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BEST OF BRITISH Every year DJ Mag hosts the Best Of British Awards — shining a light on UK talent on our own doorsteps. A counterpoint to the global Top 100 DJs poll, which has grown into an international phenomenon, the way the awards work is that the staff at DJ Mag HQ nominate five names for each category — Best DJ, Best Label etc. This is then put to a public vote, and the winners interviewed and profiled over the following 18 editorial pages. By now our star-studded Best Of British awards party at Egg LDN will have happened, with all the winners and nominees celebrating everything that’s great about the UK scene. Read on for who has received the accolades for this latest edition…

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BEST DJ OTHER NOMINEES DANIEL AVERY DJ HARVEY DJ EZ 24-HOUR PARTY-STARTER SASHA The UK garage pioneer who raised £60,000 for Cancer Research with his around-the-clock live stream had his biggest year yet in 2016...

rom his past on pirate radio to the arenas he’s Ever since his days on Kiss FM and mixing the ‘Pure He’s also hinted that he’s going to test his musical filling today, DJ EZ has gone from the face of UK Garage’ compilations, he’s served as the undisputed limits too. “I’m really into the music right now,” he garage to a world-famous brand almost in the flag-bearer of his chosen sound. However, subsequent explained when he appeared on the cover of DJ Mag F of a year. Boiler Room sessions and his acclaimed ‘Fabriclive last summer. “There are tracks that are made now that Part of this recent meteoric rise was down to his 71’ mix from 2013 saw him once again revisit the US sound quite similar to tracks I was playing early in my 24-hour set for Cancer Research earlier this year. house roots of garage too. While, prior to that, other career. That’s why I want to get digging. I also want to Watched all over the world, the marathon performance members of the garage community jumped onto show people my roots and where I come from. I guess raised £60,000 in funds for the charity. So how did , UK funky and during the genre’s more the kids see me in one light at the moment, going to a he manage it (and make it look so easy!)? “Watching fallow years, EZ had stayed true to it, instead exploring club or festival and hearing certain tracks.” the total figure raised was motivation in itself,” DJ his craft further with longer sets lasting up to 10 EZ told DJ Mag back in July. “Cancer Research rely hours. Rather than merely a trusted source for hearing It’s not just size that matters when it comes to DJ EZ on donations from the public, they don’t receive any the classic sound (through standard club sets, radio and his seemingly unstoppable mass appeal. A DJ with government funding, so every penny we raised would shows and compilations), he also became known for a magic touch, a catchy ident (“DJAY EE-ZED”) and help to save lives.” his unique approach to showcasing it in large settings more rhythm in a single index finger than many DJs A chance for the whole world to witness the DJ don’s supporting bigger and better production, raising the have in their entire fist, he’s a man with history and exceptional ability on the turntables — not to mention bar higher when it came to set-length. an expert ability to pick from an encyclopedic record stamina! — EZ stepped out of the immediate realms As a result, today he’s bigger than ever. Selling out collection. of his niche circle to connect with a whole arenas and festivals left, right and centre — including Ultimately, though, it’s a sense of energy and fun that new audience; the stream reaching the Facebook our 25 Years of DJ Mag arena show at The Rainbow sets EZ apart from others — something all-too-often feeds of friends of friends (of friends) as engagement Venues last November — these days he’s often name- missing from a scene occasionally overshadowed by snowballed and people of all walks got involved, and checked in the industry as the ‘hardest UK DJ to book’, overly serious DJ selectors. EZ is about the dance — thus caught a glimpse of this guy’s remarkable talent while there’s talk of him branching out with even and nobody does it better! ADAM SAVILLE as a party DJ. bigger plans for 2017.

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OTHER NOMINEES BEST PRODUCER MIDLAND MR. G LEON VYNEHALL BICEP OM UNIT

STRONG & FUNKY Despite not having one of their more prolific years, Irish duo Bicep have scooped the Best Producer gong... hough they’re not prolific, when Bicep little overwhelmed at the prospect. label) and ‘Seagulls’ — demonstrates not only release something new, it’s always going “The 808 State one was a bit of an honour to be their command of production techniques, but to be very good indeed. In 2016, between asked to do, equally daunting, as quite a few of their love of dance as a whole. Tintense touring, the duo of Andy Ferguson their tracks are untouchable,” admits Andy. “It and Matt McBriar turned their focus to remixing, took a long while to come together and we have That Bicep have grown from a blog bigging up putting a modern spin on several house classics lots of different versions, probably more than any their favourites across the board, to DJs and and making some new ones. other remix we have done. We played it on Boiler producers influenced by all the sounds they’ve The northern Irish crew’s take on 1997’s ‘Lovelee Room and got a great reaction, which eased the pushed via the site, is one of the most satisfying Dae’ by Blaze cast it in a percussive, bittersweet pressure a little, but we’re really happy with how musical success stories. The fact they’ve won the light, its bubbling and surging pads it ended up.” Best Of British award for Best Producer represents turning the New Jersey gem into a Balearic a vindication of their efforts over the past year. banger. Originally it was intended just for their In 2016, Bicep also remixed Brassica, an artist “It’s amazing to win best producers in the UK,” BBC Radio 1 . Yet they realised they they’ve championed since his track ‘Lydden Matt says. “Especially this year, with lots of great were onto a winner, and put it out through their Circuit’ appeared on their DJ Mag covermount new stuff coming out. We spent any time not Feel My Bicep label. CD, ‘We Love Space Sundays 2013’. They turned on tour in the studio, and it’s nice to get some “We had the acapella and just jammed over it in his tune ‘Tears I Can Afford’ into a bleeping, acid- recognition in the form of this award.” the studio,” says Matt. “We didn’t have enough dipped house treat. Brassica returned the favour After playing their third-ever live show at time to finish it for the mix, but ended up working with a great EP on their label, ‘Time Tunnel’. ’s Field Day festival last year, they’re on it and playing it out, and it got a great “We have been fans of Brassica for years and fired up with confidence for 2017. “It was a true reaction. We contacted Blaze and they were into always supported him on the blog,” Andy says. milestone in our career,” Matt enthuses. “Playing it, so we decided to stick it out.” “He stands out to us, as he makes very musical lots of new stuff and it going off really made tracks that never get boring. His sound definitely us happy, especially at a festival which is quite Another bona fide classic, 808 State’s 1991 is unique and one we love. The tunes are packed crossover.” monster ‘In Yer Face’ was also subject to the full of strong emotional content — for us he’s one And that long-mooted long-player might not be Bicep treatment, re-sprayed into a hands-aloft of the best producers around.” so far away after all. “Next up is the album and house beauty of metallic bass and gorgeous Their recent remixes add to a growing catalogue lots more live touring over the next year.” BEN chords. This track Bicep approached with a similar of burners, and their stylistic range — from the MURPHY reverence. Chuffed they were asked to remix the brain-dance of ‘Just’ to the Balearic group’s tune, the duo were initially a house of ‘Dahlia’ (with Hammer, who co-runs the djmag.com djmag.com 029 BEST OF BRITISH 2016

BEST LIVE ACT OTHER NOMINEES CRAZY P FLOATING POINTS PARANOID LONDON UNDERWORLD Pic: DAN WILTON

LIVE & KICKING The Dusky duo have put a lot of effort into going live lately, and their work has certainly paid off...

e’ve put a lot of blood, sweat and Originally progressive house act Solarity, Dusky “There’s a very direct sense of us interacting with the tears into the show, but we had no changed their name and style, creating a stir with their crowd, since we are playing and improvising elements idea how well it would be received, debut album, 2011’s ‘Stick By This’. While that record live, tailored to that particular performance,” Alfie says. “Wso to have this kind of validation is a touched on soul, dub and house, their later dancefloor “We also incorporate lots of new arrangements of our great feeling,” says Nick Harriman, one half of London burners ‘Flo Jam’ and ‘Nobody Else’ saw them attached records that are unique to the show.” electronic outfit Dusky. They’re chuffed to bag the to the sub bass-heavy house of the era. Best Live Act award. It’s a satisfying end to a year of Five years on from the debut, their new album ‘Outer’ In 2016, Dusky toured the world as DJs, while carefully significant changes for the duo, especially in regard to saw them leave their comfort zone, embarking into honing their live show. They played London gigs at their live performances. steelier terrain, and working with everyone Village Underground and Oval Space, while this year In the past they’d focused on DJing, though 2016 saw from synth-goth avatar Gary Numan to grime boss they’ll play live in the States for the first time. “2017 is them cross the threshold into the live music domain . Accordingly, they’ve gone one louder on their set to be a really busy year on that front, both with our too. And being Dusky, they weren’t content to simply live show, too. It’s engineered to be one of the most live show and with our DJ sets,” Nick notes. hide behind laptops and trigger their latest tracks. dazzling spectacles ’s seen since the Beyond their own work, Dusky have also made big in- Instead, Dusky’s new show is an elaborate affair, a heyday of Orbital or Leftfield. roads with their 17 Steps label. Their roster reflects the full production bristling with dazzling lights (a show Hooking up Ableton software to a MainStage rig, with a techier frequencies they’ve proffered of late, boasting created by Will Potts, who’s worked with Disclosure myriad of MIDI controllers, drum machines, synths and big dogs dBridge (in his 4/4-focused Velvit guise) and and TNGHT), and synapse-scrambling visuals from the outboard effects, Dusky give a hands-on performance, Trevino, plus newer names such as Christian Pears and respected Flat-E (who’ve worked with and with all the immediacy and spontaneity that results Otik. “We’ve got lots of music coming out on our label — Jamie Liddell). “All the music is synchronised to lights in the best live shows. For them, playing live is a from ourselves and from a load of other artists — that and visuals that are adapted to different venues. The conversation, and the crowd’s feedback can lead them we’re really excited about,” Alfie says. visual aspect is integral to the show. We don’t it in new directions, altering the tunes to reflect the Looks like all the effort’s paid off. BEN MURPHY would work without it,” Alfie Granger-Howell asserts. mood.

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BEST BREAKTHROUGH DJ OTHER NOMINEES DAX J DJ BARELY LEGAL SOLARDO FELIX DICKINSON SHANTI CELESTE SOLARDO ECLIPSE The high-energy tech-house sound of Solardo sees the pair awarded with the Breakthrough DJ accolade for 2016...

olardo, aka March Richards and James Eliot, are a thoroughly nu skool tech-house pairing, pushing a tough, high-octane S sound in both their productions and their revered DJ sets, and have been wowing ravers nationwide. They combine a work ethic that’s second to none, and their rapid rise to notoriety over the last 12 months has been nothing short of dizzying, garnering attention with a sound all of their own — and on some of the scenes biggest labels. “2016 has been completely and utterly insane from start to finish,” they explain to DJ Mag. “There’s been so many highlights we don’t know where to start. From , Hideout and to Max Chapman’s Resonance Records. But it was Sessions UK tour which is heading to 14 cities Glastonbury to making our Warehouse Project also help from the likes of — a friend of throughout January, February and March; loads room one debut, it’s been such a whirlwind.” Mark’s for 16 years — who began to support the of new music, including a follow-up EP on Hot Although no strangers to the music industry music they were making and to help get their Creations around March; we’re booked for loads prior to this recent success, it was a reconnection name out there. “He played a remix that we did of the major festivals around the world next between the pair after years of on and off contact for Nathan Barato on Kaluki Musik on his Radio 1 year, and expect to see us a lot at Elrow as well as that initiated their current pathway. Mark show,” Mark recalls. Kaluki tour dates; pushing our label, Sola, much Richards was prolific in the dubstep scene in the Fast forward through a 12-month period that more with monthly releases ready to go; and we’ll noughties as a producer/touring DJ, but it was has included them playing various be securing our first North and South American James (Eliot) that introduced him to tech-house sets, their own Solardo Secret Sessions series tour.” And... breathe. three years ago. “We thought that with James’ shows, various shows up and down the UK, as With a seemingly unstoppable future ahead, who knowledge of the scene and my production well as debuting at Elrow — and not forgetting a better to offer some words of advice to other knowledge, it would be cool to try making some #1 tech-house release — they now find ambitious up-and-coming DJs. “I think it’s very music together,” Mark says. They got their heads themselves winners of the Breakthrough DJ gong. important to completely believe in yourself and down, made music for six months and found a “To get this level of recognition from yourselves spend as much time focusing on your goals,” says direction. The name Solardo shortly followed and for nominating us and the public for voting for us Mark. “We pretty much dedicated our whole lives the focus shifted to getting their music signed is amazing. We just can’t thank you all enough,” for the last two years on making this all happen, and to DJ as a duo. they say. and we never lost sight of what we wanted to The now in-demand pair state: “It was Mark And so what does the future hold for Solardo — achieve. It’s also very important not to get Jenkyns from Hot Creations who first took notice is it as bright as the past year? In a word, yes. complacent in what you do. And lastly, one of the and got in touch saying that he was into the “We’ve got so much going on at the moment,” biggest pieces of advice I can give is just to be real music. He later went onto get our first EP signed they claim. “Firstly, we’ve got our Solardo and never forget who you are!” LEON CLARKSON

OTHER NOMINEES CRISTOPH BEST BREAKTHROUGH PRODUCER CONDUCT SUPPORTED BY MAFIA KISS THE SELECTOR RADIO DENIS SULTA ROSS FROM FRIENDS

Described by the label as an ‘emotional Buckfast SULTA OF THE EARTH banger’, it’s a druggy techno thumper with a After rich, melodic techno hits like ‘It’s swirling top-line squiggle and raw, reedy synths Only Real’ and ‘Nein Fortiate’, Denis Sulta’s that summed up the zeitgeist of the time. unique dancefloor sound connected with a Connecting with a fresh wave of discerning whole new generation of fresh clubbers in clubbers, name-checked by as a new 2016... artist to watch for 2016, Sulta quickly became a feature of the more informed house and techno umbers named Denis Sulta ’s man line-ups across the country throughout the year. of the year at of 2015. In 2016, he’s Then, November brought the follow-up ‘Nein stolen the ‘UK breakthrough producer of Fortiate’ to Numbers — and it set the bar even N the year’ title here at DJ Mag. What’s next higher. A delicate array of incisive crystalline year... the world’s greatest? synths, it cut through every dancefloor it hit After appearing with ‘Sulta Selects Vol. 1’ — a with its intelligent sensibility the juicy EP of dusty house jams — on Dixon Basement moment it started doing the rounds — and it still Avenue Jams (last year’s winners of the Best is. Breakthrough Label award) in 2014, Denis Sulta Sharp and inventive, Denis Sulta is without doubt (real name Hector Barbour) dropped ‘It’s Only Real’ the UK’s producer of the moment, something onto ’s Numbers imprint at the tail-end clearly reflected by your votes this year. However, of 2015 and, as you might have guessed, shit got it’s clear for all to see, he’s only just getting real. started. ADAM SAVILLE

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OTHER NOMINEES BEST ALBUM DOM & ROLAND ‘LAST REFUGE OF A SCOUNDREL’ (METALHEADZ) GOLD PANDA ‘GOOD LUCK & DO YOUR BEST’ (CITY SLANG) PANGAEA ‘IN DRUM PLAY’ (HESSLE AUDIO) LEON VYNEHALL YOUANDEWAN ‘THERE IS NO RIGHT TIME’ (AUS MUSIC) ‘ROJUS’ (RUNNING BACK)

