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572 DJMAG.COM

LIVING & BREATHING ! DJMAG.COM

No.572 August 2017 £4.95

GLASTO-FANTASTICO! EIGHT-PAGE SPECIAL ON THE MOTHER OF ALL FESTIVALS JASPER JAMES *

MUSIC GENERATION NEXT DJ HARVEY * CLUBS THE ENIGMA MACHINE ELECTRO MAGNETIC FORCE * TECHNOLOGY ORIGINAL ELECTRO IS BACK! ON HIS FIRST IBIZA RESIDENCY *

FLYING LOTUS ON HIS NEW FILM PORTABLE PARTY POWER EASY-TO-CARRY DJ SET-UPS DON LETTS THE DON DADA

August 2017 £4.95 £4.95 No. 572

GOING ROGUE FROM TO GLASTO

B.TRAITS, RIVA STARR, , FRITZ KALKBRENNER, MWX, DANIEL MILLER PLUS: ADDICTIVE TV, BILL CONVERSE, GIORGIA ANGIULI, OC & VERDE, EAST END DUBS...

cover_1.indd 1 14/07/2017 14:34 THANKS FOR YOUR SUPPORT WWW..COM

Untitled-1 1 16/06/2017 12:40 DJMag2017_UK-1_v1.indd 1 16-06-17 10:17 CONTENTS

026 RENEGADE MASTER From his hometown of Glasgow to the backstage at Glasto, takes DJ Mag on a whirlwind tour to talk temptation, Numbers and becoming a star...

Cover shot: BRIAN SWEENEY

FEATURES 079 DJ HARVEY 035 GENERATION NEXT Glasgow spinner Jasper James on stepping out from his father’s shadow...

038 GLASTO FANTASTICO! All the action from the UK’s biggest fest, including Arcadia, Block9 and Jezza...

051 ELECTRO MAGNETIC PULSE Original electro beats are back in a big way, DJ Mag investigates... 073 DON LETTS 056 A PIECE OF PRYDZ DJ Mag snatches a rare chat with Eric Prydz about his debut Ibiza residency...

062 CLASSICAL CONDITIONING 036 JASPER JAMES We investigate the growing world of electronic-classical collaboration...

067 PORTABLE PARTY POWER 038 GLASTONBURY All the info you need to make sure you can it up on the move...

073 THE DON DADA We sit down with legendary dub reggae 101 LOVE INTERNATIONAL DJ and fi lm-maker, Don Letts...

079 THE ENIGMA MACHINE DJ Harvey is back at Pikes Hotel in Ibiza as resident DJ and cultural co-ordinator...

010 COMIN’ UP Daniel Miller, B. Traits, Bill Converse, MWX, Bass Culture, ... 086 ON THE FLOOR WCD gets even bigger, going all night at , feeling the Love International... 117 MUSIC REVIEWS Hercules & Love Affair, Daphni, Biogen, Bambooman, Maya Jane Coles... 150 TECH OC & Verde, TORAIZ AS-1, Denon MC7000, 056 ERIC PRYDZ 160 TORAIZ AS-1 EVE Audio SC205 & TS108, Addictive TV...

djmag.com 003 DJ Magazine Ltd PO Box 71897 N1P 1HH 020 7686 6545

NEXT ISSUE OUT

LIVING & BREATHING DANCE MUSIC! 31.08.17.

Editorial Editor Carl Loben [email protected]

Deputy Editor Adam Saville [email protected]

Art Editor Martin Brown [email protected]

Design Chris Royle [email protected]

Clubs Editor Ben Hindle [email protected]

Tech Editor Mick Wilson [email protected]

Fashion Editor Helene Stokes [email protected]

Albums Editor Felicity Martin [email protected]

USA Editor Sarah Polonsky [email protected]

Listings Editor Martin Guttridge-Hewitt [email protected]

Digital Digital / Ibiza Editor Charlotte Lucy Cijffers [email protected]

Deputy Digital Editor Rob McCallum [email protected]

