Yuill, they fit into the folktronica bracket.

We gave some music on their MySpace a listen and found their sound both pleasant and haunting. Mum’s Shepherd Pie was the same. Looked like something the dog had done; tasted delicious.

Finally, Bright Light Bright Light will be there. Here are some facts that we found out about him:

1) The Guardian described him as “a seriously good songwriter”.

2) He’s Welsh.

3) He has appeared at many festivals.

To round things off, Twisted Licks will welcome James Day as DJ on the night.

Twisted Licks feat. James Yuill

Wednesday 10th June

The Macbeth, 70 Hoxton Street,

London, N1 6LP

Tickets: £5 - TicketWeb.Co.UK

Elevator Music Launch @ Fabric

Mon, 18 Jan 2010 11:46:03 GMT

When Fabric launched their new and much anticipated Elevator Music album, the accompanying launch party was equally unmissable, with a selection of the featured artists throwing down in Room 3. Backed up by a positively glittering lineup in Room 2 and Numbers hosting Room 1, this is the first of hopefully many more Fabric nights focusing on the huge amount of forward thinking and innovative bass music filtering through from producers of all persuasions and musical backgrounds.

As a lover of all offshoots from 140 bass music my bias is already apparent as I’m eager to catch deep Berlin techno drenched sets from Sigha and Vista early on as we queue outside on the icy Farringdon pavement. Both deliver just that and as the club starts filling up it’s clear to see many people have taken advantage of the combined CD and ticket purchase offer.

We head upstairs to Room 3 to be greeted by an already packed dancefloor as Mosca gets things bubbling, closely followed by an improvised laptop set from xxxy which has to be a personal highlight, be sure to check his track “Sing With Us” on the Elevator Music album, this guy is set to make big moves in 2010.

Hudson Mohawke got Room 1 moving with a varied selection that somehow seemed fluid despite the difference of genres and tempos, switching effortlessly from crunked up post hip hop to half stepping bass rumblers with ease. When I’ve previously taken in a 2562 DJ set at fabric it’s been quite liquid and atmospheric but tonight there was no hint of that…charging percussive breaks and lasers really made Dutchman Dave Huismans’ set a ravey feel which was reflected in the throng of bodies crowding the dancefloor and the stage in Room 2.

Touching down for a peak time set in Numbers hosted Room 1, Todd “the God” Edwards supplied exactly what he’s so highly revered for – a feel good set of house and garage classics delivered with a beaming smile and the occasionally pause to throw out luminous crucifixes into the mass, toasted with Rinse FM regular Asbo on the mic, a welcome surprise for many.

After a frosty cigarette break we head back upstairs to catch Shortstuff and Untold who both impress, flawlessly fusing Funky, Grime, House, Dubstep and everything in between - showing that the new breed of electronic music producers from the UK are here to stay.

We head down to Room 2 to catch Bristolian Headhunter handing over the controls to Leeds-based Jack Sparrow, who shows he can still command the dancefloor at 5AM, dropping his remix of Pinch’s “Get Up” to cheers from a still strong crowd.

As we leave I find myself grinning… the future of underground electronic music in the UK is bright, and with the support of Fabric can only continue to grow and progress in the new decade.

--Jim Syte

Syte knows his dubstep! Get to know Syte at http://www.soundcloud.com/dj-syte and http://www.myspace.com/syteuk

Deadly Rhythm @ Plan B, Brixton: 24/10/09

Thu, 29 Oct 2009 16:47:26 GMT

Deadly Rhythm @ Plan B, Brixton: 24/10/09

South London's nightlife has always been a slightly touchy matter; a tussle between money grabbing pop/funky house bars/meat markets, and local promoters striving to bring forward thinking line ups, and more importantly, trying to provide a consistent crowd to keep both artists and club owners happy.

It's with this in mind that Plan B (the Venue, not rapper) should be commended for their constantly evolving music policy and high level of production ensuring we don't all have to mission it back from East London every weekend...

So it's was welcome news that last weekends reopening featuring enough names to make a few small festivals embarrassed continued the standard previously set.

I was there on Saturday where it was Deadly Rhythm's turn to provide a line up which including the British institution ( and mums favorite) Goldie, UK Garage legends Wookie and Sticky, Dubstep pioneer Plastician, mad future hip hop-step from Philadelphia's Starkey and deep techno infused Dubstep from SW2 resident Luke Envoy. The venue was (as you can imagine) packed, with all DJs on top form, highlighting the eclectic nature of dance music right now, as styles swapped and switched seamlessly throughout the night.