WHEN IS AN ALBUM NOT AN ALBUM? Leon Vynehall didn’t set out to produce his ‘difficult second album’, and in the process mastered a beatific work with ease…

t’s perhaps worth noting that Leon Vynehall’s much-vaunted Running Back imprint, previously making my take on a straight-up club record and ‘Rojus’, DJ Mag’s Best Of British album of home to the likes of Theo Parrish. “Gerd and I I’m in clubs every weekend, so that was a point the year, isn’t strictly speaking an album at have known each other for a few years through of inspiration,” he goes on, but adds that it’s Iall. Vynehall himself has never considered DJing and sharing music, so it felt totally normal not so much other dance music that provides it as such. Apparently, with both ‘Rojus’ and its to then release with him,” Vynehall tells DJ Mag. the inspiration as much as the environment predecessor ‘Music For The Uninvited’, released “We had been talking about doing an EP for a he so often finds himself in. “ I’m listening on Martyn’s 3024 imprint, he never sat down with while, but when I started writing and sending to anything, it’s the old records I sample, or the intention of making an album. As the tracks him music for this, it quickly became a larger something completely removed from whatever emerged, they coalesced into what you might call project. I was in a bit of a purple patch.” style I’m writing. But I’d find myself in a very dull a lengthy recording. So there was none of that Purple patch is right. He’s found himself behind place if all I ever listened to was dance music.” ‘ second album’ pressure, then? the decks all over the planet, coast to coast Now there’s some between him and “Well, the first record did unexpectedly well. I across the US, and from Antwerp to Austin. He ‘Rojus’, he still feels happy with it. “I always look guess there was an expectation to live up to that, finally got a slot at Janson’s residency at Robert back and think things could have done things but the records had two different concepts and Johnson in , a set which was some years a little differently, but I don’t see anything structures, so I wasn’t consciously comparing in the organisation. “Gerd inviting me to play at abnormal about that. It’s only growth,” he says. them,” says the notably attention-shy producer. Robert Johnson after a couple years of trying to “I see records like time-stamps, so I wouldn’t “The only nerve-wracking part about writing is make dates work was great. It’s rare to feel so necessarily want to change anything. I’m creating something that lives up to my own self- at home in a club setting like that. Five hours in happy with the record as a whole. If I had the imposed standards. I’m my own harshest critic. there went by very quickly,” he says. opportunity to change parts of it this far down “I enjoy writing, so it’s fun, but it’s also Vynehall also got the chance to record an the line, I’d probably never stop or move on.” frustrating,” Leon continues. “Sometimes, trying Essential Mix, something of a career high. It even Next year holds “more writing, more gigging and to come up with the first initial idea can be taxing got shortlisted for Essential Mix Of The Year — a holiday”, he says. “I’m working on a larger-scale and exhausting and I tend to over-complicate. alongside Âme & Dixon, Dusky, Recondite and project for the next release. It’s taken a while But once the foundation is there, I just get Midland — and was DJ Mag’s pick of the bunch. to put together, but it will hopefully be done by my head into it and its those moments I really He says he was “very flattered” to find himself summer this year.” relish.” among the best of the year. Just don’t call it an album. Or maybe next time, we can. Either way, if it’s anything like his last This time around, the long-player that’s not It was perhaps this near-constant gigging which two, we’re in for something exceptional. an album came out courtesy of Gerd Janson’s most informed the record. “‘Rojus’ was about BEN ARNOLD djmag.com djmag.com 035 (FA)DJMag_UK_A4-sized_V10.pdf 1 13/12/16 4:34 PM

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OTHER NOMINEES BEST TRACK LEON VYNEHALL ‘BLUSH’ (RUNNING BACK) MR. G ‘TRANSIENT’ (BASS CULTURE) MIDLAND ‘FINAL CREDITS’ (REGRADED) ALAN FITZPATRICK SIR SPYRO ‘TOPPER TOP’ FEAT. TEDDY BUCKSHOT, LADY CHANN & KILLA P (DEEP MEDI MUSIK) ‘WE DO WHAT WE WANT’ (WE ARE THE BRAVE)

RENEGADE MASTER Alan Fitzpatrick’s techno/breakbeat bomb detonated dancefloors across the globe this year… t’s been quite a year for the UK techno don from Southampton. Undeniably one of the most hard-working names on the club circuit, it’s not enough that his DJing I schedule has continued to see him fly across borders and time-zones on a weekly basis, with the coming 12 months almost booked up already too. In 2016 he also found the energy to launch a new label, We Are The Brave, and set further plans into action involving another of his long-term passions — clothing and fashion. Focusing on the imprint, its inaugural offering grew from humble tune to become a defining track of the long, hot and now rather hazy summer. Since then it hasn’t really gone away either, and for very solid reasons. A unifying tech stomper guaranteed to detonate the floor, ‘We Do What We Want’ opens fire as it means to go on, with slamming kicks and a siren-like hook adding a weight and intensity most would normally associate with Alan Fitzpatrick, whilst the all-round vibe nods to more sun-soaked hedonism. Hence it dominating floors from Ibiza to Croatia, once its powerful rhythms were first heard. “People were videoing it when I was just demoing the track, before it even had a name. It then started to get shared on SoundCloud, I think someone had a rip of a DJ set or something, and it just blew up,” Fitzpatrick explains. “It wasn’t planned to be the first release or even to necessarily come out on We Are The Brave, it was just a track I did. “But because of the hype of it, we knew we had to get this out over the summer, so it just came out as a single track — the first on the label, on its own. I couldn’t ignore that level of demand for it, so we had to give it to people. It’s a lot different from my normal stuff, and not necessarily underground.”

Although primarily considered by most as a ‘proper DJ’, rather than producer, Fitzpatrick’s studio output has long garnered much respect, with several tunes featuring on his Fabric mix in early 2016. Alan’s sights are currently set on the completion of his much anticipated full-length release, which will hopefully be landing at some point in the coming year. “It’s nice to have this kind of accolade — I’ve never been nominated for tracks really,” Alan tells DJ Mag. “It’s good to know that you can be viewed in that regard as well — a producer at this kind of level. So that’s cool. I don’t know if I’ll be up for too many more Track Of The Year awards, most of my stuff is different to a lot of things that were in that category, but you never know — there may be another one of these tunes in there somewhere.”

Probably best not to hold your breath, mind, as Alan’s immediate future already looks busy enough to send anyone’s head spinning. “My diary is nearly full for the next year in terms of clubs and festivals, and we’re going to be doing more branded events too,” says Fitzpatrick. “I’ve got a live act, called Vertical Drop, which is kind of -esque, in a modern twist, kind of Special Request meets Prodigy meets Bizarre Inc — it sounds really good. “I still need to crack on with the album too, it’s just a case of finding the time to put aside — because touring has been mental,” he continues. “Hopefully at some point in 2017 I’ll have something to put out on We Are The Brave. At the moment it’s hectic, but I’m not complaining — it’s still paying the mortgage, so all good.” MARTIN GUTTRIDGE-HEWITT djmag.com djmag.com 037 VOTED “BEST SCHOOL” - DJ MAG TAKE A TOUR OF OUR NEW STUDIO COMPLEX

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OTHER NOMINEES BEST LABEL RECORDS FUTUREBOOGIE METALHEADZ KNEE DEEP IN SOUND PUNKS

UP TO ITS EYEBALLS ’s Knee Deep In Sound label is up to its eyeballs in quality … nee Deep doesn’t really cover it. In fact, a pretty approachable person, and I was getting I really enjoyed our Emanuel Satie EP too, and Daley Padley, aka Hot Since 82, is arguably tons of USBs in the clubs, people handing them to the Nick Curly EP. Originally, the emphasis of the drowning in new music. He reckons he gets me, and I was spending a lot of time getting back label was to debut new artists, but as the quality K somewhere in the region of 200 emails per to people. I just thought, ‘Why not set a label up?’ of the releases has got higher, we’re now getting day to the demo address of Knee Deep In Sound, It’s the same emphasis now.” established artists sending us a lot of music.” the label he set up three years ago, and which has So how much of that music is, to be polite, been voted the Best British Label this year. ‘useable’? “I’ll be brutally honest,” he says. As of next year, he’s going to try and focus on a DJ Mag asks him to repeat the figure. And yep, it’s “One percent. The demo email also redirects to small group of key artists on the label, likely to definitely 200, or more, every day. However much my personal address, so I see all these coming include Geordie producer Christopher Costigan, you might want to bring through new artists and in. I’ve got a weird knack of knowing what’s aka Cristoph, who turned out a mini-album nurture new talent — and that’s indeed why he good now. Sometimes it’s the way the email is for the label, in its series called ‘8-Track’, last started the label in the first place — volume like presented, the links, even the grammar. I know October. “Cristoph has become a firm favourite,” that presents something of a unique challenge. it’s kind of anal, but I now just know. But then I he adds. “He’s done a phenomenal job, and “The emphasis this year has been to push the work in mysterious ways. My manager will tell you he’s a lovely lad. But we’re now looking for the label,” he says, while out walking his dog. “I do that. Some people send in some really strange next producer to make the next ‘8-Track’. It’s all the A&R myself. There’s no one else doing stuff. Trap music and all sorts, though it’s nice becoming rather challenging because the bar is it. Obviously, with my touring schedule, it’s that people feel free to send me that stuff as well. so high now. I have an idea who it will be, but I’m challenging at times. But if I didn’t enjoy it, I I do like all kinds of music. But our sound on the not telling you!” wouldn’t have set the label up to start with.” label is quite niche.” Also in the pipe is a track by Slovenian duo Veerus and Maxie Devine, and an EP from Serge Devant, While there are many labels that serve the This year has seen a glut of releases, from the both of which he’s very excited about. “This year purpose of being an ego massage for their likes of Santé, aka producer Philipp Maier, it’s going to be quality over quantity,” he says. originators — a way of putting their own Cristoph, and Wehhba. But the biggest of the “And it’s all about nurturing people in the way productions out unchecked — that was not the year, Padley says, has been OC & Verde’s brooding that I was, I guess.” purpose of Knee Deep In Sound. “The label was ‘Maasai’. It scored the label an Essential New Tune And if they all turn out anything like the success never really an outlet for my own music,” says from Danny Howard and big support from Pete of the label boss himself, he’ll be on to a winner. Padley. “I was quite content with the labels I Tong on BBC Radio 1. “The lads sat on the tracks BEN ARNOLD was putting out with already. I like to think I’m for quite some time, wondering ‘Does it work?’. djmag.com djmag.com 039 BEST OF BRITISH 2016

OTHER NOMINEES BEST REMIX ISAAC TICHAUER ‘HIGHER LEVEL (BICEP REMIX)’ MAT PLAYFORD ‘ISON (PAUL WOOLFORD REMIX)’ NASTY HABITS ’SHADOW BOXING (OM UNIT VIP)’ LEE WALKER “FREAK LIKE ME” PBR STREETGANG ’12.32 (FORT ROMEAU REMIX)’ DJ DEEON VS LEE WALKER REMIX FREAKIN’ AMAZING When Lee Walker knocked up a reworking of a 20-year-old track, he never thought it would take off quite how it did… s Shakespeare very nearly Carola, who began hammering it at said, the course of clearing a his Music On night at , Ibiza. sample never did run smooth. The likes of Dixon, Disclosure and A Such was very much the also got in touch to get case with Middlesborough lad Lee hold of it. Clearly Walker was onto Walker’s cunning reworking of ghetto something, so through a friend, he house don DJ Deeon’s mucky 1996 got it in front of the head of A&R at underground anthem, ‘Freak Like Me’. Defected. It took all of ten minutes It all started very innocently. “I heard to sign it, but a shade longer to get it the original version in a Ben Klock out there legit. set that my friend tagged me in on “When you see tracks in the charts Facebook,” he says. “And I just loved and they’ve clearly sampled someone, the vocal. I knew immediately what I but not credited them, that just could do with it. It flowed so quickly, doesn’t sit right with me. And it didn’t it took about an hour to lay it all out. sit right with Defected either, so we But I didn’t for a moment think it tried really hard to get Deeon on would get signed.” board. It took about four months to But get signed it did. He put it up as get it all ironed out,” he says. a free download on his Soundcloud But suffice to say things took off for page. Soon enough, Deeon’s Walker almost instantly. “It’s been management were asking if he huge. Ridiculous. Before this, I was wouldn’t mind removing it (Walker toiling away for ten years making uses the phrase “all guns blazing”), music. That takes its toll. But I played what with the copyright issues and gigs in Ibiza for the first time in my all, but it had already fallen into the life this year. Before, I could never hands of a few DJs, notably Marco afford to go.” BEN ARNOLD

OTHER NOMINEES BEST COMPILATION DARIUS SYROSSIAN ‘BALANCE PRES. DO NOT SLEEP’ SAM DIVINE ‘DEFECTED PRES. SAM DIVINE IN THE HOUSE’ TIM GREEN ‘BODY LANGUAGE VOL.18’ (GET PHYSICAL) ‘REMIXED WITH LOVE BY JOEY NEGRO VOL.2’ VARIOUS ‘20 YEARS OF FREERANGE’ Z RECORDS

amazing orchestration and other musical FEEL THE LOVE parts many of the productions from this era Rammed with /soul re-edits, contain, some of which are buried deep in the this unmixed compilations is one of mix on the originals,” Dave says. “Also, once his best-received works yet... you’ve done the remix, another big hurdle is emixer extraordinaire Joey Negro is getting it cleared so you can release it. It can be in love with disco and soul. The man time-consuming, expensive and long-winded, who — on the rare occasions he’s not but the upside of that is not many other people R DJing, producing or running his label can be bothered even trying to put this sort of Z Records — goes by the name Dave Lee has project together.” dedicated his life to proselytising for the . As well as releasing house music material under Dave is chuffed to have won the award for pseudonyms including Sunburst Band, Raven Best Compilation, and says it’s one of his Maize and Jakatta, he’s put a lot of his energies best-received records. “It’s great to receive into remixing or releasing bygone dance gems any award, as long as it’s not worst or most — the sound he first discovered as a youth in embarrassing!” he chuckles. the late ’70s. So the series of remix collections He’s already working on a third he’s put together lately, as the titles suggest, volume of the series, and in 2017 represent the realisation of his life’s greatest has two more intriguing records passion. in the works. “I’ve got my new artist LP finished, that will be out ‘Remixed With Love Vol.2’ is a worthy winner of early this year — 15 or so new Best Compilation, packed with incredible new disco/ , no samples takes on gems from the familiar ( and guest appearances from ‘I Love Music’) to the surprising (Christopher Melba Moore, Linda Clifford, Gwen Cross’s AOR corker ‘Ride Like The Wind’). Using Guthrie and a few others. I’ve the original master tapes, Dave painstakingly also put together a comp of pure restructured the tracks, teasing out elements old school electro like Newcleus, that had criminally been lost low in the mix. Hashim and some lesser-known “One of the main criteria is utilising the cuts.” BEN MURPHY

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OTHER NOMINEES BEST BREAKTHROUGH LABEL CIN CIN COYOTE RECORDS RHYTHM SECTION INTERNATIONAL 20/20 LDN SANS ABSENCE VISION ON 20/20 LDN, the label run by drum & bass dons Ivy Lab, have scooped the Best Breakthrough label award this time around... hen DJ Mag calls up drum material, 20/20 LDN has since & bass trio Ivy Lab to reveal flourished (as has the half-time scene that their 20/20 LDN itself), with EPs from rising producers W imprint has scooped Best Deft and Shield dropping during 2016. Breakthrough Label, they’re chuffed Then at the end of the year, the label to say the least (the exact response released an outstanding various artists runs somewhere along the lines of a compilation, showcasing the huge disbelieving ‘eff off!’). Here at DJ Mag, array of talent and experimentation however, it’s not hard to understand coming through within the scene. why you, the public, voted for the “I think we have this symbiotic label in droves. Established in 2015, relationship with the States where following the success of the outfit’s we’re both kind of doing the same 20/20 club night, it has become a thing but with different lineages — haven for bass music hybridisation. we’re obviously coming from drum & “The club-night started as we had bass, America is coming from dubstep, a vision — hence the name 20/20 post-trap,” says Halogenix. “The whole — of this whole half-time, future V/A thing is our opportunity to shout beats, drum & bass crossover stuff about up-and-coming people and also and wanted to make a home for it,” people that are operating outside of explains Halogenix, one-third of Ivy our crew.” Lab alongside Sabre and Stray. “We just With the events making the step up thought, ‘Let’s turn this into a label to to Friday nights, EPs on the way from put our own stuff out on and give us a Ivy Lab, Deft and Havelock and a third platform to shout about other people various artists album on way, 20/20 who are also doing stuff in a similar LDN is going to be a permanent fixture vein’.” in the underground landscape for a Opening with an album of Ivy Lab long time to come. BEN HINDLE

OTHER NOMINEES BEST RADIO SHOW DEBONAIR, NTS DUB PHIZIX & STRATEGY, BBC RADIO 1 HESSLE AUDIO SHOW, RINSE FM HORSE MEAT DISCO MARY ANNE HOBBS, BBC RADIO 6MUSIC RINSE FM DISCO DADDIOS The Horse Meat Disco crew have deservedly been voted Best Radio Show for their discoid selections on Rinse…

hen we call Luke Howard and James Hilliard, the duo behind Horse Meat Disco’s weekly Sunday Rinse FM show, they sound as W chuffed and surprised to have won Best Radio Show as they were when they were first asked to come aboard the station three years ago. “All the different genres they give exposure to, including what we do, it feels like they really respect music above and beyond anyone else broadcasting on an FM in London,” says Luke, emphasising how much the station has supported them, while letting them get on with what they do. “To be honest I buy more stuff for the radio now than I do for clubs,” adds James. “Sometimes I’ll just pick their time between Output and Cielo. “It’s beyond our innings,” admits Luke, citing the loss of influences a random seller and go through his entire list on wildest dreams to have success in America, considering from Prince to , as well as personal YouTube. Then a few hundred pounds later…” it’s where we’ve taken most of our musical cues from,” bereavements. This and a worrying political climate With Tony Humphries, Jellybean Benitez, Maurice says James. “It feels a bit strange, like selling Eskimos have made Horse Meat’s sounds more vital than ever, Fulton, The Carry Nation and Greg Belson — partly the snow.” their crowd mixing twenty-something clubbers with inspiration for their section ‘The Gospel According To They’ve also dusted off an album of songs and ideas dancers of their own generation. “It’s really nice to Luke & James’ — having all guested at their original written with the extended Horse Meat crew, including see people singing along to songs that you know are home of The Eagle, Horse Meat have kept the home Severino and Jim Stanton, which Luke Solomon is older than they are,” says Luke, reflecting on how lucky fires burning from to , including their helping them craft into a project likely to bear fruit they are to have taken the vibe of a small gay club that legendary NYC Downlow at Glastonbury. But they now next year. started 13 years ago to parties around the world. “You also have a monthly residency in New York, splitting “Last year it did seem like the grim reaper had a good know it’s timeless music.” JOE ROBERTS djmag.com djmag.com 041 Untitled-1 1 14/11/2016 12:09 BEST OF BRITISH 2016