Head Of Digital Media Simon Kelly [email protected]

Digital Media Exec Euan McGraw [email protected] GLASTO-FANTASTICO! Digital Media Asst Jon Dommett [email protected] I first went to Glastonbury before many DJ Mag readers Contributors were born. It was my introduction to the counter-culture Paul Clarke, Ben Murphy, Claire Hughes, Neil Kulkarni, Sherman, Ian McQuaid, Joe Roberts, in the late ‘80s, and where I had my rave epiphany. Richard Brophy, Found Sounds, Dan Reid, Zara Wladawsky, Larry Rostant, Oli Marlow, Ben Venturing out on a Saturday night, our crew came Arnold, Kristan J Caryl, Luke Pepper, Ben Osborne, Tim Stark, Kutski, Jonathan Burnip, Reiss across a soundsystem truck blaring out some of this De Bruin, Marc Rowlands, Sunil Chauhan, Leon Clarkson, Whisky Kicks, Ashley Zlatopolsky, new-fangled ‘rave music’. Dancing to repetitive beats Chris Davison, Stephen Flynn, Erin Sharoni, Dani Deahl, Anna Wall, Angus Thomas Paterson, Kirsty Allison, Morgan Jones, Chandler Shortlidge, Emma Gillett, Sirin Kale... under the stars suddenly made perfect sense, and I was convert. I’m not embarrassed that it was the late Guru Advertising Josh who was atop the truck that night, urging people to Sales & Marketing Director Heath Holmes [email protected] rave on to ‘Infinity’ and beyond. Everyone has to start Sales Manager Chris Blackhall [email protected] somewhere. Advertising Manager Iain McGoldrick [email protected] Glasto has changed a lot in the ensuing years, but is still one helluva place to party. I remember when the dance Managerial tent first came along in the mid-‘90s, and this becoming Publisher James Robertson the Dance Village in the early noughties. I also recall Managing Director Martin Carvell vividly when the Glade area first started as a Accounts Patricia Jordan [email protected] soundsystem in a little wood; the perimeter rave at Gate 6 in the late ‘90s; when the incredible Arcadia spider Events (above) started; and how brilliant it was that the Head of Events Adam Saville [email protected] travellers we’re co-opted onto the site to create the Events Booker Alex Donald [email protected] Lost Vagueness area — the forerunner to the crazy Events Manager Alex Anderson [email protected] Shangri-La fields. Block9, too, was amazing when it started a decade ago, and now for one weekend every Subscriptions late June the NYC Downlow becomes possibly the best Email [email protected] in the world… Telephone +44 20 7684 4881 You can have a great time at loads of festivals, but Glasto Online subscribe.djmag.com keeps pulling me back — and not just for the dance stuff either. Our DJ Mag crew have attempted to capture a DJ COMPETITION RULES: To enter a competition you can send your answer by post to [name of competition], DJ Magazine Ltd, PO Box 71897, London, N1P 1HH or email [email protected] to be received on or before the closing date. By sending your entry flavour of the festie with our eight-page special on page you agree to these competition rules and you confirm you are happy to receive details of future offers and promotions from DJmag. com ltd.The winner will be notified within 28 days of the closing date. Competitions are only open to UK residents. No employees of 38, while we also trailed Jackmaster while he piled DJmag.com ltd. or any of its group companies or the employees of any entity which has been involved with the administration of this competition or any member of their households may enter this competition. No responsibility is accepted for entries delayed or lost around Worthy Farm for our cover story (page 26). in the post. Proof of postage will not be accepted as proof of receipt. The prize is as stated and no cash alternative is available. The provider of the prize reserves the right to substitute the prize for one of equivalent value. Thrust Publishing Ltd. is not responsible whatsoever for any failure by a third party to provide the prize on time or at all or for any loss, damage, costs, expenses, or personal There’s loads of other good stuff this issue, too (as injury caused by the prize. If you have any query or complaint in relation to the prize, you should contact the provider. If you are a winner of the competition you accept that Thrust Publishing Ltd. has the right (without additional payment or seeking permission) usual). Enjoy! to use your name, address and likeness for the purpose of announcing the winner of the competition and for related promotional purposes. All entries must be received by the closing date. No purchase necessary. Details of the winning entry will be available at any time on or after the closing date by written request from DJ Magazine Ltd, PO Box 71897, London, N1P 1HH. SEND POSTAL ENTRIES TO: CARL LOBEN (Name of Competition), DJ Magazine Ltd, PO Box 71897, London, N1P 1HH SEND EMAIL ENTRIES TO: Editor [email protected] THE VIEWS EXPRESSED HEREIN ARE THOSE OF INDIVIDUALS AND ARE NOT NECESSARILY SHARED BY DJ MAGAZINE.