One criticism I had of Plan B previous incarnation was that it's main room layout meant that nights often felt slightly anti-climatic. Thankfully this has now been addressed, by moving the DJ both to ground level and isolating bar from dancefloor they've insured that the atmosphere remains intense, and no longer do you feel like you might be dancing in a que.

So all in all a welcome return for Plan B. Don't forget to check out future Deadly Rhythm line ups. including Kode 9, Zombie and Joker. AMAZE.

--Ben G8HAUS Gatehouse

--Image by Miles Dell

http://www.myspace.com/deadlyrhythmclub

http://www.plan-brixton.co.uk/

Trouble Vision's First Birthday

Sun, 25 Oct 2009 12:59:08 GMT

There were hoardes of disappointed people at Trouble Vision’s 1^st birthday… but those who were lucky enough to make it inside Corsica Studios for the sold out party had the night of their life!

Since the off, Trouble Vision has prided itself on hosting all that is big and up-and-coming within every genre of dance music Its small home’s massive sound system was the perfect fit for their eclectic line up that this time included heavyweights Shy FX, Plastician and Hannah Holland and as well as up and coming names such as Tomb Crew and Boy 8-Bit.

Clubbers as diverse as the music policy filled Corsica’s three rooms that offered drum n bass/dubstep/grime and house/techno, plus the chance to enjoy a surreal moment in the Silent Disco room with Dalston '90s RnB revivalists Work It! alongside Yo Mama and Trainspotter.

In the big room, Plastician was – as usual – totally mindblowing, unleashing some vicious wobbly basslines which made way for some relentless and sweaty skanking. The predominantly young crowd meant that perhaps the atmosphere was not as fun as it could have been - these yoots care too much about ‘being cool’.

Over the last year, as well as putting on rammed bi-monthly parties at Corsica Studios, the Trouble Vision team have also hosted rooms at Matter, Chew The Fat! at The Arches, Cargo and Dirty Canvas. What’s the odds that by the time their 2^nd birthday comes around they would have done even more? 2-1? Trouble or nothing!

-- Kara Simsek

Chew The Fat! at The Arches. March 27th.

Thu, 09 Apr 2009 14:44:35 GMT

Chew The Fat was made homeless by the closure of The End, so it’s relaunch at new south London club The Arches promised to be pretty spectacular. Welcoming new resident Foamo to the fold, they also promised a room of dubstep to go along with a main arena of electro.

This was my first venture to this new south London nightspot, and I must admit that in my opinion it is 100 times better than The End. Not only are the ceilings a decent height, but it has an amazing soundsystem, fantastic lighting, numerous bars and a decent smoking area. A night listening to the radio in a place this good would have made the £13 entry fee seem like a good deal, but a simple look over the line-up revealed it to be a total bargain!

The electro room’s atmosphere was – for need of a better word – electric. Hervé is probably the best DJ to play in London this year, playing exactly the tough techie electro that is surprisingly hard to find on a Friday night out. Everyone loved it, which is unusual in these fussy times, and it was great to see people having a great time instead of standing at the edge of the dancefloor trying to look ‘cool’. Of course, there was a handful of sceney waste of spaces there, but most people were casual Friday-nighters just enjoying a night out.

Sadly, the dub step room was shit. I didn’t even hear any dubstep in there and the atmosphere was tri pe. Such a shame considering the soundsystem available! As well as a bad atmosphere, I also had a bad taste in my mouth at the sight of some pudgy faced chav girl spontaneously grinding up on the stage like some sort of Pussycat Troll. Urgh!

Chew The Fat will now run monthly at The Arches, SE1. Next one is April 24th 2009. (link: TheFatClub.Com) Words: Apricotte Gold

Bedlam and Hedfuk. NYE 2008 - 2009. Hackney.

Tue, 06 Jan 2009 10:59:57 GMT

I’m not allowed to make decisions as I always ‘make the wrong one’. Like the single time my ex-boyfriend let me choose what we saw at the cinema and I opted for ‘Little Man’ (10 minutes in to the film he lent over to me and growled, “When this is over, I’m going to fucking kill you” - which to be fair made me enjoy it even more). So it was with great elation that my masterplan for this year’s New Years Eve was hailed as ‘the best choice’.

Needless to say, it was horrific and it is now cemented in more people’s minds than ever that I’m not to be trusted.