OTHER NOMINEES BEST RESIDENT DJ JANE FITZ, FREE ROTATION JASPER JAMES, PHONOX LAUREN LO SUNG, TRMNL CRAIG RICHARDS (FABRIC) SLAM, PRESSURE RESIDENT INDIVIDUAL Craig Richards, Fabric’s inaugural and continuing resident DJ (alongside Terry Francis), has been voted Best Resident DJ in this year’s awards...

hen DJ Mag talks to Craig Richards about his Best Resident DJ award win, W he’s just arrived home from playing The Electric Pickle in . He’s frantically packing his suitcase to fly to Oslo to play Jaegar, before returning to London to play Fabric’s second #saveourculture night at Great Suffolk St Warehouse. But, of course, Fabric no DANNY SEATON Pic: DANNY longer needs saving, and Richards will be returning to his Saturday residency in to be resident at a club he’s played time slots, it’s really allowed me to keep talking. “I can’t take any credit, as the early January. It’s something he says he alongside legends like Moritz von it moving.” inspiration came from my record box,” he cannot wait for. “It’s been horrible,” he Ozwald, Octave One and , but Richards’ official title is Musical Director, explains. “I’m constantly hunting down says of Fabric’s closure. “The longest I’ve it’s the freedom he’s been given there meaning he invites many of the artists to and gathering new music every week. been away since starting in 1999 is two that defines it. “It’s been more than play the venue. He famously first booked I’m 50 now, so if I wasn’t still really into weeks, so I’ll be interested to see if I can just me spinning tunes,” he explains. at Fabric, whose this I wouldn’t still be doing it. I might play my first set without bursting into “Although I’m resident, I haven’t just sets at EC1 have become something be turning up on a mobility scooter with tears. It will be very emotional.” been warming up. By being able to move of legend. But Richards is very much the records attached eventually!” ROB Richards says it’s a continuing honour around three rooms and do different the anti-star, and lets his music do the McCALLUM

OTHER NOMINEES BEST MC ED SCISSOR KILLA P OCEAN WISDOM LADY LESHURR TRIM

There aren’t many grime shows MIC CONTROLLER where you might be hit in the face EXTRAORDINAIRE with a rogue toothbrush, but that’s a After Skepta’s victory last Leshurr performance for you — where time around, Lady Leshurr a rendition of the “brush your teeth!” hook from ‘Queen’s Speech 4’ might has been voted the Best MC see you going home with a brand new at the latest Best Of British Oral B wand. Though it’s not just dental awards… hygiene that figure in her bars; she tackles everything from pop culture to lthough 2016 has been another downright savagery: “I’ll upload a pic banner year for grime in the of your dog and sell it on Gumtree”. mainstream, with classic- When we reached out to the MC to see A albums-to-be appearing every if she could answer some questions other day, one of the more curious about her year, she was at the airport, aspects of the scene is the lack of stepping onto a flight as part of a female voices. But don’t call Melesha heavy tour schedule that her 2016 O’Garro a ‘female MC’. Her expressive has involved. Like many of her fellow and idiosyncratic flow stands out spitters, she spent last year shutting from a wealth of testosterone-fuelled down the other side of the Atlantic in spitters in grime’s current incarnation. places like LA, New Orleans, Miami and The Birmingham MC has been dropping New York. mixtapes since ‘09, but it was her These past 12 months have also seen ‘Queen’s Speech’ series that saw her her lock horns with grime godfather setting YouTube alight, millions of plays Wiley on ‘Where Are You Now?’ and at a time. Garnering attention for her release the sixth in her regal-themed razor-sharp wordplay and eye-catching series, sampling Big Brother’s Nikki performances, Lady Leshurr’s brand of Grahame as part of her flow. With that punchline-thick rap quickly exploded in mind, there’s little doubt that 2017 onto our radar — rightly earning her a will be reigned over by this Brummie MOBO at last year’s awards. queen of the scene. FELICITY MARTIN djmag.com djmag.com 043 BEST OF BRITISH 2016

BEST DANCE FESTIVAL OTHER NOMINEES BLOC HOSPITALITY IN THE PARK THE SOCIAL JUNCTION 2 SW4

SOCIALISM IN THE MAINLINE The Maidstone festival, fronted by Nic Fanciulli, has gone from strength to strength over the past few years, and has now been voted Best Dance Festival...

s there another British festival out there as and attendees have the best time they possibly can What can we expect from The Social in 2017? Well, a ambitious in its aspirations as The Social? If there is The Social’s simple answer. Seeking to provide a whole lot in terms of expansion, with Nic revealing that is, we’re yet to hear about it, as the Maidstone- platform for some of the scene’s most entertaining the festival will be spreading its wings and expanding I based gathering continues to gain momentum. artists to share their talents with music lovers is its its reach far beyond the Garden of in the new primary objective, and whilst that may sound obvious, year — with two sister events set to take place in Latin Having won the hearts of many a UK festival-goer anyone who has had the misfortune of attending a America following the brand’s ever-popular winter over the past couple of years, the extravaganza badly organised event will be able to testify that it’s all edition on home turf. has now set its sights on global domination, with too often a set of principles that fall by the wayside. “Next year’s a huge year for us at The Social,” says an plans afoot to bring its mix of good-time vibes and “For us, there are two things we care about more excited-sounding Nic. “We’ve recently launched The full-bodied sound to new audiences in exotic climes, in than anything — the punters and the DJs. If both of Social Colombia and The Social Mexico, which will run addition to the two English legs of its event series. those people are happy, then we’re happy,” explains across March 17th and 18th in Bogota and Mexico City, “It’s genuinely amazing to see everyone buying into Fanciulli, who, as an internationally touring DJ in his respectively. We were so happy to be able to include Carl what we’re trying to achieve,” says The Social’s founder own right, understands just what performing acts need Cox on the phase one line-up for both, and I’m pleased and Saved Records boss, Nic Fanciulli. “The Social is all to showcase their abilities and maximise revellers’ to report that we have a lot more coming! about the music and the vibe; we just started bringing experiences. “We’ve also just launched the line-up for our Winter amazing DJs to a small community in Kent, and that has “We try to deliver the ultimate musical experience Social on March 11th; I’ve been trying to get blossomed into something much bigger. Winning DJ without distractions — we put a great deal of effort into to Kent for a number of years, so to be able to add him Mag’s Best Boutique Festival last year was amazing, and our line-ups and production to ensure everyone has the plus a host of other amazing DJs was super-exciting. now for The Social to win Best Dance Festival, it’s a real best time possible. It’s amazing for us to bring people Outside of this, we’ll be returning to the summer Social testament to the team behind it — and I think shows a like , , and site for the last week of September for 2017, with lot about the current trends in music culture in the UK.” the like to an environment where they can do what they an extremely exciting roster guaranteed to ramp up do best, without sound restrictions. And for it to be in expectations of this year’s event being our best yet!” So what’s the secret behind the festival’s ongoing my hometown is even better.” REISS DE BRUIN success? Well, looking to ensure that both the artists

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OTHER NOMINEES BEST BOUTIQUE FESTIVAL FARR FIELD MANEUVERS FREEROTATION GOTTWOOD SHINDIG WEEKENDER WOOD YOU RATHER? Gottwood, based in Wales, has run out the winner of the Best Boutique Festival award in this year’s vote...

hen it comes to creating “We’ve always approached Gottwood a sense of community, from the viewpoint of punters,” Tom well-being and fun, there continues. “We’re festival-goers first W are few event organisers and foremost, so our approach is, that can hold a candle to the earnest ‘What would our perfect festival be nature and stunning commitment to like?’ — and then striving to make production values of the team behind that a reality. We’re not about having the buzzing hive of good vibes that is huge sponsors plastering their logos Gottwood Festival. everywhere, or over-priced drinks. Born out of a passion for music, We hate those things as much as there’s an honesty behind Gottwood everyone else does.“ that so many contemporary festivals So what can we expect next from this lack; a fierce integrity that shines mould-breaking outfit? Well, more of through from start to finish. Thus, the same plus a few extras, according it was little surprise to us that the to Tom. “We’re happy to confirm that Anglesey gathering continued to Gottwood will not be expanding its strike such a chord with revellers in its capacity in 2017. We’ll be ramping seventh year of existence. up the production levels again as “It’s amazing to be recognized by the always — we’re always looking to public for our efforts. They’ve put a improve — but it’s super-important lot of faith in us over the years, and for us to retain the festival’s intimate I’d like to think we’ve repaid their charm. Oh, and there’s the small trust,” says festival founder, Tom business of us collaborating with Carpenter. “The artists, production Craig Richards for his new festival in and location are all great, but it’s the Norfolk. Exciting times lie ahead!” people who join us in Wales every REISS DE BRUIN year who really make it special.”

OTHER NOMINEES BEST DJ MAG LIVE STREAM DARIUS SYROSSIAN MIGUEL CAMPBELL RICHY AHMED STREAM TEAM Veteran house duo Groove Armada stole the vote with their live DJ set to launch Riva Starr’s ‘Superstylin’’ remix at Work bar, Angel...

t’s a beautiful like Ross Evans’ ‘Let It Go’, feeling, always some Joyce Muniz and Loco nice to win an Dice’s belting remix of ‘Go’ “Iaward,” by to an adoring, from Groove Armada reveals crammed-in, after-work when we tell him they’ve Friday crowd — all topped off been picked by our readers as with their signature samples their favourite DJ Mag Live (“!”). Stream in this year’s Best Of But did they enjoy the night? British Awards. “Totally, was lovely to play After teaming up with after Solardo and before Riva Starr and his Snatch! Riva Starr, three of my men imprint to put out a remix of of the year,” Tom Findlay ‘Superstylin’’ in September, tells us. “Riva Starr’s remix the veteran house duo of ‘Superstylin’’ has had a lot agreed to launch the of love on dancefloors this chart-topping track with year and held its own at No.1 an intimate, invite-only live on Beatport for over five stream party at our basement weeks.” venue, Work bar, in Angel, And next for Groove Armada London. in 2017? “More gigs, more Hitting over 100,000 views tunes, more residencies.” via our Facebook feed, Tom Thank god for that. and Andy are seen cheerfully ADAM SAVILLE dropping juicy house grooves djmag.com djmag.com 045 Untitled-1 1 13/12/2016 14:29 BEST OF BRITISH 2016

OTHER NOMINEES BEST LARGE CLUB EGG, LONDON MOTION, BRISTOL, , LONDON FABRIC THE RAINBOW VENUES, BIRMINGHAM BACK IN THE GAME Despite being closed for a third of the year due to its widely-publicised dispute with Islington Council, Fabric has won Best Large Club again... abric faced stiff competition residents when the club opened for Best Large Club, but in 1999, the trippy music they after a four-month closure played acted as a catalyst for a F that saw a remarkable level vast change to the face of British of love from all corners of the clubbing that we still enjoy today, industry for the Farringdon venue, with the widespread success of it’s perhaps unsurprising the club DJs superseded by came out on top. There were calls the rise of the underground. within the industry for Fabric to “We don’t need to tell the world consider moving the venue outside how important they are,” Leslie of Islington after the council explains. “We’re conjoined at the revoked their license, but the hip. They’re both Fabric, they’re club’s co-founder Cameron Leslie both part of what we’re about, and says that was never an option. hopefully vice versa. But anybody “Fabric is here, in this building,” he we book to play is here on merit.” tells DJ Mag, looking around the Looking to the future, Leslie venue’s famous Room 1. “This is says the team are champing at the club. It’s not a moveable feast, the bit to reopen in 2017. “It there was never any doubt we would be an understatement to wanted to carry on here.” say how confirming it is for us to feel we to people,” he Something many may have smiles. “To get the award gives forgotten with Fabric’s doors being us a supercharged energy to get shuttered for so long is how the back on with it. That’s the hunger club’s music policy continues to now, we all just want to get back keep it on top. When Craig Richards on with what we’re good at.” ROB DANNY SEATON Pic: DANNY and Terry Francis were installed as McCALLUM

OTHER NOMINEES BEST SMALL CLUB HOPE WORKS, SHEFFIELD JUNK, SOUTHAMPTON PHONOX, LONDON HIDDEN, MANCHESTER , GLASGOW IN PLAIN SIGHT Hidden in Manchester has been seen by enough of you this year to be voted the Best Small Club in our latest Best Of British poll… e’re still in shock, to Irwell, in the shadow of Strangeways be honest. It’s such Prison, and immediately took out a a big thing for us,” lease. Nick, after initially thinking “W says Hidden’s general his brother was ‘a nutter’, saw the manager Jay Smith, at being named potential the moment he stepped Best Small Club. They’ve not even been into the derelict building. But it would open for 18 months, but in that short take three years before the doors period of time, Hidden has become would open. “A lot of promoters gave a respected part of Manchester’s us deposits in advance, even before clubbing architecture. And it’s been we had the planning application in, hard earned. Along with owners, because they could see our vision for brothers Nick and Kris Arnaoutis, the place,” says Nick. “We had a lot of they’ve all grafted to make it work, support.” from delivering an almost 1000-page More intimate than the sprawling regeneration and crime impact Warehouse Project on the other side statement to the planning authorities of town, they’ve seen a host of blazing to the painting and decorating. They jocks through its doors. A set from often slept over in the lift. Glasgow’s Denis Sulta was a recent As the story goes, Kris was looking highlight, ditto the likes of Levon for a venue to hold an after-party Vincent, DJ Qu, Tama Sumo, Mr. G, Len following another club event he was Faki, DJ Bone and local boys Levelz. organising, and was driving around, There will BE tweaks to the venue — a phoning up numbers on ‘to let’ mezzanine floor is going in — but billboards on the scuzzier edge the the plan is to keep things ‘raw and city centre. “He came upon a former industrial’ for the foreseeable. BEN textile mill backing on to the River ARNOLD djmag.com djmag.com 047 Untitled-1 1 13/12/2016 14:38 BEST OF BRITISH 2016

OTHER NOMINEES BEST CLUB SERIES FABRICLIVE IN:MOTION PERCOLATE , MANCHESTER THE HYDRA

ith tickets for 2016’s season flying out faster than ever before, it’s probably no W surprise that WHP has come out on top in the BoB poll. Residing in its spiritual home — affectionately known as ‘that car park beneath Manchester Piccadilly railway station’ — this northern institution may only run for 12 weeks in every 52, but it makes more noise than most other parties combined. Attempting to list recent guests would be ridiculous. KiNK, Jackmaster, Hessle Audio, Denis Sulta, Boddika, Midland and Bicep are all just examples from New Year’s Day alone, so let’s just say the exceptionally great and truly good have been stopping by to deliver sets here since its inception. All Warehouse Project editions are equally defined by top-shelf production and a truly hedonistic STORAGE HUNTERS atmosphere. The Warehouse Project in Manchester had some amazing line-ups The overwhelming success of the current again in the past 12 months - their win here confirms that… Store Street sessions — following on from previous instalments at , and those inaugural of Autechre, Chase & Status and Nicolas Marchionne, who, alongside Sam Kandel you throw everything into it that you offerings in the disused and now- Jaar in venues such as Old Granada runs this gargantuan session. “It’s possibly can. The Warehouse Project will demolished Boddington’s Brewery Studios and the historic O2 Apollo back very hard, when you put something never be something that loses its track — have created a bonafide nocturnal this up. on that’s successful, to actually keep and starts to see numbers drop — we household name which is no longer “To end this season with an award like maintaining that. We have this constant would stop it altogether before that purely associated with all-nighters and this is great, voted for by the people fear every year that it’s not going to happens.” MARTIN GUTTRIDGE-HEWITT 5am finishes. Live shows with the likes who go to events,” says be as good, and because of that fear

OTHER NOMINEES BEST CLUB EVENT HIGHLIFE KURUPT FM PRES. CHAMPAGNE STEAM ROOMS SOUL IN MOTION FUSE LONDON UNLEASH LIGHT THE FUSE The London-based night has gone from strength to strength, spreading its wings to Ibiza, Holland and beyond in recent times...