004 djmag.com Master Lineup AGOSTO (1)-CD.pdf 1 13/7/17 16:16

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Untitled-1 1 17/07/2017 14:17 Comin’ Up Upbeat updates - all the stuff you need to know!

SOUNDCLOUD “HERE TO STAY” Rumours about the streaming site’s demise had spread after a string of redundancies…

DESPITE REPORTS predicting its imminent demise, those who didn’t want to endure adverts between SoundCloud’s co-founder then issued a statement SoundCloud — the streaming site used by tens of tracks. The company settled a dispute with the about the “noise” around SoundCloud’s thousands of DJ/producers — is not about to fold. Performing Rights Society (PRS) with the promise to profi tability. “The music you love on SoundCloud It had been reported in mid-July that SoundCloud pay royalties to creators, and has recently secured isn’t going away, the music you shared or uploaded only had enough money to survive for 50 more days. licensing deals with major labels. isn’t going away, because SoundCloud is not going This was after it laid off 40% of its workforce and The rumours about SoundCloud circulated after away,” he wrote. “Not in 50 days, not in 80 days closed down its London and San Francisco offi ces. it laid off 173 people. Disgruntled ex-employees or anytime in the foreseeable future. Your music is The news had prompted many DJ/producers to start spoke about the company’s alleged lack of funds, safe. talking about taking down or saving their music — but SoundCloud countered by issuing the following “Along with each of you, we’ve built this incredible and looking for somewhere else to upload their new statement: “We continue to be confi dent the creative community of artists, podcasters, DJs, tracks, and mixes. changes made last week put us on our path to producers and more who are the driving force profi tability and ensure SoundCloud’s long-term in pushing culture forward in the world,” he After establishing itself in 2008, Soundcloud viability.” continued. “That’s not going to change… we had to quickly took over from Myspace as the place where Chance The Rapper — who credits the site with make some tough decisions to let go of some of our producers uploaded their new music — whether his early success — is said to have spoken to staff, but we did this to ensure SoundCloud remains clips or whole tracks. It grew by over a million Soundcloud founder Alex Ljung, and tweeted that a strong, independent company… SoundCloud is users a month (it now boasts over 175 million), and he was confi dent the music streaming service is, here to stay.” last year became a subscription-based service for “Here to stay”.

006 djmag.com djmag.com COMIN’ UP

GILLES PETERSON NEEDS YOU! Brownswood boss on the look- out for unsigned talent for third Future Bubblers programme

BBC RADIO 6 MUSIC presenter and taste-making label owner is asking for new UK artists to send unsigned material for Brownswood Recordings’s third Future Bubblers talent discovery programme. Funded by Arts Council , previous candidates have included Nottingham’s MC Snowy and soul singer Yazmin Lacey, while current Bubblers like Congi and Kid Katharsis have scored radio airplay and been involved with live sessions in the Brownswood basement. Successful entrants will receive industry mentorship — in the past from the likes of Throwing Snow and ’s Alex Patchwork — and one-to-one production workshops from Ableton, as well as live showcases. Led by Gilles and his highly respected Brownswood imprint — a label that’s broken talents such as Yussef Kamal, Dayme Arocena and Zara McFarlane — the project’s music policy is wide open, offering a shot to any aspiring producers from the dancefloor-focused circuits of UK bass, house and to the experimental realms of soul, hip-hop, jazz and beyond. Applications (which opened 3rd July) are open until 18th August and can be submitted online via futurebubblers.com or in person by dropping promos into partnership organisations in Southampton or Liverpool. Check the website for more info.