We welcomed in 2009 at a squat rave in Hackney, just off of Mare Street, run by the rigs ‘Hedfuk and Bedlam’. It was a Ronseal night - we got exactly what it says on the tin. The address was released on the party line at about 11.15, by midnight we were inside. Actually we just assumed it was midnight as we heard a countdown, but we heard that at least three times that night so who knows. The place was pretty empty and we set about exploring the kidnapped venue, a grubby ex-warehouse and office unit. The vast downstairs hosted a couple of makeshift bars, and bizarrely a stall offering tea and snacks, as well as a wall of speakers and some tinny techno that would sound better by default once there were more than fifty people in there.

Upstairs clearly used to be an office, but now what once would have been a 70s woodchip wallpaper hell was scarred with clumsy graffiti that made no sense whatsoever. I should have guessed right then that we had entered crackhead territory and got the hell out of there, but I made another bad decision to just do some laughing gas and not worry about it. This was the second biggest mistake of the night; the other being even going to a place called Hedfuk and Bedlam in the first place.

As I surveyed the space, which was playing some decent drum and bass – I spotted my friend ‘dancing funny’ with a woman. I danced over to join in, only to hear the cries, “She’s trying to steal my bag!” Sure enough, the ‘funny dancing’ was actually an attempt at escaping a crackheadette in an anorak! Like Paddington Bear if he swapped marmalade for gear! Her black shit stained talons were gripping my friend’s ‘genuine fake Chanel’, knuckles shining bright white through the ingrained dirt that comes from being a member of the junkie lowlife underclass, her yellowy fangs snapped wildly in our direction – yes, this crackhead was trying to bite and rob her simultaneously!

We pulled the bag away, put thoughts of what we might have caught from her saliva to the backs of our minds, and headed downstairs, grabbing a couple of our party on the way. After wrestling our way down the narrow single flight staircase, which had suddenly filled up with every diseased looking chav scumbag with pills to sell in the whole of London, we saw a pikey fist fight. They had their fists up, like a 1920s boxing match, and then galloped behind a curtain. One reappeared with no top on, quickly followed by the other who was covered in blood. It was then that I realised that this was completely real. What the fuck had I gotten us into this time? Was I by default a piece of shit for even wanting to go to this place - by knowing about it? There was no time for philosophy. We were encircled by more gypos, three of them threw my friend on the ground before running off.

It was now, after less than 2 hours in this abyss, that I suggested we left the lowlifes to it and went round the corner to Nuke Them All where it would be – and I can’t believe I’m saying this – normal. It took a good twenty minutes to leave the rave compound as hundreds of people clambered over one another trying to make their way in through a single doorway and big gorilla of a doorman. Amongst these people were more friends of mine who had received my ‘Come on, let’s go to a rave for New Years!’ call to arms. “Don’t go in there!” I begged. They wouldn’t listen. They spent the night hanging out with a couple of heroin smoking prostitutes. Then one of them got robbed at knifepoint.

Needless to say, I don’t think my opinion will count for shit this year. Words: Apricotte Gold

Clubland Goes To The Dogs! Pure at The Printworks!

Wed, 30 Jul 2008 17:37:03 GMT

Dog racing - the stomping ground of sullen old men in flat caps with John Smith's family recipe in hand - is not exactly the most obvious place you're likely to find this roving Notion reporter on a Friday night. However, after much bashing from crusty indie types spouting that "club land has gone to the dogs" and rock n roll is back and blah blah blah, one of the North West's mammoth clubbing havens has decided to bite back (no pun intended) and take off where the barnacled backsides of rock n roll have left off; by rustling up a media party that truly does take "Clubland to the dogs".

Under the watchful eye of Pure's party extraordinaire and resident dj Kriss Knight, we have been invited to a pre-club romp in the newly refurbed surroundings of Manchester's Belle Vue Dog Track. With the clubbing shoe temporarily off and the first race underway, I sense that lady-luck might not be on my side tonight, with both my dogs struggling to find form outside of 4th and 5th place. But fear not, the liquid-engineer has arrived bearing refreshments. After a foray of alcoholic delights the second race commences and my personal wealth diminishes further into the red. The evening progresses with much triumphant behaviour from those around, as the booze cruise inside my blood system thickens and my wallet thins out with every passing race.