fter starting from humble beginnings at Shoreditch venue 93 Feet East eight years ago, A FUSE London has had its biggest year yet in 2016, taking over Amnesia’s iconic Terrace in August and rocking it in the second room through the summer, whilst head honcho Enzo Siragusa also took control of the BBC Radio 1 Essential Mix in November. “It’s been amazing,” the London-born Switzerland and Holland this year, opportunity there, and it really worked.” Despite their runaway success this year, selector says of FUSE’s year. “You can feel but Siragusa says London is still very The party has always explored deeper, Siragusa says his crew are going to keep it’s really grown and we’ve just gone from much its home. “The city defines us,” dubbier and more minimal house and their feet very much on the ground. strength to strength.” he explains. “We all partied here, so techno, and after five years of releases “We’ve been bubbling away doing our The opportunities are something he says London’s rave culture is the heart of what from their two labels, the zeitgeist has thing for eight years,” he explains. “So the FUSE family of selectors have revelled we do.” shifted towards the FUSE sound in 2016. we’re just going to keep putting on in. “We had no idea it would ever come Despite that, Enzo says his highlight “People have definitely cottoned on,” and evolving our sound by making music this far,” he explains. “We took the long of 2016 has to be closing Amnesia’s Siragusa explains. “But we’ve never for the party. We’ve always been lucky way round and grew it organically, so Terrace b2b with Seb Zito. “That was a swayed from our thing. What we’ve built our crowd seems to make every party where we’ve got to gives me faith that milestone,” he smiles. “We’ve always now is a great community of artists that spectacular, so we just want to keep that the scene isn’t just about marketing.” been underground, but the island make the melting pot of sounds that energy.” ROB McCALLUM FUSE has done parties in , , is changing. It felt like there was an create the FUSE vibe.” djmag.com djmag.com 049 Untitled-1 1 14/11/2016 12:07 BEST OF BRITISH 2016

OTHER NOMINEES SOLDIER OF THE SCENE BARRY ASHWORTH MR. C RANDALL

ANNIE, GET YOUR GONG! Broadcasting legend Annie Nightingale, a long-term champion of electronic music, has been voted Soldier Of The Scene for services to the cause… TANYA CHALKIN Pic: TANYA

nnie Nightingale from BBC Radio 1 is 1960s, and in the late ‘70s — as the host of TV show which I love doing,” she explains. “Reaching further delighted when DJ Mag meets her in a quiet The Old Grey Whistle Test — she helped give airtime to and further out to new people. It’s all the time.” pub in Primrose Hill, North London, to tell assorted punk and new wave bands. A convert to acid A her that she’s scooped the new Soldier Of The house in the early ‘90s (“I loved the whole culture, Annie, as important a radio figure as the late John Scene award. the way it was being taken away from the authorities Peel, always tries to maintain a critical edge — “If “It’s wonderful,” she beams. “I hope it’s not too — it changed everything, it was liberating and very I don’t like it, why would the listener like it? You’ve militaristic!” inclusive”), she’s given first radio plays to literally only got your own emotional response and gut feeling DJ Mag explains how a ‘soldier’ in this context is a thousands of emerging artists, compiled albums, to go on” — and make sure that her show gets the stalwart, someone who’s doggedly hammered away written books, DJ’d at clubs and festivals, and always balance right between helping new people and being for a long time. “The other nominees are all fabulous prepared a top-notch show for BBC Radio 1 — and good enough to hold the audience. “I always start the people, I feel this award should be shared with all now 1Xtra — that goes out worldwide. Every week. show with three bangers — get those first three right, of them,” she says, magnanimously. “I appreciate DJ Mag starts talking about her history as a pioneer it helps to launch it off,“ she says. it so much, because you do your show week in and — being the first female DJ on Radio 1 when it was Annie was a big supporter of breakbeat in the early week out, every week trying to make it the best you a bastion of sexism and so on — but she quickly noughties, and latterly, bass music and trap are what possibly can — and worrying about it all week and interrupts. “But you have to be relevant,” she says. most float her boat. “We’ve had to reach out to trap changing stuff around,” she says. “To have that “It’s about being relevant to now, and not what artists a lot and explain who we are,” she explains. recognition is about never, ever dipping from a you’ve done. If you can bring your knowledge and “I don’t assume that a DJ or producer in America certain standard. You can’t have a week where you experience — fine. But it’s not about the past.” somewhere would necessarily know who Radio 1 is.” haven’t bothered that much — ever — because you So how does Annie stay relevant? “I think because I’m She talks about stalking trap duo Flosstradamus mustn’t let people down. fascinated by the music. I’m fascinated by where it’s at SW4 Festival to get them to do a mix, and how “I have a very appreciative audience who are quite going this week, next week, the week after. I’m just she loves the exuberance of rappers like Waka critical, and I’m quite glad about that as well,” she very fortunate that I feel like that. Some people get Flocka Flame. “Because it comes from hip-hop and continues. “So I owe it to the listener to do the very jaded…” metal, that’s what’s interesting about trap,” she best that I can — that’s the deal. There’s a million She starts talking about how Andy Weatherall believes. “Some of the production feels like whole radio stations out there to listen to, so if someone is changed her life, and how she has to do a specialist film soundtracks — all these names like Ghastly, gonna listen to me it’d better be good. That’s the only radio show ‘cause she can’t pretend to like music that Getter, Mayhem, they almost sound like metal names, criteria.” she doesn’t. She gets a ton of music sent to her, and making fabulous music. They put so much into it and it takes her all week to put her show together. “Before sample all kinds of different people — from Armand Annie began broadcasting for the BBC before pretty one show gets done, you’re thinking about the next Van Helden to opera. It’s making the music very, very much everyone reading this article was born. She one, plotting out stuff into the next two or three interesting — it isn’t just about mixing a beat with the was the first female DJ on BBC Radio 1 in the late months — commissioning mixes, creating themes, last one.” CARL LOBEN djmag.com djmag.com 051 Untitled-1 1 13/12/2016 14:21 BEST OF BRITISH 2016

INNOVATION & EXCELLENCE FABRIC SARAH GINN Pic: SARAH

QUALITY & DISTINCTION As a result of their successful battle to re-open, and for continuing to excel at pretty much everything they do for UK clubland, we’ve created a special award for Fabric this year... abric has had a turbulent year to say the feel quite tight from the outside, as obviously we dedicated paramedic team on site. On Islington least in 2016, but even facing closure in the don’t have next generation visuals or the like. But Council’s own admission last year, they were an final quarter of the year never stopped the Fabric hasn’t been built as that kind of sensory of industry-leading standards. But it’s Fclub’s team from striving for innovation and experience. So, for us, innovation comes as much if you look outside the club that you see more excellence. After having their license revoked behind the scenes, with the skilled individuals we evidence of innovation and excellence, with at the start of September, the Farringdon venue have in areas like engineering and sound being Fabric’s business model stretching out to their launched the #saveourculture campaign, firstly the best people in the business.” label, Houndstooth, which has recently put out to help re-open the shuttered club, but secondly Leslie’s background before Fabric was in material from Throwing Snow, Marquis Hawkes to tackle the misbalance in the industry by hospitality, leisure and operations, and he and Husk, as well as their Fabric and FABRICLIVE changing legislation and guidance on licensing. says that often it’s striving for excellence in mix compilations. These comps continued to run Staring down the barrel of a gun, Fabric came the mundane that has set Fabric apart. “Our through the period the club was closed, and have out swinging. “There was obviously a desire for intention from day one was to always get the seen wide-ranging artists including Nina Kraviz, us to protect Fabric,” Cameron Leslie, the club’s elements of a night-out right so that if nobody’s Kahn & Neek, , , Gerd Janson, co-founder, explains shortly after the decision thought about them, you’ve done a good job,” , Groove Armada and many more take the to re-open the venue was rubber-stamped at he explains. “So security, the toilets, bars, controls of the iconic series last year alone. Highbury Magistrates Court in November. “But if cloakroom and all the things you want people to “For us to be recognised after a period like we’ve we weren’t able to come out of it, we wanted to forget about on a night-out, if they go wrong it had takes you back a bit,” Leslie says about the use our demise as an opportunity to change the can be a reason for someone not to come here. DJ Mag Best Of British award for Innovation and environment for other people.” We’ve always tried to do the best we can and Excellence, with a smile. “You forget what it is have a gold-standard approach. That has never you actually do, or what this place is, when it’s Innovation and excellence has been in Fabric’s changed. We’re doing things better now, and I been empty for so long. After some really dark DNA since it first opened its doors in 1999. hope in two years we’ll be doing what we’re doing periods now we can remember that this is a place Anyone that’s spent any time in the club will currently better again.” of fun, a disco, a place of happiness. I’m really know it isn’t a bells and whistles venue, but a looking forward to us being able to get back on back-to-basics affair with a focus on a meticulous Before closure, the Farringdon venue operated with what we do, as the ghosts of people having but stripped-back environment. “Our main focus with more security per person that any other club a good time here have long since disappeared, was always music and the soundsystems,” Leslie in the country, and industry-leading approaches and it’s time for that to come back again.” ROB explains. “The scope for innovation here might concerning safety measures, including a McCALLUM djmag.com djmag.com 053 Untitled-1 1 13/12/2016 14:32 BEST OF BRITISH 2016

OUTSTANDING CONTRIBUTION CARL COX COX, NOT GLOCKS! After waving goodbye to Space Ibiza a few months ago, the one and only Carl Cox steps up to receive the Outstanding Contribution award this year…

t’s fitting that Carl Cox is this year’s recipient He was the first underground DJ to break into the almost gnawed its way inside my skull. It was called of the Outstanding Contribution award. For top 20 — with ‘I Want You’ back in 1991 — and ‘Rollin’ & Scratchin’’ and it was the B-side to ‘Da almost four decades, the man with the most also helped to pioneer the mix CD format with his Funk’, a release from a then little-known French act I infectious laugh in dance music has been the unforgettable 1995 mix, ‘F.A.C.T’. Even now, it is called . unofficial People’s Champion, eschewing VIP culture impossible to listen to the way that Carl’s selection and performing just for his fans. Now that his moves from DJ Hell to Pete Lazonby, and then Even when Carl veers towards techno, it always tenure at Space Ibiza has come to an end, it feels later on segues from ‘The Orange Theme’ into seems to have a house flavour. This is audible on the apt to officially honour this iconic DJ’s invaluable ‘Amphetamine’, without feeling a spine-tingling releases on Intec, the label that he founded with DJ contribution to electronic music. . C1 during the late ‘90s. Releases from artists like As the ‘90s progressed, Carl continued to spin a wide Christian Smith, Valentino Kanzyani, Deetron and Cox, who started to gain recognition during the late range of music from deep, disco-fuelled house right Oxia provided a much-needed, funk-fuelled shot in ‘80s/early ‘90s thanks to his three-deck sets at raves into Millsian techno, while always championing new the arm at a time when techno was disappearing around the M25, has always brought a distinctive artists and sounds. This writer has fond memories down a one-dimensional loop cul-de-sac. sense of energy to his performances, irrespective of Coxy spinning in a small club on Dublin’s After moving to in 2007, he re-launched of whether he’s playing vocal house or teutonic waterfront during the mid-‘90s and hearing him Intec as a digital-only label and released his artist acid-trance. play a thumping tune with a central riff so intense it album, ‘All Roads Lead To The Dancefloor’, in 2011 — it was subsequently remixed in 2013. However, Coxy remains a DJ first and foremost. Having adopted new technology, he continues to bring his distinctive brand of house and techno to clubs all over the world, as well as to an estimated 17 million weekly listeners worldwide with his Global Radio show. Speaking about the way that technology has impacted on electronic music, Carl said last year: “Back in the day, you’d get a message about a party happening, and you’d jump in the car and drive there, and you’d be somewhere outside the M25 in a muddy field. Now, because of technology, people can party globally. The dance community is much more global now.” And yet despite these developments, there is something refreshing and charmingly old school about how Carl Cox operates. He believes in the power of the DJ residency, evidenced by his long- running summer seasons at Space in Ibiza, which sadly came to an end this year with the club’s closure.

Speaking as part of the Space Is The Place documentary, Carl said about his residency at the club: “I had the best fifteen years of my life. I want to leave it with a bang like you have never seen it before. That has been my church for the last 15 years, and Pepe has allowed me to do what I do in his club.” It’s hard not to have been moved by Cox’s final performance at Space Ibiza, whether you experienced it at the venue itself or retrospectively online, and to hear classics from Ce Ce Peniston, Mory Kante and Kings Of Tomorrow blast through the club’s speakers for the last time. Carl has said that he will slow down on his DJing and focus on his new love of classic motorbike racing worldwide, but old habits die hard and he has just announced a new instalment of his techno-focused Pure festival for 2017 in Melbourne, Sydney, Perth and Auckland.

Looking back on his four decades in dance music, he said during the recent documentary: “There is no textbook for success in dance music — everything we did was almost trial and error. All we knew was that if we would do this, we would have a lot of fun — and that’s what people forget.” True to form, Carl showed up at DJ Mag’s Best Of British awards ceremony in London in person to collect his gong last month — an utter legend of a man and a DJ. RICHARD BROPHY djmag.com djmag.com 055 summer 2017

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special guests_ james zabiela victor ruiz 28/01/2017 renato ratier

carnival kolombo & claptone 25/02/2017

carnival galantis & kungs 27/02/2017

summer closing 18/03/2017

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Untitled-1 1 13/12/2016 14:37 license to thrill Pretty much the whole of clubland was appalled when Fabric had its license revoked a few months back — after all, if Fabric could be closed so easily, what hope was there for other clubs? So pretty much the whole of clubland united behind Fabric’s #saveourculture campaign to have their license reinstated, and there were joyous celebrations when the campaign was successful. The talk now is of changing the conversation about club policing, planning and licensing — and ultimately changing the law, something Fabric’s lawyers have been beavering away at ever since the club was shut. In an in-depth overview of the issues, DJ Mag talks to London’s new Night Czar and her counterpart in Amsterdam, the head of the Night- Time Industries Association and Fabric themselves about the value of a night-time economy to a city and how — ironically — Fabric’s temporary closure may have actually speeded up a change in attitudes to culture... Words: ROB McCALLUM Pics: LUKE CURTIS, SARAH GINN & DANNY SEATON

djmag.com 057 t’s summer 1999 and legendary US DJ is on a touring visit, wearing a hard hat, slowly making his way down a ladder through a dingy entrance into the Metropolitan Cold Stores, which had historically served as for Ithe nearby Smithfield Meat Market in Farringdon, London. He’s with Craig Richards, Terry Francis and Keith Reilly, in the middle of a time that nightlife in the city, and many others in the UK, is booming, with , The End, The Cross and a soon-to-be-opened Home all about to reach the peak of their success. It’s also the end of a 10-year search by Reilly and his business partner Cameron Leslie to find the right location for a new London venue, with the Victorian-era space coming towards the end of a three-year renovation process. Lit only by torches, the group make their way through below Smithfield market, which are on the way to becoming a three-room nightclub named Fabric. The venue would first open its doors in October of the same year, with Richards and Francis installed as residents, and in the 17 years following would establish itself as the beating heart of London club culture.