WIN THE ULTIMATE VIP TOP 100 DJS EXPERIENCE! Donate to Unicef to be entered into a fantastic prize draw…

VOTING in the Top 100 DJs poll continues for the more of the world’s children are vaccinated, one Pioneer pro DJ set-up including DDJ-RZX, whole of August, right up until September 13th. educated and protected than any other SDJ 60X x 2, HDJ-2000mk2; a Point Blank Music We received an incredible 250,000 votes in the organisation. Production course; and a lifelong subscription to first week after the poll opened, and the ballots DJ Magazine. Phew! continue to pour in. But there’s still plenty of To help Unicef at the same time as you cast your time to make sure your favourites receive some vote this year, you can donate via the omaze. It’s a fantastic prize, and by entering you’re recognition. com/top100djs link on the voting page. By also contributing to Unicef to help them with The Top 100 DJs results will be announced at our donating, you are entered into a prize draw — their work around the world protecting children huge awards show during the Amsterdam Dance with some fantastic prizes. The more you donate, in danger. Keep checking back on the Omaze Event (ADE) in mid-October, and in the special the more chances you have to win! prize draw page for limited edition signed souvenir issue — the November magazine — all The grand prize is as follows: flights to and from merchandise and chances to meet your favourite the DJs will be interviewed and profiled. Amsterdam plus hotels, 18th — 23rd October; VIP DJs or see them at the biggest shows worldwide. This year’s awards headline partner is the global red carpet entry to the Top 100 DJs awards show; children’s organisation, Unicef. Unicef works in VIP table in winners’ enclosure; meet & greet • To vote in the Top 100 DJs poll, go to over 190 countries around the world to keep all backstage with the winners; two passes for ADE; top100djs.com children healthy, happy and safe. They ensure two VIP passes for the Amsterdam Music Festival;

djmag.com 007 HYPE CHARTS This month’s biggest tracks, as determined by early sales data analysis from BPTOPTRACKER. These hype cuts are predicted to smash the Beatport charts soon. Listen to the tracks at bptoptracker.com

HOUSE TECHNO

01. SANDRINO, FRANKEY 01. NOIR, CARI GOLDEN, VICTOR RUIZ 01. ZOMBIES IN MIAMI Solaris Sum Over Histories I Am Senso Sounds Odissey Suara 02. &ME 02. BOXIA 02. ZOMBIES IN MIAMI Avalon Keinemusik Point Of No Return We Are The Brave Along Strangers Suara 03. &ME 03. CHRISTIAN BURKHARDT, DANIEL ROTH 03. ARIL BRIKHA The Rapture Keinemusik Al Paka (Felipe Venegas ) Cachai Music Eat The Heart Something Happening Somewhere 04. SANDRINO, FRANKEY 04. BIZEN LOPEZ 04. KRAAK & SMAAK Virgo Sum Over Histories Off Speak Kinetika Records Hendo Exploited 05. ZOMBIES IN MIAMI 05. FRANKSEN 05. ZOMBIES IN MIAMI Odissey (Frankey & Sandrino Remix) Suara Melon Collie Dub (Shayde Remix) Lucidfl ow Odissey (Massimiliano Pagliara Remix) Suara 06. PEP & RASH, WATERMAT 06. ADA KALEH 06. JOEY NEGRO Ruff Like This Spinnin Deep (Spinnin) Palatul De Clestar R&S Records It's More Fun To Compute Z Records 07. GREEN VELVET 07. BIZEN LOPEZ 07. KRAAK & SMAAK, ERIC BIDDINES La La Land (Prok & Fitch Sweet Sixteen Remix) Relief Records Off Speak (Dub Mix) Kinetika Records Prescription (feat. Eric Biddines) (Moods Remix) Jalapeno Records 08. SECONDCITY 08. STELIOS VASSILOUDIS 08. KOLOMBO Kwelanga Toolroom Records Sierra Alpha Victor (Quivver Remix) Selador Just Like That LouLou Records 09. FISHER 09. TRIPIO X 09. SOFT ROCKS Ya Kidding Dirtybird Over And Over Low Groove Records Talking Jungle (Justin Van Der Volgen Remix) Mister Saturday Night 10. RIVA STARR 10. HATZLER 10. ARGOMAN The Wickedest Sound Brock Wild Curved Set About Chimicalissimo Permanent Vacation