When the final race is called I can't help but warm to the name "Ghetto Blaster", who unknowingly puts me a healthy £18 quid up by running in a strong second place for the final jaunt of the evening. Leaving no time to wet our beaks, our exuberant party-host quickly rallies up the troops (and my winnings) and together we make a b-line for the venga-bus. On board, we make our way to the "clubland" part of tonight's disco romp with Ministry of Sound, which promises to be a view from the different end of the country's rave landscape. But that's not before the entertaining insights into the outrageously strange world of Mr. Knights promotional activities, which includes the running of his club brands, Sex Toy and S.T.U.D, all of which lay witness to some additional extras, with stories circulating of a 4ft man dressed in drag, horses' head door staff and golden vibrators!?!

On arriving at the club, we are met by a friendly pack of bouncers and a lady who ushers us through to a champagne reception in one of the venue's very swanky VIP booths, which loom out over the busy dance floor. Back in 2006 the opening of Pure became a hot topic both in and outside the city as the new owners, Puregroup, were the same minds behind London's world renowned Heaven nightclub; a venue stooped in clubland heritage. Sizing up a venue worthy of "big things", the Puregroup directors found the perfect location nestled inside the city's entertainment complex – The Printworks.

Whilst the venue's exterior may not stretch your imagination for an evening of bass driven house, the interior does unravel the minds-eye to impressive proportions as I self-guide my way through seven - yes, that's seven - unique spaces. The main-room is king, with its Gatecrasher-styled amphitheatre and the housing of a £300,000 funktion-one sound system to fill the cavernous space with a mix of cross-over house, and electro anthems. Due to the venue's 2,500 capacity, the musical policy is as varied as is its bar stock, opening doors for a multitude of events to suit any TFI clubber. Over the last two years the club has welcomed packed out parties from Godskitchen and Cream to Hed Kandi and School Disco, whilst staging an assortment of week-day student-focused shindigs to make Benidorm look meek.

Whilst it can't be said that Pure is going to make Manchester the national icon in club land that it once was, it's fair to say that for an inhibition-free night of fun-packed entertainment, Pure ticks all the right boxes… especially when under Kriss Knight's watch ;) Words: Vass

Pure at The Printworks

Withy Grove

Manchester. M4 2BS

Visit: puremanchester.com

Friends and Family featuring Guilty Simpson

Wed, 20 Feb 2008 12:55:47 GMT

Friends & Family

Cargo

16 February 2008

A hip hop writer once told me a story. He was in New York City and making the obligatory trip to Fat Beats. While approaching that 6th Avenue mecca, he saw someone rapping outside the shop. A man with a veteran swagger propped up by a bag of records and a whole lot of attitude. It was Percee P. They chatted. My friend said how inspirational it felt to be face to face with hip hop – politicking with an emcee who put out his first record in 1988 and has hustled ever since, consistently raising his game and becoming a cornerstone of the underground.

Percee P’s still at it – his show at London’s Cargo peppered with tunes off his ‘Perseverance’ album – the title, he tells us, is just what he’s had to subscribe to. But on this particular evening, hip hop’s brave new world takes the stage too – another emcee who has guested on so many records and has his own, ‘Ode to the Guetto,’ coming out very soon. It’s Guilty Simpson, that Detroit stalwart who had the honour of working with the now-legendary Jay Dilla and is creating a sizeable buzz on the street.

His mic tactics are aggressive. He drops lyrics steeped in the grit of the city he’s grown up in, cushioned by that deliciously off-kilter production Detroit’s become renowned for. It’s a deep set – head nodding is deliberate, brows are furrowed. DJ House Shoes cues up beats that take you further into a blue-collar world, where the quest of success is a hard one, and explains the paucity of Simpson’s flow. He doesn’t have time to waste.

And while he’s doing his thing, Percee’s doing his – walking through the nodding heads and selling his CDs, chatting to the punters and continuing that guerrilla distribution campaign that’s taken him from the pavement outside Fat Beats Records to London’s Cargo.

It’s with a sigh of relief that these emcees bless the venue with such prowess – they cut through all of the jiggy commercial hip hop that pounds the airwaves and prove that, yes, hip hop’s got life in it yet.

WORDS: Helene Dancer - PHOTOGRAPHY: Ben Harris

AREA51 Launch Night

Fri, 08 Feb 2008 17:55:06 GMT

There was a definite buzz surrounding Manchester club AREA51 as the crowd grew outside. But then, who wouldn’t be excited about an evening with club giants Kissdafunk? Especially at the launch-night of a brand spanking new club…

The Manchester clubbing scene has always thrived; from the formidable emergence of The Warehouse Project (attracting the biggest DJ’s in the world) through to Sankeys; from dirty underground techno-dens to plush ‘super-clubs’; AREA51 fits snugly in-between – a venue people can visit every week to hear quality music – no mucking about!