Fabric would also go on to become known as a beacon of best practice in an industry plagued by bad operators, do joint work with the Metropolitan Police showcased to other forces around the UK, and be regularly used as an example to problem licensees within London. But, after the deaths of two teenagers from drug- related causes during the summer of 2016, Fabric was famously forced to shut in August pending a review of its license. It was a fork in the road for London’s night-time economy, shining a light on an ongoing issue in the that has seen 50% of the city’s clubs close over the last eight years and 40% of its music venues shut, as policing, planning decision pulling mainly from an undercover police and licensing struggle to balance the needs of operation that took place in July before the club’s clubs with those of residents and businesses. closure, which contained no hard evidence of It’s a challenge that threatens the UK’s fifth drugs or drug use on the premises. Instead, it biggest industry, the night-time economy, which relied on observations that people at the venue accounts for at least 8% of UK employment and were “manifesting symptoms showing that they has a revenue of £66 billion pounds per annum. were [on drugs]”, including “sweating, glazed red eyes and staring into space”. PRECEDENT Claims followed in the press that the closure In the early hours of Wednesday 7th September, was part of plans for a wider regeneration of at the end of the subsequent hearing, the Fabric’s local area, and that the undercover clubbing world was rocked by the decision police investigation, titled Operation Lenor of Islington’s Licensing Sub-Committee to after the brand of fabric softener, was part of revoke the venue’s license. It was a ruling that a “revenge vendetta” against the club, after a sent shockwaves across the industry, and was judge overturned Islington council’s decision to bemoaned by many outside it. Islington MP Emily employ drugs detection dogs last year. It’s a claim Thornberry said the Metropolitan Police’s attitude the Metropolitan Police vehemently denied. But towards the club was “disgusting”, and that the Fabric remained defiant in the face of adversity, decision “sets a worrying precedent when we are stating that they would appeal the decision already losing many of our ”. London before setting up the #saveourculture campaign Mayor Sadiq Khan, meanwhile, reiterated these to fight the ruling. It amassed over £100,000 in sentiments, saying he was “disappointed” by the four days, and went on to raise £333,618 by the decision that “points to a wider problem of how time the campaign wound down. we protect London’s night-time economy”. The week before the fund ended in November, it “There’s no question that it was conducted badly emerged that Fabric was in talks with Islington Cameron Leslie and unfairly,” Fabric resident Craig Richards tells Town Hall aimed at agreeing licensing conditions DJ Mag when speaking about the license review. that would allow the club to re-open. Shortly “The way that it was conducted by the police after, Fabric issued a joint statement with the Farringdon venue shortly after the decision and council was wretched, and a vicious attack Metropolitan Police stating that a deal had been to re-open the club was rubber-stamped in on people enjoying themselves. I first moved struck at Highbury Magistrates Court, outlining November. “You could feel the ripple effect it was to London in 1987, so I went through the whole the conditions of the agreement, including having within the industry, with other businesses Criminal Justice Bill bullshit. I couldn’t believe we include the use of a new ID scanning system, concerned that if it could happen to somewhere were going through something similar.” enhanced search procedures and physical changes like Fabric, it could happen anywhere.” to the club. The official statement regarding the decision “There was certainly an awareness of the Because of that, the campaign served as a tipping by Islington council described a “culture of impact that this was going to have on the point within the industry, unifying the dance drugs” at the venue as the reason for closure, wider ecosystem,” Fabric co-founder Cameron music scene. Fabric regulars Jamie Jones, Seth with the 11-point list supposedly justifying the Leslie tells DJ Mag as he sits by the bar in the Troxler, and all donated

058 djmag.com generously, but perhaps more interesting was elsewhere,” Miller explains. “I was completely that venues and operators including The Columbo shocked at the hearing, so it was important to Group — behind numerous London venues articulate that, and say what had happened isn’t including Phonox, XOYO, The Nest and The Old acceptable. I can understand revisiting it, with Queen’s Head — The Box Soho and The Warehouse [the deaths] being a recurring issue, but it didn’t Project also donated heavily. seem a balanced attempt to get to grips with what “You could say XOYO is one of our closest was happening.” competitors,” Leslie continues. “But people like Miller is clear where the misbalance lies with the Steve [Ball] at the Columbo Group and Sacha treatment of licensing in London. “The issue is [Lord-Marchionne] at The Warehouse Project absolutely between the police and councils; how epitomised the level of support we had from peers nightlife is looked at, the regulation of it, and and competitors. When you work in and around what happens with holding venues accountable electronic music, you realise how close-knit the for personal behavior. The question should be scene is, and that it’s always been built around begged: if nightclubs are coming under that a community. What surprised me is how far the scrutiny, then why aren’t the other institutions? ripple-effect travelled. When you see places like People bring [drugs] through customs at airports, the or the English National so why aren’t those places being shut down? Opera getting behind you, you realise how Surely we should be focusing on how the drugs seriously the industry is taking it.” got to Fabric if they are the issue? One thing that comes across when talking to “I’m not underestimating the deaths,” Miller Leslie is that he never sounds like the club continues. “As there’s a lot at stake, nobody in has been dealt a tough hand, which would be their right mind would say they don’t agree with forgivable with Operation Lenor in mind. “It’s being concerned.” But he says ultimately he hard to put your finger on,” he says on the wasn’t surprised by the council’s decision, as it breakdown in the club’s relationship with the highlights flaws in the review system. “Councilors Craig Richards police. “But the reality is that it did happen, are lay people and they have to make difficult so the question now is whether there’s been a decisions, which is why they have the licensing change. We’ve got to work very hard to convince guidelines. I believe in private they said there’s the individuals that are stakeholders in the going to be blood on their hands if someone dies existence of something like Fabric — that it’s if it reopens. And very few people want that.” a force for good. Hopefully that support we received will have made people re-evaluate the Fiona Measham, professor of criminology at importance of the electronic music scene.” Durham University and founder of drug-testing charity The Loop, sat as an expert witness at the SHOCKED licensing hearing. “I wanted to be able to use A central part of the appeal campaign was the my expertise in that situation because I do think Night-Time Industry Association, which was set clubs can improve, as none of them are perfect, up by chairman Alan Miller alongside independent but the focus on Fabric is extraordinary. I’ve venue operators. He was the first to speak been doing research in clubs for 25 years and it’s publicly following the revocation of Fabric’s amongst the best run venues in the world.” license, passionately addressing those outside The Loop has been introduced to numerous UK the hearing at Islington Town Hall to say that clubs and festivals, testing illicit substances and the decision would be fought. “These things set proliferating information around events including a precedent and then happen more and more Manchester’s The Warehouse Project. “The police couldn’t be more supportive in my work,” Sacha Lord-Marchionne Measham explains. “I work very closely with the police in Cumbria who supported testing at Kendal Calling, Cambridgeshire at Secret Garden Party, and now , who support testing in their city centres. So the police are marching hand in hand with us in terms of harm reduction measures. The fly in the ointment on that is the London police.” And Measham says that it’s this “postcode lottery” that dictates the way venues are dealt with in the country. “Fabric faces a very different situation to where I live in Manchester, because everyone sees it as a partnership here. There’s a wider appreciation within Manchester of the significant contribution of nightlife to the local economy. Mancunions are proud to see the city as a capital of popular culture, so in Manchester we’ve had those discussions for 25 years.” NIGHT-TIME ECONOMY And that’s something Sacha Lord-Marchionne, Warehouse Project’s co-founder, agrees with. “Manchester’s very much developing in terms of the night-time economy, and it’s a shame seeing what’s happening in London,” he tells DJ Mag. In November, Fabric co-founder Cameron Leslie went to visit the Manchester venue when they hosted a #savefabric night. Ahead of the event the pair sat down for tea with the Lord Mayor of Manchester and Pat Karney, a leading member of the city centre for Manchester City Council. “They penned a letter to Islington council saying that what’s happened is nonsense,” Lord-Marchionne explains. “It sounds like I’m flying the flag for

djmag.com 059 Mirik Milan Manchester, but more cities do need to think like future of existing establishments. “It’s important that.” so that pubs and clubs can thrive next to blocks The Warehouse Project itself hasn’t been without of flats,” she explains. “So anybody that wants to its problems. In September 2013, Nick Bonnie can party, but anybody that wants a good night’s collapsed at the venue and later died after taking sleep can do that too.” cocaine and MDMA. “That was a difficult time,” Lord-Marchionne explains. “A lot of people don’t NIGHT CZAR realise that as a it’s very emotional. But Mirik Milan, the Amsterdam night mayor, says there was never a question by authorities that London won’t see change overnight, however. we’d done anything wrong. If you can get drugs “People can’t think by next year that London into a prison, how on earth are event organisers nightlife will be booming again,” he tells DJ going to stop it? But what we did was sit down Mag. “In Amsterdam it was a slow process, so it’s with the council and decide how to best prevent it important promoters and club owners support her happening again.” so the role can grow and get more power, whilst the Mayor’s office and the Night-Time Commission This more progressive approach is something is thinking about how to structure it so it will have that’s mirrored in many cities across Europe. the most impact.” introduced their Club Commission in 2000, But Milan says the role as it is will have its to protect venues’ interests, and Amsterdam limitations, too. “The problem in London is introduced their first nachtburgemeester — or that the boroughs have far too much power,” he night mayor — in 2014. It’s been cultivating the explains. “When someone is called the Night Czar, city’s night-time economy ever since, and is a you would hope that person has all the power, there’s no one-size-fits-all individual. I was never concept that’s spread across the continent, with but even the Mayor doesn’t — and that’s not a in touch with City Hall until the last four months, Paris, Toulouse, Zurich and others following suit. good strategy for London. It needs changing, but we’ve had some fantastic support from people This is where London, despite the recent issues but at least if somebody is championing nightlife behind the scenes there. If we can get to the with Fabric, made its first major strides to re- as a policy of the Mayor it will open the eyes of point that you’ve achieved the same situation establish itself as a 24-hour city when London city councils to look at it as an industry, instead I saw in Manchester, so we’re metaphorically Mayor Sadiq Khan revealed Amy Lamé as the of seeing it only as a problem or something they having tea at the Lord Mayor’s parlour, then this first London night czar in November, as well as need to get rid of.” time in a year we’ll have seen even more positive Justine Simons as the new chair of the Night-Time The changes come at a time of renewed changes.” Commission. Figures show that the city’s night- investment in London clubs. The Bridge, Pickle time economy currently contributes £26.3billion, Factory and Phonox are all newly opened That support from City Hall saw Fabric invited to and figures from London First that are supported venues enjoying success, whilst Printworks is provide written evidence to the House Of Lords by the Mayor’s office show this is now expected to the new 5000-capacity club that is set to open Select Committee on the Licensing Act, where rise to £28.3billion by 2029. in Docklands by the team behind the hugely the club’s lawyers made 12 recommendations for “It’s one of the most important things that’s successful Tobacco Docks events. changes in law and guidance to stop situations happened in the last two decades,” Amy Lamé like Fabric’s closure happening to other venues says of the appointment of a night czar. “Because Back at Fabric, Cameron Leslie is clear that the in the future. “It came at a time people wanted Sadiq’s put his money where his mouth is changes are being felt within the industry. “I change,” Leslie explains. “It was obvious before it and shown the night-time economy is hugely certainly wouldn’t have chosen the route we’ve happened that things were a bit out of balance, so important to London. That must be a huge boost had to get to this point,” he explains. “But it’s the timing was perfect for us to have an audience. of confidence for anybody that works as part of ended up being a catalyst for many discussions, The licensing changes we’ve proposed are the it. Since starting, I’ve had positive conversations decisions and conversations. The world has areas that we felt particularly frustrated about with venue owners, the police and councils. I’m changed in the last four months, and it’s changed with our situation, and that can do the most trying to break down any barriers and establish for the better. I guarantee you that our situation damage to other venues in the future.” a completely different approach, changing the accelerated the appointment of the Night Czar, And Leslie says he hopes the Fabric closure can conversation from the cost of the night-time and City Hall’s approach to the night-time serve as a turning point for London clubbing. economy to its benefit. There are concerns on all economy.” “It does feel different,” he says. “I can’t pull any sides, but there’s also huge potential for what Leslie also says finding a balance between all punches to the fact we’re clearly behind, but we all want to achieve, which is a safe, enjoyable the night-time economy’s stakeholders is key to there seems to be an appetite to catch up. Now 24-hour London.” success, which he feels the London Mayor has I want Islington to see Fabric as something to Lamé stresses the importance of the Agent Of executed perfectly with his appointments of the celebrate. It’s certainly not going to happen next Change principle that Khan vowed to introduce night czar and the new chair of the Night-Time week, but it didn’t happen overnight elsewhere. as part of his London Plan, which would protect Commission. “They’ve picked two very different It’s clear they started out on a path, so hopefully London venues by making property developers animals,” he continues. “Which is sensible as now we can all begin that journey together in responsible for ensuring they don’t threaten the London.”

060 djmag.com Untitled-1 1 13/12/2016 14:29 Untitled-1 1 13/12/2016 14:30 Last year was one of many highs and lows. From Brexit to the return of breaks, it had moments to forget AND plenty to remember. Looking into the mirror ball of 2017, things can only get better from a political standpoint (we hope!) and good tunes will keep on coming too, so there’s loads to look forward to, right? These are the artists on the verge of setting their scenes alight over the next few months. Get excited!

uccess isn’t an He earned his reputation as a overnight deal for resident DJ at Edinburgh’s Fly most artists in dance Club (where he met Moda . Even the most bosses Jaymo & Andy George and skilled DJs or gifted passed them his tracks), later Sproducers have to slog it out and bagging a coveted warm-up slot prove their mettle before they at Glasgow institution Sub Club. It get a shot. That time has come for was in that hedonistic atmosphere Edinburgh’s Theo Kottis. that he learnt to read a crowd, Blowing up in 2014 with the crisp, and also shape club tunes that melancholy house monster ‘Waiting could generate an electric crowd Game’ through Moda Black, last response. year saw a spree of releases for “Having played with such a range Anjunadeep and Sasha’s Last Night of great DJs and respected artists On Earth, all the while cementing there, my understanding of what his already considerable reputation makes a really good warm-up set as a selector. has developed and consequently, But he had to work at it. It’s I’ve matured in the sound I create all come about from a good in the studio,” Theo believes. “It application of elbow grease. definitely helps and it’s also very “With ‘Waiting Game’, as the name inspiring and motivating — after suggests, it took a while to get a gig at the Subbie, I have a signed to a label,” Theo says. “So it refreshed energy and am always felt great to have so much support raring to get going on the next from DJs and Radio 1. It helped track or mix.” Theo Kottis me progress to the next stage and motivated me to keep writing in It was during these DJ sets and the studio.” late-night production sessions that Theo arrived at his sound. Indebted Edinburgh, Scotland As a teenager, Theo followed the to modern dancefloor styles but familiar steps of getting into the with a definite touch of classic more commercial forms of dance progressive house, it’s no wonder etter’ ‘If I Ever Feel B music, before falling in love with that Sasha was keen to snap up ‘Future Eyes’ the real stuff. some of his work. As to his style, “Maybe something I shouldn’t be Theo says, “I’d like to be known as ‘UFO’ admitting to, but aged 15 I was a a versatile DJ. I play deep, melodic huge trance fan,” he says. “Slowly I techno and sometimes dip into discovered more genres like classic grooving disco.” ha French house and eventually a trip It’s clear he’s reached tipping Sas to Ibiza aged 18 introduced me to point, and with a bunch of new the house and techno scene I’m tunes ready to roll, road-tested on into now.” tour in the US, he’s poised to own 2017. BEN MURPHY Orbital djmag.com 063 ewind back to Sweden, 2011 — Rudolf Nordström, aka Mr. Tophat, finds himself in one of Stockholm’s most famous haunts, Riche, where he meets the young Art Alfie for the first time. They bond Rover their love for hi-hats, disco samples and club- orientated house music for the heads. This is to be the beginning of a long-lasting and fruitful friendship which will transpire into late-night studio sessions, and eventually into the makings of their strongest musical output via Karlovak Records.

Starting a label together seemed like a natural choice. Mr. Tophat was well versed at this art already, having founded the very successful independent label Junkyard Connections. “It was a label I started when I was just 18 years old, in fact I got the idea when I was 17,” he reveals. “I wanted to release unestablished music from younger producers from Stockholm and Sweden. Then it turned out to be something more organic… the first non-Swedish artist I released was Christopher Rau”. The ‘strictly limited, no repress’ imprint was also a home for his early productions, its releases swiftly becoming hot property in many a DJ’s record bag — and Karlovak Records naturally followed suit.

The pair had an impressive stack of dancefloor-ready EPs ready to let loose onto the world, which they kick- started with KVK100. As well as an outlet for their own production masterpieces, they’ve had some impressive guests join them so far. “Karlovak is still a label with a lot of reputation in the DJ circles. Ben Sims had actually been supporting since the first release, same as Matt Edwards (Radio Slave) has been supporting us for a long time. We thought why not start a new label and release other artists…” Rudolf muses. They developed this idea and plenty more vinyl series ensued; KRLVK followed KVK, KVKR, and for everything else sub-label Karlovak Crome. Fast forward to 2016 and Mr. Tophat has had a busy year pursuing his own solo adventures. A few months ago he unleashed the news of his record with Swedish superstar , a game-changing collaboration in so many ways. It was an amalgamation of different musical backgrounds — Robyn coming from the pop world, and Rudolf from the rave scene — but they both found a middle ground and it sparked some interesting new ideas.

They first crossed paths in a humble, heartfelt manner after both suffering the loss of legendary Swedish producer and close friend Christian Falke. “Christian was the person that introduced me to buying DJ equipment and such, and also the person that told me that music is actually something that you can live on… not just a hobby,” Rudolf says fondly. “When he passed Mr. Tophat away, it connected me and Robyn in some sort of way.” They began working together when she asked him to remix ‘Love Is Free’. His dubbed out, groove-laden rework went down treat and he returned to work his Stockholm, Sweden magic on ‘Main Thing’ for her RMX RBN project. It was only a matter of time before they joined forces fully. “She’s always been creating music… but I think she was in a mood where it felt really natural to jump on at. Robyn)’ my projects.” ‘Trust Me (Fe Their latest endeavor, ‘Trust Me’, has already taken lfie’, the press by storm. Deeply rooted in the sensibilities ‘KVK 100 Feat. Art A of disco, it’s pop music that doesn’t play by the rules. “Regarding the arrangements… it is sort of pop music, ‘Mood Switch’ with refrains, and verses… but it also doesn’t really have any arrangement — it’s really loose, the way it starts and ends. For me, it was really important to prove you can make pop music without these kind of Tyree Cooper classic boundaries.” Mr Tophat’s productions are feel-good dance records Motor City Drum Ensemble with a touch of Nordic charm that will see him follow in Falke’s footsteps. ANNA WALL Lindstrom

064 djmag.com Untitled-1 1 13/12/2016 14:25 eggy Gou is in love with house. She adores everything about it, but most of all, the fact it makes her want to move. “I just love the history and sounds,” she expresses. “It excites Pme and it makes me wanna dance all night.” That definitely comes across in the sparkling tracks created by this rising Korean producer. In 2016, she appeared as if from nowhere with the subtle, fresh ‘Art Of War’ EP on Matt Edwards’ long-standing house and techno institution Rekids. ‘Troop’, with its trippy bells, floating pads and disco bass, pricked up our ears, while ‘In Sum’ from the same EP unveiled a technoid funk sheen. It didn’t stop there, as ‘Day Without Yesterday’ for Phonica White and most recently, the ‘Seek For Maktoop’ EP for offshoot Technicolour have confirmed what we suspected: she’s possessed of great style and substance.