BASS EDM TRANCE

01. DABS, DISPROVE 01. LUCAS & STEVE, MIKE WILLIAMS, CURBI 01. BRYAN KEARNEY, PLUMB Thor (Break Remix) Avantgarde Let's Go Spinnin Records All Over Again Subculture 02. ED SOLO, DJ BROCKIE 02. IAN CAREY, 02. TRISTAN, AARDVARKK Lost Bass (Serum Remix) Undiluted Keep On Rising Spinnin Records Daws Of Perception (Imagine Mars & Volcano Remix) Nano Records 03. DOWNLINK 03. ORKIDEA 03. MELICIA, FADERS Bass War Uplink Audio Xciter Pure Trance Progressive Nirvana (Shivatree Remix) Sacred Technology 04. BLADERUNNER 04. STELIOS VASSILOUDIS 04. ALAN MORRIS, ELLIE LAWSON Jungle Jungle Get Hype Records Sierra Alpha Victor (Olderic Remix) Selador Find Myself In Losing You Amsterdam Trance Records (RazNitzanMusic) 05. ED SOLO, DJ BROCKIE 05. LOPEZHOUSE 05. JAN JOHNSTON, MARK SHERRY, DARK FUSION Represent (T>I Remix) Undiluted November Clouds Records Deja Vu (James Dymond Remix) Outburst Records 06. HALOGENIX 06. UBERJAK'D, FRESH TIL DEATH 06. GENESIA, STARLAB (IN) Blej Critical Music Lose Our Minds Bourne Recordings Access To Consciousness Digital Om 07. HALOGENIX 07. OFRA HAZA, SARAGA 07. NIKO ZOGRAFOS Velvet Critical Music Love Song(feat. Ofra Haza) Sudbeat Music Dark Horizon FSOE 08. CASPA 08. KIDNAP KID, LANE 8 08. 2ND PHASE, ALLAN MORROW Deja Vu Sub Soldiers Aba (Yotto Remix) Anjunadeep FOAB Grotesque Fusion 09. MASTADON 09. KHEN 09. DJANTRIX, STARLAB (IN) RIP NSD: Black Label Cornfi elds Vivrant Post Human Digital Om 10. HYDRAULIX 10. KHEN 10. ANSKE Push It Twonk Dreamcatcher Vivrant Xplorer Coldharbour Recordings

OFFICE PLAYLIST DJ MAG LIVE STREAM PICKS... What’s on the DJ Mag offi ce stereo? • LCD Soundsystem • Wiki American Dream Pretty Bull DFA XL Recordings

• M.A.N.D.Y • Lone Rabbit Mountain Ambivert Tools Vol 2 Get Physical R&S

• Richy Ahmed • Tim Healey Kimalaya EP Death By Stereo EP Play It Say It DB Stereo Ltd

• Midland • Ghetto Priest COMING UP!. CATCH UP! FABRICLIVE 94 Every Man For Every Man Ramrock JACKMASTER LIVE FROM RAINBOW, BIRMINGHAM LIVE FROM #DJMAGHQIBIZA • The Caulfi eld Beats • Mount Kimbie 18TH AUGUST@ 6PM WATCH NOW! NewAcid Love What Survives .djmag.com/HQ. .djmag.com/HQ. TCB303