The venue was formally known as the Emporia and has since had a massive regeneration and re-fit… From a first glance they’ve done an amazing job, giving the whole club an underground warehouse feel with two excellent sized rooms; not too big and not too small. This allows both rooms to generate a quality atmosphere at peak times. The best thing about the club though, is the sound system. I could immediately feel the base reverberating through my chest as I queued outside, and couldn’t wait to experience the full impact. Frankly, AREA51 didn’t disappoint.

The ground floor was rammed to capacity as soon as I entered, with resident Adam ‘Dangerous DJ’ Guy playing funked-up twisted-electro; whilst glamorous, fresh-faced punters, were drinking, dancing and getting down to the thumping beats within.

The first floor, a fair-sized room with the DJ to the right, was the first you enter; the atmosphere and buzz hitting in an instant. The back area held a well stocked bar, including top-quality cocktails and very helpful barstaff. As the music thumped-up through the massive speakers overlooking the dance floor, this was a perfect spot to catch your breath and take-in the full impact of AREA51.

The main room featured Rob Tissera playing sexy electro, house, and tech-tinged beats; the low ceilings creating a fantastic, intimate feel. On entering, the dancefloor was already rammed with punters ‘standing and pointing’ fingers in the air, creating the electric vibe we’ve come to know and love from Kissdafunk parties.

When the Trophy Twins graced the decks they didn’t disappoint. Playing right across the board, the lads effortlessly mixed house and electro beats seamlessly into techno, with Dubfires ‘Roadkill’ and a heavy dose of twisted-house thrown in for good measure. Their enthusiasm was infectious; genuinely creating an atmosphere to which the crowd fervently responded.

All in all AREA51 looks great and sounds great; you could still feel the vibrations a day later. Welcome to a new era of dance music in Manchester… Welcome to AREA51…

With loads of event going on weekly at AREA51 club check out the website for details www.area51club.co.uk

AREA51

2B, Whitworth Street,

Manchester, M1 5WZ

Words: Greg Felgate

Tidy Weekender 15

Tue, 29 Jan 2008 17:21:33 GMT

You can’t touch a dream, but you can certainly live a nightmare. Don’t believe me? Well you if you can imagine an episode of Jeremy Kyle fuelled by pills and soaked in faux-fur and neon then you can imagine Tidy Weekender 15. I however, do not have to imagine it, as I was there. As were 3,499 gurning morons.

Upon arrival at Pontins Prestatyn, we needed to double check that we had not stumbled across some sort of mutant zombie army base, as men and women of all shapes and sizes, unable to walk or speak coherently, staggered around wearing camo and face paints. They stumbled around in their droves, outstretched arms awkwardly gripping glow sticks and bottles of Smirnoff Ice or WKD. The pounding bass lines that resonated around Pontins – which resembled a scummy council estate, thus adding to the air of ‘it’s 9.25 a.m. on ITV’- subconsciously reeled them in to its hellish epicentre. Braindead and robotic, they obeyed their urges to consume more drugs and stand as close to the speakers as possible, and made haste to the main building, zig-zagging like crabs.

“That one must want to be unseen against a fence,” we observed, as a girl – having a WHALE of a time – muntered alongside the car, her acres of exposed skin the same colour as Ronseal, a packet of Mayfair crushed within her heaving mahogany cleavage. Still, with the weather as dire as it was for the majority of the weekend, perhaps fake tanning in waterproof varnish wasn’t such a bad idea. However, hot pants and bikini tops when you’re that size certainly is.

The weekend’s ‘festivities’ (also describable as ‘fucked-fest’) were split into ‘Boot Camp’, ‘Dirty’ and ‘School Romp’, all previous themes of past Tidy weekenders. Which explained our wonderment of ‘what is this barracks?’ as we arrived. Scene stalwarts Lisa Lashes, Anne Savage, Paul Glazby, BK and of course the Tidy Boys, played out the weekend’s soundtrack which was wholly indistinguishable from one hour to the next. Not that the saucer-eyed, lock-jawed crowd appeared to notice.

Admiring the ‘prestatutes’ merged seamlessly from voyeurism to apathy, just as the game of ‘are we the only ones here not on pills?’ lasted less than an hour as it became obvious that we were. Behind doors, lurking in corners, shuffling in groups with a combined IQ of 10, shouting from toilet cubicle to toilet cubicle that they are too screwed to piss, dancing alone facing a wall or being carried by paramedics, it was impossible to avoid the leagues of mindless chavs that had been transformed in to drooling, spasming mutants by the consumption of chemicals and cheap alcohol.