The latter EP contained the immense ‘Gou Talk’. If you can imagine John Carpenter losing it beneath the lights of the , you’re getting close, such was its compendium of sinister electro bass bumps and squiggly, optimistic disco synths. It turns out that disco, as well as house and techno, is a constant muse for Peggy. “I think disco is one of the genres that isn’t easy to make, but they are just amazing tracks,” she says. “When I need inspiration I listen to a lot of old disco music from The , MFSB, Cerrone. I didn’t think there was a kinda disco vibe on ‘Gou Talk’, that wasn’t my intention but I’m taking this as a compliment!”

Peggy is from Seoul but moved to London to study English at 14. She did GCSEs and A-levels in Croydon before moving back to Korea. But it was in 2010 when she returned to the UK to attend the London College of Fashion that she got bitten by the dance bug. “I started to collect vinyl and listen to music after moving back. One early influence was Roman Flügel’s ‘Fatty Folders’ album, I think that was around 2011. Then I started to dig more into underground music and after meeting a crew in London we started to do regular parties. That was the moment I knew I had to learn production too.”

She was shown the ropes by London-based South African producer Esa (occasional member of Glasgow outfit Auntie Flo), and adapted to production quickly, though she says she still has much to learn. “You learn A, then you realise that you need to learn B too,” she admits. “I think it’s kind Peggy Gou of never-ending. I’m going to take some live instrument lessons besides piano, and also sound engineering lessons.” Seoul, S.Korea Peggy lives in Berlin now, moving there after a (living friend suggested it would suit her. It’s a place Though she lives in Europe now, she’s encouraged in Berlin) she loves, though it took a while to adapt to. by the development of the homegrown scene “It was very different to London, also I moved back in Seoul. There’s a significant commercial in November so you can imagine the weather dance element in the city, but Peggy’s noticed in winter. But that’s another good reason to be lots more underground spots springing up too. ‘Art of War EP’ in the studio and work on music. Also, another “There are amazing clubs bringing artists from p EP’ thing that I love about it is that when you go abroad such as Vurt, Mystik and Faust and also ‘Seek For Maktoo out, when you meet new people, most of them radio stations like SCR, and the Clique record ‘G are artists, musicians with free souls. It’s very store. I’m very happy to see this.” ou Talk’ laidback here. I’m a hyper person, so when Her latest EP emerged on Technicolour, but Peggy I come back to this city after a tour, I feel like will only hint at what’s coming next. “I will know Berlin tells me to ‘calm down’, ‘relax’.” more about plans when I have my new music done and on which label they would fit. I’m also Morgan Geist Beyond music, the producer draws influences thinking about my own label too,” she tells us. from art and museum exhibitions. “It’s always You can be sure that music will be made with the Takuya Matsumoto interesting to see someone else’s work, as it can same care and diligence. And also that you’ll be affect everyone differently,” she notes. seeing her name a lot more in 2017. BEN MURPHY Mr. G

066 djmag.com VOTE!

Untitled-1 1 13/12/2016 14:31 olly first came onto DJ Mag’s radar with a series of sublime productions built around cavernous depth and scorching Mbasslines for discerning labels including Rekids, All Inn and Karlovak. Real name Emeline Ginestet, the DJ/producer is by no means new to the scene, starting out as head of Rex Club’s communications and PR after moving to Paris 10 years ago. “It really helped me as I discovered a lot of new music and artists through it,” she explains when DJ Mag catches up with her over Skype. “It really showed me what you need to do to get on in the scene too.” The impact it has had on her crate-digging sets is clear as well, which are made up of rare records of sultry house and languid tech. She recently left the role at the Paris venue to focus on her own career, but continues to A&R for the recently launched Rex Club Music label, as well as continue to play as a resident at the club at her own party, HEAD_ON. She has used the monthly event to welcome artists including Delano Smith, Cassy, Fred P, Levon Vincent, Mandar and Dyed Soundorom. “Rex is still my home musically,” she says fondly of the venue. “For me, it’s really special to play there as I’m always surrounded by friends.”

Ginestet took some time away from production this year to focus on her DJing, at a time the wider scene has started paying a attention to the groovier sound coming out of the French capital. And it’s an approach that’s paid dividends, with her relentless schedule seeing her spin at Circoloco at DC-10, Panorama Bar, Space Ibiza and Robert Johnson, as well as festivals including Amsterdam Dance Event, OFF Sonar and The Weather Festival. “People’s interest in the French scene has really helped me,” she explains. “I’ve had some great opportunities this year and have really enjoyed it. I hope it will continue with this flow. Circoloco was important to me as being booked there really means something. A lot of people want to play there, so when you’re booked there’s a lot of pressure. You have to deliver.”

When DJ Mag catches up with Ginestet she’s at an apartment in South Beach, Miami, where she’s taking a break from Molly her non-stop schedule to focus on her productions again whilst playing a residency at ReSolute in between December and February. “I have Albi, a couple of tracks ready now that are deep and house-y,” she tells of the new material. “They’re definitely starting to sound more rt Alfie ophat & A American.” Mr. T olly remix)’ To See (M ‘I Want You When she returns from the States next year & Ventura she’s set to launch her own label, Rendez- Verrina (Molly remix)’ Vu, with a release from American producer ‘Riso Amaro Michael Zucker. Ginestet then says she will go on to put out her own material as well as host a number of upcoming French producers she’s keen to support. After imas refocusing her efforts once already and John D establishing herself on the global circuit in 2016, her new label looks to serve as pollonia a springboard to launch Ginestet into a A fruitful second-phase of her career in 2017. Loup ROB MCCALLUM Le Pics: FLAVIEN PRIOREAU 068 djmag.com Untitled-1 1 13/12/2016 14:48 Untitled-1 1 14/11/2016 16:20 HEAVY ROTATION Otik FIVE IMPRINTS YOU CAN TRUST IN 2017... Bristol, UK PRESSURE TRAXX Pressure ‘Acne Downs’ Traxx is the vinyl-only label run by Frankfurt- ‘Emphasis’ based producer Einzelkind that ‘Ember’ turns five next year, with a knack for discovering and nurturing new talent from the minimal house Benton scene like Romanians Barac and Arapu. Sully

LET’S GO Liar SWIMMING Founded by local London lads Henry Fry, George ver the past few Steps, Durkle Disco, Push & Run them feel organic. “I can’t stay Mackness and William Earl, Let’s years, the UK and Tessier-Ashpool. Drawing with one style, mainly because it Go Swimming is a label that’s been underground has inspiration from hives of hybrid feels forced to stick to a certain making some serious waves in once again become activity such as Swamp 81 and paradigm when producing,” he 2016. A mixture of disco, house and aO hotbed of experimentation Keysound, Otik looks to the best explains. “If it feels right and it Afro-influenced sounds, they’ve and diversification. As dubstep’s of the best as his main source of gives me that good feeling inside, already dropped three well-received pioneers jumped ship, they paved musical influence — Burial. “I’m I’ll continue with it.” EPs since founding the imprint, the way for a new wave of free- sure lots of people say that, but With fresh music on the way via including Doppelate’s ‘Wash It Out’ thinking artists not confined by I’d never really listened to music DEXT and Jakwob’s Boom Ting EP, plus records from founders Mack genre, and leading the charge is properly until I’d heard him,” Recordings, a free hip-hop/beats/ Ness and Will Earl. London-based Bristolian, Otik. Otik tells DJ Mag. “Burial takes ambient mixtape waiting in the With a percussive yet sultry sound influence from a lot of genres but wings and a project in the works DIFFRENT that traverses grime, jungle, he’s still his own genre in his own with some grime MCs, Otik is not MUSIC techno, bass and more, the right — I guess that’s my aim too.” only looking to be one of the most Over the past six 24-year-old has been slowly but It’s an aim he’s well on his way to exciting talents of 2017, but a long years, Dexta’s surely climbing his way up the achieving. Otik manages to blend time to come after that. Diffrent Music ladder with releases through 17 elements seamlessly so as to make BEN HINDLE has become synonymous with cutting-edge bass music. Having just exclusively signed one of the most exciting new sk anyone who knows track names), it comes as little talents going in London’s Lakeway, anything about half-time surprise that dBridge picked Declan and with the label’s debut album drum & bass, and they’ll up for the hush-hush mass collab release (Sense MC’s ‘Elephant In tell you North London’s project, Richie Brains. “Going in The Room’) set for February, 2017 FixateA is on fire right now. A quick the studio with those lot was a bit is looking like a very pink year look at his catalogue will tell you the daunting but everyone was open already. #RiseOfTheGiraffe! same — Diffrent Music, 20/20 LDN, to ideas and we bounced off each Exit Records. But like many in their other,” admits Declan. “I learnt a REPERTOIRE mid-20s, Fixate’s entry into d&b came lot from it, not just production- Want to know via the likes of DJ Fresh, Bad Company, wise, but being new to the scene it what the future Pendulum and Andy C. “My mate had helped me develop from someone of a pair of turntables,” says the man who just makes tunes in his sounds like? Then behind the moniker, Declan Curran. room to wanting to do music on a look no further “He’d have house parties where we’d professional level.” Keep focusing than UK label, Repertoire. The get slaughtered off two Carlsbergs and on this guy. past 18 months have seen the watch him mix the same tunes over and BEN HINDLE label really step things up a notch, over.” Ahh, the nostalgia… regularly putting out vinyl and It was Declan’s love for hip-hop, securing work from established grime and dubstep that really led to and up-and-coming talents like where he is today though, putting Overlook, Double 0, Mantra and his unique print on d&b with a mad, Fix Tim Reaper. The junglist movement future-thinking mix of precision and ate lives on. wonkiness, like a drunk who’s somehow managed to assemble a scale model BBS of the Millennium Falcon. “I’ve always Oxfordshire, UK Swamp 81 been intrigued by Latin and African sub-label BBS may not have been percussion so I tend to use those kind the busiest imprint so far, but we’ll of sounds a lot, I think they bring a ‘March On’ take quality over quantity any day. lot of energy,” he explains. “Obviously ‘Throwback Therapy’ The latest offering — a seven-track breaks as well. I love what a lot of the tape of hardcore killers from co- UK techno guys do with percussion — ‘Rickety Cricket’ boss Benton — is the label’s first Hodge, Tessela etc.” downloadable material, kicking off A dab hand at intricate arrangements Stray a run of digital releases. Guess we’ll and with a crafty wit to him (eyes out take quality and quantity then… for the pop-culture references in his Fracture Chimpo Untitled-1 1 13/12/2016 14:41 T2: Trainspotting – The Inside Track

It’s upon us at last. The long-awaited sequel to Trainspotting — the definitive cult film of the 1990s — is released this month, and we’ve snagged Scottish writer Irvine Welsh for an insight into the making of T2. Based loosely on Irvine’s book Porno, the film sees the return of lovable rogues Renton, Sickboy, Begbie and Spud to the screen 20 years on. What scrapes will they get into this time? What drugs will they be on? DJ Mag’s Off The Floor editor Kirsty Allison, who used to DJ with Welshy back in the day, talks to Britain’s most celebrated post- writer about the forthcoming movie…

Words: KIRSTY ALLISON

djmag.com 073 nless you’ve been locked in for the last six months, you’ll know Trainspotting 2 — dubbed T2: Trainspotting — is set to pull into cinemas on 27th January — and there’s every chance it will shake the world with as Umuch vigour as its forerunner did in the mid-‘90s. The original team has reunited after various fallings out. Ewan McGregor was reportedly peeved that director Danny Boyle cast Leonardo DiCaprio in The Beach, having been promised the role, only to make up publicly in Hollywood years later, and writer Irvine Welsh is predicting big things for the movie. Speak to people who saw Trainspotting in 1996 and they’ll explain that nothing could come close to reflecting the sentience of truth that Danny Boyle achieved — not Pulp Fiction, Human Traffic, Boogie Nights, The Matrix, American Beauty or Buffalo 66. It was perhaps the defining film of the 1990s. There’s a lot to live up to. The glam-realism and sheer gall of the original became the best reflection of blatant Britpop defiance — knowing there was no choice other than to “Choose Life. Choose a job. Choose a [Boyle] and John [Hodge, the scriptwriter] were Trainspotting and [Trainspotting prequel] Skagboys, career. Choose a family. Choose a fucking big the same, we kinda agreed — when you show a and even Blade Artist [the Begbie solo book], and television, choose washing machines, cars, film within a film, and it’s about them making the whole universe of these characters. They really compact disc players and electrical tin openers…” a pornographic film. It wasn’t really working to understand it as well as I do. They’ve spent so much Trainspotting reflected the era’s unprecedented our satisfaction in the earlier drafts. It was a big time on it, and to some extent we’ve been working on swallowing of pills, thrills and bellyaches. These stumbling block, so we had to find a way to make him this, researching and thinking about it, for 15 years. were the days before everyone held a screen in work in the vice industry without making it into a It’s not something that just happened.” their pocket, when the Criminal Justice Act turned porn flick. Who pushed for it, though? rave into a taxable commodity, when the current “So we managed to get around that, and sort it “We’ve all been pushing for it to happen. We’ve humanitarian crises were not backdoors into the out, and I’m not gonna tell you how, because that’s had scripts ever since Porno came out [2002], and pockets of Cayman Islanders. a spoiler, but the second thing was, we wanted then having the personal stuff — the fall-outs and something that was right now, and the thing is, the everyone together, because we’re all working on Before Trainspotting the movie, the first edition of porn in Porno [the book] was very much about that different things — has been difficult. Irvine Welsh’s debut book — with its silver skeleton time in the late ‘90s, early 2000s, when everyone was “It was also that the scripts we’d had in the past embossed cover — was passed around like a gift of getting into that Do It Yourself sex scene…” weren’t quite there — it took a while to get a script light. Then there was the play, which starred a young So there’s no porno flick in Porno/T2? we were confident of shooting. Nobody wanted to Ewan McGregor, before the amplified vision arrived “We wanted to make it about now, we didn’t want to trash the legacy of Trainspotting, and we wanted to — the film, shining like a sun over the disillusioned make it a historical movie of the 2000s, we wanted do something really good. So a couple of years ago, who’d been too busy munching on ecstasy to read to make it about 2016. The technology, the DIY stuff we spent a couple of weeks in this flat in Edinburgh, anything other than flyers for years. and all that, it kinda died out, and the porn operators in this big-dollar house, just to see if we could all get Who can save us now? Perhaps the super-size pin-ups moved into that with their higher production values on together and if we could find a way of doing it. of Renton, Sickboy, Begbie and Spud will become and stuff, and it’s now all the big operators who do That satisfied everyone from the money point of view, unification saviours once more, with Underworld pornography, there isn’t that kinda DIY culture…” but also whether we could get onto something that and Iggy Pop collapsing divisions of genre, paving Now there’s peer-to-peer porn, wanking on would really work.” the way for new ones, in a splurge of unprecedented WhatsApp, dick pics on private messages... So you didn’t get wasted? hedonism, rebellion and belief that there is an “Yeeeah — so it has changed. The 50 Shades thing, “It was middle-aged guys hanging out together doing alternative. Even if porn is that answer... women consume more pornography than men, I nice things, sourcing restaurants, cooking for each There were no advance screenings of T2 to be had think it’s got to 55% [women] 45% [men].” other, but we went around a lot of boxing clubs, and before Christmas, so DJ Mag had to approach this Wow… hostels and talking to people, getting a feel for that interview with Irvine somewhat blind, so to speak… “Because it’s been taken away from the backstreets kind of world — one-dollar saunas, it was fun. But it — the old story wouldn’t have been a viable thing. So was focused, we weren’t getting totally fucked up cos Irv, the last time this DJ Mag writer officially all the narratives change because of that.” we were trying to keep focused on the script and the interviewed you was back in the Creation Records Excellent — can’t wait for the truth to be stripped book and the stories, so the main thing was to light a offices in Primrose Hill in the ’90s, with you back... fire under John to come back with something good.” wearing an assortment of wigs. And we’ve seen “Yeah, that was the second challenge! You don’t want And how are you feeling about it? some times since, eh? Red carpets in Cannes, The 45-year-old guys playing at being 35-year-old guys “I’m feeling great about it. The [test screening] Acid House, Kris Needs falling off the podium (some of them get away with it better than others) scores are through the roof, and it’s such a great when I carried on DJing with — it’s best to have the actors as they are, artistically. piece of work — combine the films together and it — or ‘Danny Sampling’, as you used to call And it’s nice to make a statement about the world as feels like a European Godfather. It’s very, very big, it’s him… Manumission. That singing monkey... How it is now, so we were basically spending a lot of time massive when you come out of the cinema, it’s very the fuck did you manage to write back then? going through the old scripts, as to how we would action-packed and bang-bang-bang-bang-bang, and “Never mind how fucked up I am, I can always do this now, as a contemporary film — but we found you feel kinda, ‘Fuck me!’ — so much to think about write. And I’ll always get on with it. I’ll have been a way. and I want to see it again, and there are so many writing Glue and Filth and Porno round about then.” “John did a fantastic script that got everybody things going on in it, it’s amazing. Porno, the book that T2 is based on, pushed shock excited, and got all the actors excited to come back, “I don’t want to talk about the [story] because I want beyond what you thought was capable. Re-reading and Danny’s made a great film, it’s an absolutely people to see it but I will say to me it feels like a really it now, the shock makes way for an incredible bit of amazing film, and in some ways it’s a much bigger big movie — it feels like it’s huge, grabbing all the literature... film than the first one. It seems a lot more emotional youth cultures of our times for the past 30 years and “It’s one of these strange books that’s grown a bit in and character-driven, cos the characters have been there’s a strong hold and take on it, so it massively potency. It suffered by comparison to the first book established now.” adds to it. It felt big when the first film came out, but [Trainspotting] at the time, which was seen not as a Well, you must know your characters really well, as this film feels even bigger — it feels like it’s kinda book but as a cultural phenomenon. And I think when you’ve worked with them so much in other books... snowballed.” you get a bit of distance from it and you just read “Yeah, I’ve never stopped writing about them, so So, Irv, we were DJing at the height of your post- [Porno] as a story, it becomes a lot more interesting. I’ve got a lot of material that’s not been published. Trainspotting fame. I was barely 20, but — to “The problem we had with it, in terms of the script, It’s interesting that Danny and John have not just explain to readers — you, Kris Needs and I had a is that I personally don’t like it — and I think Danny used stuff from Porno, they’ve used stuff from band called the Disco Queens, because you missed