008 djmag.com Untitled-1 1 17/07/2017 17:07 KILLERS This month’s promos destined to destroy the dancefl oor... INCOMING Stone Cold Everyone wants to be friends with ROSS KILLER FROM FRIENDS at the minute. He’s just released ‘The Outsiders’ on Magicwire, a six-track EP of lush, sunken, sub-aquatic house textures with scattered hi-hats and rich Rhodes synths, and it sounds just simply wonderful… Fans of that will like that LONE is back on R&S with ‘Ambivert Lone

Detroit Swindle Tools Volume Two’, three juicy house ‘Can’t Hold It’ cuts of fl owery keys and Amazonian rave Heist Recordings sounds, plus Australia’s super-cool house meteorite MALL GRAB has remixed RON LARS AND MAARTEN, known to you as dropped their fantastic ‘Punch Drunk’ neo-soul veteran Mark de Clive- BLANCO’s ‘I Wait’ on Scuba’s Hotfl ush Swindle, aren’t from Detroit EP in 2015 and followed up with Lowe’, is a deep, funky sunset-ready into a strong dusty dancefl oor jam... On or involved in defrauding people out ‘Circular City’ last year, and now we four-four gem built around a looped a melodic tip, Luxembourg’s CLEVELAND of large sums of money. The only have this. original funk sample, that rises to has paid homage to Japan’s former capital, thing these two Dutchmen steal — or ‘Can’t Hold It’ is rumbling NYC- a gorgeous boogie drop. While, on aka ‘Kyoto’, with a steely slab of Detroit- borrow, rather — is the grubby funk inspired garage with fi ltered juicy the fl ip, ‘Taramindus Hollandicus’ tinged techno full of synth-y celestial of their namesake city, disco-inspired horns and future-disco synths. is an array of steel drums over Afro fl utes and strings, while ‘Coimbra’ (named house from Chicago and jackin’ New Layered to perfection, it’s a strong, percussion, a rich Moog top-line and after Portugal’s former capital), on the Jersey beats — however, their sense undulating dancefl oor groove pumping analogue bass, which is fl ip, is rubbery but delicate robo-house... of style is all their own. guaranteed to inject energy into given industrial EBM remix treatment Chicago minimal king ROBERT HOOD and One of the most consistent the sets of modern-day masters like by NYC’s Willie Burns. his daughter Lyric have delivered two production duos in MCDE, Jeremy Underground and All in all, it’s a hugely well-rounded FLOORPLAN remixes of RADIOSLAVE today, the Heist bosses have returned Midland. Its refi ned brass hook is release, but it’s the title track that for . Rather than reinventing the with the fourth solo release for also lush, giving it a sense of smokey most proper house and disco DJs will wheel (Robert already invented it), both their lauded off-kilter label, which Motor City soul that even fi nd themselves reaching for at peak- remixes are huge, functional slices of hair- appeared four years ago with their would be proud of. time. Get oneself involved. raising, warehouse-ready techno with ‘Break Up To Make Up’ EP. They then ‘Just Not Norma’, featuring keys from a looped gospel vocal sample... Proper techno-heads will also like BLACKHALL & BOOKLESS’s latest EP on their Jaunt Volruptus Mark System label. ‘Links (Battle Rework)’ is dramatic, ‘Alien Transmissions’ ‘Break Glass’ EP chugging and strangely uplifting broken bbbbbb Records Exit Records techno shrouded with reverb, while some deepness from CHAD, an absorbing remix ALTHOUGH only launched IT MUST be DJ Mag’s from BLEAK and militia breaks from in Feb this year, Bjarki and birthday because a new ASOK round off a top-quality package of Johnny Chrome Silver’s Mark System EP has rumbling, soot-slathered dub-techno from bbbbbb imprint is already (fi nally) arrived. His fi rst an alien planet... The always awesome on its fi fth release, and release on the label since HODGE has delivered more grime- the latest — welcoming fellow Reykjavikian, Volruptus his stunning 2015 ‘Final Approach’ fi nds the infl ected, shape-shifting techno, this time — has quickly become our personal favourite. As per, London-cum-Ibiza producer on a far more aggressive tip to UNTOLD’s Hemlock imprint with ‘Swings oddball experiments are the order of the day, although — we’re guessing it was written before the move — with For The Fences EP’... MIDLAND has mixed overall the four-tracker is more dancefl oor-orientated ‘Break Glass’, ‘600k’ and ‘Obnox’ all inducing serious ‘Fabriclive 94’ (out 22nd September). than usual. The acidic electro title-track sets the tone, screw-face. The latter in particular is likely to get Marky Featuring tunes from DAPHNI, JUJU & followed by techno wobbles (‘Jargon’) and skittish jungle boy arrested for GBH, all blunt-force trauma drum- JORDASH and LFO, it’s a layered journey (‘Gett Vffreakye’), before ‘Tesseract’ closes out on a work and abrasive synth stabs. Fortune cookie predicts of weird tribal beats, gloopy sub-bass and similar note to the opener. Keepin’ it unreal! rewinds aplenty… trippy ayahuasca textures that leads into techno... house legend TONY Lake Haze Doc Daneeka HUMPHRIES has turned in a classy party ‘Love In Lux (DJ Boring ‘Walk.Man Vol 1’ mix featuring TIGER & WOODS, TODD Remix)’ Ten Thousand Yen Unknown To The Unknown UK HOUSE staple Doc Daneeka has launched a CHALLENGING for the series of EPs which will be title ‘most ironic moniker rounded up into a mixtape ever’, DJ Boring has for his label at the end of remixed Lake Haze’s Balearic Orbital-inspired pianos into the summer. ‘Save Me’ is a slow-burning slice of smokin’ something quite the opposite. A gripping spiral of razor- summer funk — the percussion is super-crisp, the brass Tony Humphries sharp mind-mangling bleeps and moody rave airs over ensemble is rich and the beats are quite simply bumpin’. popping ping-pong percussion and a thumping techno Let’s not forget that soulful jazz vocal sample... and TERJE and LEON VYNEHALL to celebrate four-four, it sits somewhere between Denis Sulta and that drop! Perfection. Turn it over — oh-so-funky B-side 15 years of GERD JANSON’s Running Back. Innervisions at their most powerful. Tops arrrf! ‘Please U’ will also please you.