Spotting idiots who had lit the wrong ends of their cigarette was not as amusing as being on the wrong end of one. “Don’t look at her, she’s dirty, you’ll go blind” sneered one bulldogged face oik, prodding my friend. Whether this was due to her wearing black – a sin in this den of day-glo – or because they knew of her reputation was never established. Probably a mix. Another cretin, whose face hinted that his mother drank heavily whilst pregnant, shouted, “I’m not taking orders off you, you southern cunt!” after asking me if I could help him find the bar as he was unable to focus – despite wearing his spectacles.

Deciding to return to the chalet, we saw a girl who had so much UV paint on her face it looked like she had radioactive bulimia on a windy day. Suddenly, she screeched ‘Who wants to swap some MDMA for some ket’?’ Deciding to investigate, we stumbled across a chalet party. Hours had been spent decorating it with posters and lights – they had even brought a huge widescreen TV and XBox with them. We learnt that this set up was not unique – many chalets had their own decks, sound system and DJs, some of them also featuring on the main bill. It became clear that most of the partying was not going on in the arenas, but right here in the accommodation!

We were mingling well with the Tidy zombie types - well we were patiently listening to them talk about how many pills they had done and how much they love smoking a fag when they’re coming up - when one of them began vomiting what looked like bloody worms. It turned out that he had eaten the complimentary Pot Noodle left in the chalet – obvious when looking at the mess. At least the complimentary Tidy towel found a use.

Driving away from north Wales back to the real world where a line of speed and a honk on a Vics nose decongestant does not a breakfast make, I pondered TW16, scheduled for March 2009. Perhaps I’ll pack 80 pills, a pocket full of speed, 6 bottles of poppers, some furry boots and a thong and see if that makes it any better. Or I can go in there with a machine gun and shoot the fucking lot of them - House of The Dead: Prestatyn edition. Words: Emma Gritt. Photography: Claire Walsh.

Trojan vs Rawfuion

Tue, 29 Jan 2008 16:00:35 GMT

Trojan vs Rawfusion
Cargo, London
25 January 2008

If you haven't copped a sneak preview of Simbad's soon-to-be-released-in-the-UK-after-much-prevarication 'Supersonic Revelations' you have a treat of the highest order in store. It's an amazing journey to the outer limits of future soul, with all manner of stuttering, syncopated and dub-inflected joy in between. An interesting proposition to juxtapose this man against the mighty Trojan Soundsystem, renowned for its quality reggae output delivered with a veteran swagger.

Simbad, part of Mad Mat's Raw Fusion crew – the label putting out his debut – played a set steeped deep in the spirit of his album, with a bit of madness thrown into the mix. It was in his second set that he really found his groove, throwing in some filthy dub-step and deliciously off-kilter beats.

Interspersed, the Trojan boys did what they do best, digging up the requisite reggae flavour and attitude; but the leap between the two camps felt a little extreme. On their own, it was perfect, but together, it jarred. Collaboration can be a beautiful thing when it works, but when that's not the case, the set-up has the danger of coming across just a little diluted. Words: Helene Dancer

FM Belfast live @ HBK, 2.3.10

Tue, 09 Mar 2010 15:19:49 GMT

I had never encountered FM Belfast before, but after listening to one of their tracks on MySpace it didn't take me long to relate them to Metronomy, Cut copy and Lo-Fi-Fnk's sort of sounds.

Being French myself, I am a total buyist for all European electronica, so it only took me a minute to decide to go and see them at Hoxton Bar and Kitchen.

Being on my own is never really hard for me so I thought I'd go for the sake of being inquisitive and dance my night away. I skipped watching the first support act to try and socialise, drinking a pint of water at the bar and borrowing Rizla outside - but I didn't make any friends.

The second band ('Teeth') came on, warning a couple of girls that if they sat that close to the stage they would get their head kicked in. ‘Very cool ok,’ I grinned, but still, I was waiting for the Euro-amicable breath of fresh air that was gonna be the Icelandic synth pop from FM.

They came on stage and then I found out that yes, they did know "how to make friends" and they had a new one in the bag. I have seen a few bands in my time and I thought I was hard to impress but I soon understood why so many people attended that night - it wasn't for the raffle and the pair of tickets to win a trip to their native Iceland - it was to see the five piece band deliver an hour of pure performance.