074 djmag.com disco — being such righteous punks. Why did you get into DJing? “That was me kinda not getting with fame, not dealing with it. The whole ethos of the house music scene is that there’s no real stars, the DJ’s not the star, he’s just the guy spinning the music, so there’s a kind of easy involuntarism thing — and it’s much better for me psychologically than hanging around all the literary salons of London, where you’d be fussed over and feted about. Being more with that kinda straight society where there’s a bit more pomposity and state of consciousness. It was fun, and you were just the kind of guy who’d done some interesting shit, not the guy where someone was making a big fuss of you, y’know?” Good times... so what drugs are they doing in T2? “You’ll have to wait and see, I’m not gonna tell you. There are some very fun drug sequences in there.” Good, looking forward to those. So you’ve got a cameo in it again... “Yeah, my character’s one of the few that’s gone up us into places, but they can be a trap too... Atkins, and I’ve not heard from Sven Väth for a while in the world since then, Mikey Forrester, he’s quite a “That’s the thing, it’s all about forming groups (giggles), but I’d go to one of his gigs — if I was going high-flyer in this one, so it’s good to see that...” and finding your new identity, and feeling a bit to an all-nighter, I’d go to his.” Good luck with it... constrained by that, and breaking out of it, and it Carl Loben, DJ Mag’s editor, whose house in “I had to leave the country last time. I might have to should be something that we keep doing. Groups as Dalston you went to back to in the ‘90s after leave the planet this time.” a whole are very educative, and very disruptive as meeting him on a train, was asking if you’re So tell DJ Mag about the soundtrack, please... well if you stick around too long — you’ve got to keep setting up Renton for a solo book, as he appears at “Again, the picture’s not been locked, so the sound’s moving.” the end of Blade Artist reading DJ Mag... not been locked yet [this interview took place before If you were to give a DJ a Nobel Prize for DJing, “That’s possibly the case, ha ha ha!” Christmas]. There’s some great stuff we’ve got, great who’d score? And how come it was DJ Mag? dance music, great rock & roll, but it depends what “I would probably go for the British thing; Rampling, “Carl’s quite chuffed at me for that, uh?!” works with every single scene. Oakenfold and Nicky Holloway, depending on the We still party like it’s 1999 when we get together “Like y’know Young Fathers? I sent Danny stuff from version of acid house you’re listening to — the — who else has that affect on you? that, as I got to know them through Edinburgh, and London version rather than the Manchester version, “Every time I see Dave Beer, I pick up where I left off, mutual friends and stuff, and he got really into them, the guys that bought it all back from Ibiza. I was in and it’s like we’re still in that same world. It’s like a so I’d be surprised if some of their stuff wasn’t on London at the time, so that version made more sense contract you have with someone, almost — it’s like it. Some of the artists from the original one have to me, that was the sort of central narrative, y’know, you’ll be out for a couple of days.” submitted stuff, but it’s really about what’s going to they all get shrouded in mythology...” Have you retired from DJing? work with the picture.” Favourite DJs — who’d be at the top of your “It was really since I got work in Hollywood, and it’s You’ve been doing a lot of TV and film work, too... list? You must still have some exposure to the almost like I’ve got a second career, and it’s almost “I’m kinda working on a TV show of Crime and culture, being in , and spending a bit of as if I’ve just got enough time to do those. I think another one of the Trainspotting books as a show, time in Miami... with DJing, you’ve got to be on it, you’ve got to be and we’ve got a script for the Sex Lives Of Siamese “Yeah, that’s kinda a huge question — but Carl Cox, involved, you can’t just keep on playing the same Twins, and I think there’s a script for Glue now he’s been there, all the time, he was there at the tunes over and over again, you’ve got to be listening, too. I’m actually working with Sony now on an acid start, and he’s still there now, and doing interesting and if you’re not prepared to invest that time in it... house and Ibiza-orientated show. And I’m working stuff — and if we’re looking at history and legacy, Y’know, to me, I used to enjoy it when you could on straight films that aren’t anything to do with the Mancuso...” hang out at the record shops and all that, and listen books as well, so I’m kinda kept busy.” He just died... to records, and that appeal — now it just seems like You have one helluva work ethic, for sure. Do “...and Knuckles, god rest their souls. And Derrick another reason to spend time on a screen.” you feel you’ve been part of a tribe? Dance Carter, he runs a club just round the corner. And But you still love a dance... music? Writers? Squatting? showing a bit of Scottish bias, he’s not one of these “I’ve got a pal who runs a club here, in Chicago, and “I think that’s what we’ve missed after the big just big hits guys — Calvin Harris.” sometimes I’ll do a bit of a back-to-back with him, globalisation thing of 2000, and I’ve always felt an He’s a brilliant producer. and just for a bit of fun I’ll get some pals around the attachment to them. I mean, it’s ridiculous of me “He can play really cool heavy house, but also really house, put on a bit of music, and we’ll bop away with now to think of myself as a football thug, or a punk, commercial EDM in a Vegas superclub — he has ourselves.” or a whatever, but I feel very much defined by these that kind of range, and he has popularised it in They can be the best kinda parties... things.” the States. The guys that I would go and see, they “The rolling commercialism of the clubs, it’s We need to have these things as identifiers to put wouldn’t be big names, they’d be DJ Sneak or Juan something to do with that — and it is a young person’s game, unless you go to a specialist older fuckers’ club, then there’s something about it. You take your music and your drugs, and you can go as crazy or sedate as you want to.” And you’re still clear that legalisation of all drugs is how the world should roll? “I’ve been saying the same for years, it has to happen, there’s no sense otherwise. This whole prohibition thing is nonsense...” So T2 is here to save us... “It’s going to be a fucking cool experience, and we’ve needed something like that — a big, cool cultural experience from these islands — for a long, long time. Ironically, the end of neo-liberalism, and the growth of nationalistic white-trash fascism, and the reaction against that will reunite culture again, so I’m kinda excited. Until 2007, everything kinda died.” There are some massive pricks to kick against... “And in a sense, it’s gonna be such fun kicking against them.”

djmag.com 075 Untitled-1 1 13/12/2016 15:02 HIGHLIFE SOCIETY Based in Glasgow, Highlife have been pushing an Afro-futurist sound on their label and at their parties for the past five years. With their ‘world music 2.0’ concept gaining ground throughout clubland, DJ Mag meets their key players... Words: ROB McCALLUM

t’s August 2016, and the second day of no time at all to do.” resident after the event. “That was the party Dimensions Festival in Pula, Croatia. Auntie Highlife has burst out of Glasgow this year with where we became a talking point,” d’Souza Flo is spinning at the Highlife beach party parties and sets at ’s Razzmatazz and explains. “People realised we were doing at the event, a day after the Glasgow club- Sweden’s Trunkfunk, as well as Electric Elephant something a bit different.” night and presented a boat- and Dimensions in Croatia. “We had felt for Highlife would then invite Chilean Alejandro Iparty showcasing their sound of Afro-futurism a while that the music is really suited to that Paz to play during the summer, with the show on the Adriatic Sea. Just off shore, yachts rock setting,” he says of the Croatian festivals. “But it becoming the first of their Sun Ritual parties, gently in the clear blue sea in front of the sun, was good to be able to finally put it to the test.” which Highlife would later take on a sold-out which is slowly setting on the horizon. When tour to locations including the Arctic Circle. “It Auntie Flo started mid-afternoon, punters lazed CROSS-POLLINATING started out quite tongue-in-cheek,” d’Souza by the seafront in ear-shot of the stage but, as he Highlife first started when Thomson, behind laughs. “Obviously there’s hardly any sunshine works into more floor-focused sounds from across Glasgow’s Huntley + Palmers night and label, met in Glasgow, so we decided to do a party where the world, the beach is rapidly filling to capacity. Brian d’Souza, aka Auntie Flo, at an after-party we would forget about that and celebrate it.” in 2010. It was a time that nu-disco was reaching Highlife hired in huge lighting rigs for the show, It’s almost 12 months since Highlife celebrated saturation point in the local scene, and the pair controlled by the DJ during their set, and gave its fifth birthday, with a history as part of a wider saw an opportunity to push something new. out sunglasses to all attendees. family of labels and nights all pushing a similar “We’d noticed a trend of producers from all over agenda during a time the zeitgeist has shifted the world that were using the internet to work Shortly after, Highlife were offered a monthly towards electronic music from continents like with each other,” d’Souza explains. “Fusing more residency at Sub Club, rapidly establishing Africa and South America. And while the likes local influences with global sounds and cross- itself as a club-night not afraid to take risks. of Cómeme, Studio Barnhus and Awesome Tapes pollinating music from different scenes.” Despite their Afro-centric roots, the party has From Africa all play, produce and release music Inspired by Cómeme’s BumBumBox street welcomed Shackleton, Actress and to with synergy to the Highlife brand, 2016 has parties — where Chilean label-owner Matias events that have gone down in Highlife folklore. also seen a surge in interest from artists outside Aguayo would set up a boom box in the street When Cómeme label-head Matias Aguayo played their sphere. Selectors as wide-ranging as Ivan in South America and play Afro-centric music Highlife in 2012, the speakers ignited into flames Smagghe, , Ben UFO, Âme and Dixon at impromptu events — d’Souza and Thomson during his set, but d’Souza says his highlight have all made music from the label a regular would host the first Highlife in 2010 at Glasgow’s came when mysterious Mumbai producer fixture in their sets through last summer, whilst Stereo, inviting Mexican-born producer Rebodello Chanjarit Singh played for Highlife in the same made The Revenge’s remix of Auntie to play alongside Capracara, with Auntie Flo and year. Flo’s ‘Waiting For A (Woman)’ his secret weapon Thomson as residents. The first party was busy, It was shortly after his ‘Ten Ragas To A Disco of the summer. but d’Souza says it was a few months later when Beat’ album had been re-released — and seen “Twitch from Optimo said Highlife is the party he Highlife did two events in quick succession that huge interest from the Western world. The show wishes he’d had the balls to start,” co-founder signalled the real turning point for the night. was only the third time Singh had played the Andrew Thomson tells DJ Mag. “Now if you The first was a South Africa-themed night with album live in Europe, and embodied Highlife’s wanted to start the night, it seems it would take Esa Williams, who would join the crew as a third exploration into music from around the world

djmag.com 077 perfectly. “It was amazing,” d’Souza enthuses. musicians rather than just take things, that’s truly clicked with what Highlife are doing. “The “It must have been a huge culture shock for him definitely the direction I want to go in, as I feel way they present the music is indescribable, as being in Glasgow, and at La Cheatas, where the much more comfortable with it.” they’re blending so many things,” he explains. “It crowd is about 30cm away. Because he wasn’t Brian d’Souza says he’s always surprised by the creates an otherworldly atmosphere that people used to performing live, he kept forgetting to music he finds when travelling to the far stretches really get into when they hear it.” change the patterns, so it ended up being a of the world. When he travelled to Cuba, he Highlife came full circle in 2012, too, when they repetition of a very similar through the synced up with the Laboratory Musica Nacional were asked to join Cómeme radio. They now do a set. If it was another performer people would Electroacousic (LMNA) – who look after electronic monthly residency on Rinse FM, where d’Souza probably have got bored, but with him everybody music producers in the country. There he held and Thomson spin alongside guests they invite to was just craving more.” an Ableton workshop alongside Williams. “We provide a mix. The pair say it’s important for them pitched it at beginner level,” d’Souza explains. to use the platform as a springboard for artists CONNECTIONS “But the questions they came back with, we just from around the world, in much the same way as The Highlife model is something that has couldn’t answer,” he laughs. their parties have. “A lot of the artists we booked surfaced elsewhere in the world now, too. Banana But d’Souza says there’s a fine line to getting early have become big now,” Thomson explains. Hill do events in Leeds, Manchester, Sheffield a night like Highlife right, and appropriation. “And that’s helped solidify everything.” and London that are very much inspired by the “It has to be done with respect, and Glasgow night, whilst Paris’ Mawimbi crew have acknowledgement, whilst taking it away from a This year, Highlife has established itself in its invited d’Souza and Thomson to play their party Western-centric point of view,” he tells DJ Mag. new home of The Art School, and exists in a very as a homage to their roots. “Now the name has “People often mistake that we’re an African different world musically to when it started out got out, it feels like we’re exporting the sound,” music night, but what we try to do with Highlife six years ago. “In 2010, the Highlife concept d’Souza smiles. “We love the fact that people is not just play music from there, but cherry-pick might have sounded like it wouldn’t work,” are inspired by what we’re doing. If we can make sounds that work for us from all over the world.” Thomson explains. “But now we’re definitely part connections and exchange music, that’s great — of a bigger movement of people, playing and it’s the whole purpose of Highlife.” An artist that shares a musical ideology and releasing music from around the world that makes They’ve also been pushing their sound through concept with Highlife is Awesome Tapes From sense in a contemporary club environment. A their label since 2013, releasing music from Africa, aka Brian Shimkovitz, who unearths and concept we’ve talked about is ‘world music 2.0’, Auntie Flo himself, as well as Cain, Red Axes and releases music through his own blog and label. and it can only happen now technology has Mehmet Aslan. D’Souza and Williams also did He played the party in 2012, and says a large part enabled people to discover and make music with the ‘Highlife World Series’ through the imprint, of what has put the night where it is today is the others from all over the world. That’s exciting. So, where they travelled to Kenya, Uganda and Cuba crowd. “They all knew each other and had this what we want to do now is continue the parties to collaborate with local musicians. “We’ve been crew mentality,” he explains. “The minute the in Glasgow, but also start doing more things like very lucky to have these opportunities,” d’Souza night started, things were hectic.” Dimensions after it was such a success, as we feel explains. “Sampling is an art-form, but if I’ve They also played together at a Banana Hill in now more than ever there’s an appetite for what got the opportunity to go and work with the Sheffield, and Shimkovitz says that’s where he we’re doing.”