I was agreeably surprised to see how much they had put together to show their fans some love. It was like an electropop cabaret, a true spectacle with choreography, a funny lighting mise-en-scene, various sick covers (Pump up the Jam - Welcome to the Jungle - Killing in the Name Of) and even confetti to end with. All the band members made sure they kept everyone attentive by interacting with the crowd and quickly everyone was having the best of times singing along and jumping about just like a nice big bunch of happy little mates.

Music-wise it was all I ever wanted to discover: contrary to their peers, the FM peeps don't sound all mountain cold but rather warm (and they keep the escapism theme tight in "It's Tropical"/”Par Avion"). Plus most of the boys in the band can adapt to a similar pitch to legends Bronski Beat and Corona.

I’m sure wasn't the only one to appreciate it all as as they left the stage, the whole room begged them back asking for 'more' - in Icelandic. The band provided an encore and everyone grabbed their chance to catch their last cute and catchy happy-go-lucky anthem, all hoping that FM Belfast will sail back down south the sooner, the better, for old friends' sake!

-- Ophelie Del Vecchio

Catch more of Ophie at http://dirtybones.blogspot.com/

FM Belfast @ HBK, 02.03.10

Tue, 09 Mar 2010 15:18:33 GMT

I had never encountered FM Belfast before, but after listening to one of their tracks on MySpace it didn't take me long to relate them to Metronomy, Cut copy and Lo-Fi-Fnk's sort of sounds.

Being French myself, I am a total buyist for all European electronica, so it only took me a minute to decide to go and see them at Hoxton Bar and Kitchen.

-- Ophelie Del Vecchio

Catch more of Ophie at http://dirtybones.blogspot.com/

REVIEW: Peaches @ Koko � 13-12-09

Wed, 16 Dec 2009 16:48:24 GMT

So, I’d never seen anyone play a song using frickin’ laser beams - until the Peaches set at Koko on Sunday. It was towards the end of the show, the lights were dimmed and three V-formations of green lasers shot up at the roof along the stage. Peaches was joined at either side by a band member, each behind their own eight-pronged laser V. Peaches would move her hand up and down a beam, seemingly adjusting the pitch and key of the bellowing electro beats. More impressive was the laser keyboarding and drumming to her left and right.

The Koko crowd was a healthy mix of loose cannons dancing idiotically and voyeurs leaning over the balconies watching and waiting for something to happen. Like more than a few others, I wanted to see if the 40-plus electro-punk pioneer could still kick it. A girl standing near me in the stairway puzzled ‘What’s a boiler’s ticket?’, after a depraved, miscreant of a boy questioned loudly whether Peaches was old enough to earn him his. And there’s definitely something disturbingly undignified about a 40-year-old woman attempting jumping splits off a bass drum on stage; but if you ask me, I think it really complimented the ‘pussy light’ glowing between her legs. The filth is still strong in Peaches.

The tunes selected from the latest album, I Feel Cream, were well received on the dance floor, as should be expected following production with Soulwax, Digitalism, Simian Mobile Disco and Drums of Death. As you might also expect, the performance peaked with classics like Fuck The Pain Away, Shake Yer Dix and that duo with Iggy Pop – they even projected a video of him onto a bedsheet which was held up by a roadie.

---David Wheeldon

REVIEW: TINCHY STRYDER @ SHEPHERD'S BUSH

Tue, 06 Oct 2009 18:34:44 GMT

Tinchy Stryder @ Shepherd’s Bush Empire on 25 September 09

“Why the fuck is he called Chipmunk?” Good question. Granted, he is short, but as far as I could tell he didn’t have overly long incisors, nor did his bullet proof vest like gilet conceal a furry torso. Then, glancing at the screaming girls that encased me from all sides of the Shepherds Bush Empire I could draw only one conclusion…. “They simply Alvin, Simon, Theodore him!”

And so it began, Tinchy Stryder’s homecoming gig, the final date of his national Catch 22 tour that saw him and support act Chipmunk welcome DJ Ironik, Taoi Cruz, Amelle from the Sugababes, Griminal and the Ruff Squad to the stage to help belt out a seemingly never ending stream of chart hits.

We thought ‘tings’ had got rowdy for Chipmunk (ears left ringing san diamonds sadly) – we were naïve. When the headliner appeared on stage, a giant silhouette against a billowing white curtain we entered the I-feel-like-a-chaperone-at-a-school-disco zone even deeper. Launching in to Stryderman, ‘If anyone can then Stryder can…’, my friend turned to me:

“Is he old enough to drink?”