078 djmag.com Untitled-1 1 13/12/2016 14:44 hen dance “When people react to my music that surprising. It’s really the last thing you music decides way, I’m always really surprised, because expect to see in a club set. This weird to ‘go live’, it they’re always quite weird musical ideas, electric violin situation.” predominantly to my mind. Things that felt very stripped finds itself back, not necessarily complete. Skeletal going one of two ways. It either goes ideas which get completed in that space. ELECTRONIC ‘intoW the box’, the heads down-style I don’t think there’s a whole lot to my EPIPHANY pioneered by the likes of Orbital which music. One really strong idea can work As well as the Harvey Sutherland project, can — when it’s done right and with the really well on a dancefloor. And that’s the Katz also works with Melbourne producer liberal use of head torches — carry off thing that punctuates through. That’s Kane Ikin, under the name Coup d’Etat. headlining a stage at Glastonbury. Or what we’re doing, just riding that idea But there are plenty of other Australian it goes out of the box, bringing in too until people get it.” producers coming out with quality many instruments and making a bit of a at the moment, he reckons. dog’s dinner of the whole damn thing. There have been a handful of Harvey Dan White is “killing it”, he says, having Basically, as soon as some chump with Sutherland releases so far, since he released as Rings Around Saturn, and a saxophone gets involved, you’re in coined this new alias in 2013 — prior to on labels like the UK’s Brokntoys and mortal danger of entering -wank this he recorded and hip-hop Melbourne’s own Rhythm Works. He also territory. Pleasingly, this is something influenced beats under the name Mike rates Rebecca Freeman, aka Sui Zhen, of which producer Harvey Sutherland is Kay. Each carefully built on the last. This purveyor of Balearic pop with heavy acutely aware. is music that takes its time. The first, Japanese influences. And, of course, “That’s the imperative danger,” he ‘Nexus’, a cover of the track ‘Stand Up’ by Tornado Wallace, currently residing in says, over the blower from his home the ‘80s Italo band Nexus, was released Berlin, but of good Melbourne stock, in Melbourne. “That you turn into the as a cassette through local Melbourne soon to release a new set on Gerd real ‘jam band’. That way, you can lose label, This Thing Records & Tapes. Fifty Janson’s Running Back imprint. why people got into your music in the copies were distributed creating an For his electronic music epiphany, he first place.” With his band Bermuda, instant buzz. was schooled like many others by local Sutherland — 28, and real name Mike Then came a second on fellow Melburnian Melbourne radio DJ Declan Kelly and his Katz — has ploughed a furrow that’s producer Andy Hart’s Voyage Recordings, The City Rises show on indie radio station much more akin to Italo-tinged club and another on the excellent Echovolt, RRR FM. “It was a lot of garage, also music than the dreaded instrumental out of Athens. But Harvey Sutherland the and James Blake stuff. masturbation of bad jazz-funk. (the name being a ‘portmanteau of Occasionally, they’d do a throwback show various in-jokes’, he says) got its biggest and play all old Detroit music. That was It was for the rather cool boutique bump when the track ‘Bermuda’, also when I really connected with the Theo Meredith Festival in Victoria last year, the first recorded outing for the full Parrish productions. That machine music. after touring his own solo live show band, got a release on Danilo Plessow I started doing this improvised MPC for a spell (something he still does and Pablo Valentino’s Motor City Drum project, trying to emulate that sound. now too), that he brought in drummer Ensemble imprint. It was something of Obviously I was into pretty bad house Graeme Pogson and virtuosic ‘one-man a departure for both the band and for music as a teenager. But I came back string section’ Tamil Rogeon, who kind MCDE. around. It would have been those ‘Sound of acts as Bermuda’s frontman, using “That was really exciting,” he says. “It Sculptures’ recordings, like ‘The Rink’. an electronic violin. That too, perhaps, was instrumental in helping build us an That was a great record. But I was never should set alarm bells ringing — violins international profile. I’d done a record great at sampling. I experimented a lot and dance music have never been a under my old alias, Mike Kay, called ‘Low when I was making more downbeat stuff, natural fit — but it works. In their live Altitude’ on People’s Potential Unlimited, but it’s something I’m more than happy shows, the self-taught Sutherland a boogie label from Washington D.C., to leave to other people to get right. I provides the bleeps, basslines and and Danilo had played it on a Resident was never super comfortable doing that, general analogue synthesis using a Advisor podcast live from Trouw in taking somebody else’s work.” vintage Juno and an array of blinking Amsterdam. It was the first record he boxes, over Pogson’s rock-steady played in that mix, so I found an old So is Bermuda and the Harvey Sutherland percussion, with Rogeon adding the email for him online, and said thanks, guise a reaction to that? Making his own atmosphere and, dare we say it, vibes. and we should keep in touch. He was live sounds rather than sampling others’? “I like making dance records,” he says, really keen on doing a record. We spent “I’ve always wanted to make original reassuringly. “That has to be the thread two years workshopping some different music, I guess,” he adds. “In whatever that runs through it. People expect a ideas, and I ended up sending him the form that is, building it from scratch. It dancefloor vibe. We built the band for ‘Bermuda’ single. Much to my surprise, takes a lot longer, but the pay off is a lot clubs, and for the festival environment. it didn’t feel like the kind of thing you’d better. More satisfying. I’m becoming Like a DJ — I was a DJ long before normally see on that label, but they put one of those guys who becomes obsessed the keyboard stuff — I still want to be all their energy behind it, and put it out with drum microphones. It’s a black hole. looking at the crowd, still trying to hold for what it was. I was blown away by the It feels like we spend more time patching the floor, and I’m calling arrangements, response to it.” the studio at the moment. Trying to telling Graeme to drop out, or whatever, fix old Lexicon reverbs that are broken doing a lot on the fly. It’s still about He called upon Rogeon who he knew as before they even arrive. But we’ll get interacting with the crowd. That element the frontman of a local live hip-hop band there. It’s early days.” isn’t lost. We’re not heads down, (“who’s from this really intense jazz and ignoring the crowd. The crowd is still very classical background”) to help arrange As for Bermuda. He has plans. “I do want much a part of it.” some of the strings for the track, and to start expanding the band though. the live band project was conceived. “I’d Maybe a percussionist, make it more of joked with him about doing this disco a modular thing where different people BRINGING IT thing, and he multi-tracked himself can come and sit in, but held together TO LIFE playing his string section and we stuck by the productions, rather than the Compared to DJing, which he still loves, them on the record. That was the original players.” Hang on, there are a few alarm when the sound of their band coalescing seed. We played some shows as a duo bells ringing here. “It’s OK,” he adds. “I with the crowd takes over, it’s an before we bought Graeme on, and it know you’ve got to be very careful. No amazing feeling. “It’s crazy,” he says. was working really well. Which was sax players.” Phew.

080 djmag.com HarveyHarveyHarvey clubclubclub

Melbourne’s Harvey Sutherlandbangersbangersbangers makes gorgeous, sepia-tinged house music. Now, following the success of 2015’s lush off-kilter house hit ‘Bermuda’, he’s taken his band of the same name fully live. But rather than an experimental project channelling creative self-indulgence, Harvey Sutherland & Bermuda are here to make exceptional records for the dancefloor... Words: BEN ARNOLD

djmag.com 081 greg wilson’s discotheque archives

Words GREG WILSON Edited by JOSH RAY

CLASSIC LABEL CLASSIC VENUE GNCYEME R E THE GALLERY, NEW YORK

CrdRE O S THE Gallery was amongst NYC’s most influential venues of the ‘70s. Its DJ and heartbeat was -born Nicky Siano, who, during the early part of the decade, whilst in his EMERGENCY was a New York mid-teens, began attending David Mancuso’s Loft parties. Repeatedly caught dealing label underpinned by Italian drugs there, he was eventually banned, prompting the decision that if he couldn’t go to influence thanks to its owner, Milan-born club and radio DJ the party, he’d throw his own. Sergio Cossa. Having cut his teeth at The Round Table, Siano, his then girlfriend Robin Lord and brother Having worked for Freddy Naggiar’s Baby Records, key to Joe, found their own Manhattan loft party space. Whilst originally geared towards a the rise of what would be retrospectively termed Italo-disco, straight audience, The Gallery adopted the template of Mancuso’s parties, right down to in 1979 Cossa moved to New York to set up Emergency, an the balloons — teenagers and amongst those who’d blow offshoot of Baby. However, due to business differences, Cossa them up (Levan practiced on The Gallery’s decks when the club was closed, Siano his and Naggiar soon decided to part ways, Cossa taking full mentor, as well as at one point his lover). control of Emergency, producing records in Italy and New York. Early success came in 1980, courtesy of Italian group Kano who Loft sound-designer Alex Rosner installed the system and in February ’73, just ahead scored top 10 Billboard dance hits with ‘I’m Ready’ and ‘It’s of Siano’s 18th birthday, The Gallery launched. Having struggled to establish itself, A War’, and Emergency positioned itself amongst the leading serendipity stepped in when temporarily closed during the summer, leaving their underground labels of the early ‘80s, stacking up an impressive audience — both gay and straight, black and white — looking for somewhere to go in the array of club favourites including Firefly’s ‘Love (Is Gonna meantime. Be On Your Side)’, Northend featuring Michelle Wallace with The Gallery skyrocketed as a consequence, Siano’s flamboyant personality infectious as ‘Happy Days’ and ‘Feels Good (Carrots And Beats)’ by Electra. he intensively stoked-up the screaming crowd’s frenzy. The sign over the DJ booth said ‘Happy Days’ gave era-defining producer his big ‘Welcome Home’ and to the regular attendees it was exactly that, a place where they could break. He’d start his own label, Streetwise, the following year, be themselves and lose themselves in sound. as well as producing tracks on another crucial new imprint, Encouraged by his personal DJ mentor, David Rodriguez, Siano became an early exponent Tommy Boy — not least & The Soul Sonic of beat-matching, building a reputation for the skilled ‘blending’ of his selections — Force’s electronic masterwork ‘Planet Rock’. If you flipped the mainly funk and soul, but also drawing from rock, jazz and gospel. Many selections were Tee Scott-mixed ‘Happy Days’, as myself and many other DJs celebratory, their messages reflecting the counter-cultural gains of the previous decade. did, you’d find the mainly instrumental ‘Tee’s Happy’ — the Gallery classics include ‘Law Of The Land’ by The Temptations, ‘Melting Pot’ by Booker T & contribution of the Better Days DJ deemed important enough The M.G.’s and MFSB’s ‘TSOP (The Sound Of Philadelphia)’ and ‘Love Is The Message’. to name-check him in the title (as would the subsequent Michelle Wallace single ‘It’s Right’/‘Tee’s Right’). The Gallery closed in 1977 following a dispute between the brothers, brought to a head by the DJ’s drug use. Moving on to after-hours venue Buttermilk Bottom, Siano would also Electra’s ‘Feels Good’ provided the bassline source for Jamie spend four months at NY’s famous Studio 54 and attempt a Gallery ‘re-opening’, but his Principle’s ‘Your Love’, a key marker in the emergence of star had faded by the onset of the new decade. , officially released in 1986, following reel- Siano’s legendary to-reel and acetate plays by DJs including Frankie Knuckles penchant for getting — a Knuckles-produced version was issued in 1987. The high would take instrumental of this was inventively mashed-up by London’s its toll, resulting DJ Eran with an obscure Candi Staton a cappella, bizarrely in years lost to recorded for a diet video. Initially pressed on bootleg by UK heroin addiction, DJ/producer John Truelove, a cult club classic resulted. An but he’d eventually official version, ‘You Got The Love’ by The Source, took the experience a track into the UK top five in 1991. renaissance, Emergency would embrace the new electro sound that claiming his rightful dominated New York’s clubland in 1983 via tracks like ‘In The place as an all-time Bottle’ by C.O.D., Xena’s ‘On The Upside’ and, most notably, DJ icon. Shannon’s ‘Let The Music Play’, a huge worldwide hit heralding Historic film footage the arrival of , Shannon going on to achieve from the venue was further US dance #1s with ‘Give Me Tonight’ (1984) and ‘Do You issued on DVD in Wanna Get Away’ (1986). 2014 as Love Is The With Emergency’s latter releases failing to scale the heights Message: A Night At of its previous output, the label closed in 1989 — its back- The Gallery 1977. catalogue sold to Unidisc Music.

082 djmag.com CLASSIC record third world ‘NOW THAT WE FOUND LOVE’

IN 1978, Jamaican band Third World unleashed their uplifting -disco fusion, ‘Now That We Found Love’, written by Philadelphia soul icons Kenny Gamble & Leon Huff and originally recorded in 1973 by The O’Jays on their album ‘Ship Ahoy’. The Third World cover version went all the way into the UK top 10, whilst becoming a top 50 pop hit and top 10 R&B hit in the US. Strangely, it remained absent from the US disco chart, despite achieving classic status at David Mancuso’s Loft parties, whilst featuring at the Paradise Garage and elsewhere in NYC. From a UK perspective, reggae had been a part of the musical landscape since the emergence of ska in the early ‘60s. In 1968, with Jamaican recordings really making their presence felt, Trojan Records was formed — a British label (and subsidiaries) John ‘Jellybean’ Benitez Illustration by Pete Fowler that released hit after hit by JA artists including Desmond Dekker, The Upsetters, Jimmy Cliff, Bob CLASSIC DJ & Marcia, Dave & Ansel Collins, John Holt and Ken Booth. john‘jellybean’benitez Founded in 1973, Third World first emerged as one of the few fully self-contained Jamaican bands who THE Latino contribution to disco and dance the same building in 1985 (the venue name thrived without soundsystem patronage, playing culture is largely underplayed. Having had a changed to Heartthrob), subsequently primarily in Kingston’s hotels and nightclubs. peripheral influence during the proto-disco resulting in his hook-up with Kenny Dope and This gave them a niche but also made things period, its arrival was confirmed when New the creation of their own Masters At Work difficult because the soundsystems owned the York’s legendary Salsoul label launched in the dance dynasty. record labels in their home country. The solution mid-‘70s bringing a distinctive Latin flavour to the problem lay in England where they signed into play. Having landed a mix show on NY’s popular to Chris Blackwell’s , the label that John ‘Jellybean’ Benitez was a DJ and WKTU radio station, Jellybean’s status was had launched Bob Marley & The Wailers onto the producer who appeared at the perfect majorly enhanced when he co-mixed one of international stage. moment, becoming the first Latin superstar 1982’s biggest club tracks, the Arthur Baker- The groundwork was laid with their self-titled debut of the dance scene — his residency at The produced ‘Walking On Sunshine’ by Rockers album, issued in 1976, and the ’77 follow-up ‘96° In Funhouse elevating his status, the venue Revenge. Other Jellybean mix credits that year The Shade’, but it with was ‘Journey To Addis’, which immortalised when Manchester band New included 9’s ‘Nunk’ (which he also co- included ‘Now That We Found Love’, that things Order used it as a location for the filming of produced), ‘Pack Jam’ by The Jonzun Crew and really took off for Third World, the LP making the UK their promo video for ‘Confusion’ in 1983 (the Jimmy Spicer’s ‘The Bubble Bunch’. top 30. track mixed by Jellybean and producer Arthur He would soon be positioned at the top table Co-produced by Alex Sadkin, who would later Baker). of New York’s remix elite, whilst helping his work extensively with Grace Jones, ‘Now That We then girlfriend, Madonna, achieve her first hit Found Love’ was one of a handful of reggae-disco Born to a Puerto Rican mother in the South with ‘Holiday’, which he’d produced. crossovers during the period — these also included Bronx, Jellybean gravitated towards music at a He moved further into production and began 1977’s ‘Exodus’ and ‘Jammin’ by Bob Marley & young age, soon realising he could change the writing his own songs, as well as contributing The Wailers, as well as their 1980 hit ‘Could You mood of the room by selecting certain tracks. to film soundtracks including Flashdance, Top Be Loved’, plus 1979’s ‘Living On The Frontline’ by His sister gave him his nickname because of Gun and Back To The Future. His 1984 cover British artist Eddy Grant. his JB initials. of Babe Ruth’s ‘The Mexican’ made its way to It would never get quite so good for Third World He started DJing in 1975 at Bronx club #1 on the US Billboard Dance Chart, and he’d again, although 1982’s ‘Try Jah Love’, co-written Charlie’s, but had his sights set on Manhattan, subsequently work his magic for pop stars and produced by Stevie Wonder, would see them finding his way to the Big Apple’s heart via including Whitney Houston, Michael Jackson gain success in the clubs once more. They would Experiment 4, Xenon and even Studio 54. and Paul McCartney, to name but a few. continue to perform and record and, in 2013, would However, it was at The Funhouse, where he In 2005 Jellybean was inducted into the Dance celebrate their 40th anniversary. was resident between April ‘81 and June ’84, Music Hall Of Fame, and he continues to DJ to In 1991, ‘Now That We Found Love’ would return that things really took off — his audience, this day. to the chart with Jamaican-born US hip-hop artist known for their athleticism on the dancefloor, securing his breakthrough hit via his rap containing a large Puerto Rican contingent. www.gregwilson.co.uk rendition. Louie Vega would set his own trajectory in

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