“Love,” I replied. “I imagine the only people allowed to drink in here are us… and the mums and dads,” (who were already looking disinterested and more than a bit baffled by the Beatlemania reaction the pint size popstar from Bow had commanded).

So we had worked out that there’s a strong chance Strydercan’t get served (at least not without ID), but it was obvious that years spent MCing alongside more heavyweight names such as Wiley and Dizzee Rascal on pirate radio stations in east London had earned him some ferocious skills. It was for this reason that I was so surprised at the sheer lack of anyone ‘grimey’ at the event, and watched on bemused as girl no older than 14 piled upon one another to inch closer to the stage, others fainted and were dragged over the barriers, and others handed cups of water.

But, lo! What sight beyond yonder balcony break! It’s four spotty chavs that looked as if they had eaten so many e numbers and cans of supermarket own brand fizzy drink that they might take off! Transfixed, we observed them jerking like spastics in tracksuits. They conducted one another and the stage with podgy white arms, jabbing gun fingers at one another, hoodies slung over their shoulders for safe keeping.

But as the gig was part Tinchy Stryder gig part Tinchy Stryder selling Star In The Hood merchandise on stage like a TV evangelist flogging salvation for a $50 donation to his new Mercedes fund, a lost sweater wouldn’t have been a problem. You could buy a new one on the way out for £30, or a more elaborate one with rhinestones for more. How very money grabbing - you could almost say he’s put the ‘rap’ in ‘BRRRAP!’

--Kara Simsek

REVIEW: Warm presents Ame and Lil� Tony at Plastic People on Friday 21st August

Wed, 02 Sep 2009 11:35:39 GMT

Warm have been putting on acts from their artist agency on the third Thursday of the month at Plastic People for a while now, with the likes of Gerd Janson, Mark E, Horse Meat Disco, Prins Thomas and Will Saul all making an appearance. This month it was the turn of Ame’s Kristian Beyer to represent Berlin house imprint Innervisions and in the process provide me with one of the most enjoyable nights out I’ve had in a while.

Plastic People would have to feature highly on any list compiling the best clubs in London. Not for flashing lights, fancy décor or as a place to be seen, but for consistently quality line-ups, an excellent soundsystem and for stripping away a lot of the bullshit and pretensions that can ruin a decent night. It’s no frills clubbing at its finest, and when you get a couple of hundred people together in a small room who know their music and have a DJ playing as strong set as Kristian did, the stars align, the planets collide, the meaning of life is discovered – however you describe it, it just makes for a bloody good night.

Walking downstairs just before midnight I was faced with an almost empty dancefloor and questions from concerned friends wondering why no-one had showed up. Give it time I suggested, so we sat by the bar listening to Helsinki’s Lil’ Tony play some pleasant enough records, including Villalobos’s Enfants, that didn’t necessarily grab you by the throat and drag you to the floor, but made you think that in a couple of songs time it might be a good idea to think about converting that tapping foot into something more akin to actual dancing.

Half an hour later and the dancefloor was full, not over-crowded, but in true Goldielocks style just right. Beyer was on next, building upon the foundations laid by Lil’ Tony with a showcase of the multiple strands of house and techno that would last for the next few of hours. Acid squelches made way for piano riffs, acapellas announced the arrival of forgotten ‘90s house tracks, kettle drums provided an almost carnival like atmosphere. There was even a toe tentatively dipped into trance territory when the C2 remix of Stoned Autopilot by Martin Buttrich was played. Trance is a dirty word these days, but I confess I used to love it, so when something with a breakdown as epic as this record gets played I’m sent back to 1999 and am hugging anyone within range. And I’m not the only one. When the track finally drops elation breaks out, Kristian allows himself a little smile as 200 faces light up across the room and beam right back at him.

The final highlight came with George Morel’s classic track Let’s Groove on Strictly Rhythm. Once again I’m transported back over a decade by this slice of proto-speed garage, and the memories come flooding back of listening to Kiss when it used to be good and watching holiday reps vomit on each other in episodes of Ibiza Uncovered. And it’s great. Really, really great. Promoters take note, this is how going out should be. No bells, whistles, chrome, glitterballs, lazers, VIP areas or gyrating coke-head models are needed; all it takes is a dark room, one man, a box of good quality records and a set of decks to develop the perfect party atmosphere.

--Pete Jorgensen

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