010 djmag.com HOT SEAT

We throw a few curveball questions the way of... DANIEL MILLER Words: JOE ROBERTS

“It’s a bit like playing your first football match at Wembley stadium,” says Daniel Miller, founder and now techno DJ about his 2010 debut gig at , courtesy of an invite from UK pioneer Regis, aka Karl O’Connor. “I said, ‘Make it easy for me Karl’, so I had the opening slot on a Saturday, which is midnight when people start coming in and it starts to get going.”

Quite what the landscape would look like without Miller, it’s impossible to imagine. Launching Mute Records in 1978 to put out his own single ‘Warm Leatherette’ as The Normal (the track was later covered by Grace Jones) at the start of a highly experimental period known as post-punk, the label went on to provide a home for a huge list of successful acts utilising a new age of electronic instruments including Fad Gadget, , Nitzer Ebb, Yazoo and many more. His soon to be relaunched Novamute sub-label, meanwhile, was a springboard for the likes of Richie Hawtin, of people were really bored of what was going in the ‘80s people said it’ll never be as exciting. as Plastikman, and . on with music and I think wanted to make weird Revolutionary is not necessarily the word I would noises and try to put that into some kind of use. “I like the culture around the techno scene, I structure and try something new. “The cultural context of music has changed, as find it very friendly and collaborative,” says “Punk rock was kind of the end of something, and there are so many other things to do. Because Miller, who now lives in but is still a the beginning of something. The first electronic there are so many other things to do, people’s regular in the UK to play clubs such as Egg musicians of that post-punk generation were attention spans have changed. There’s also a lot London. “It doesn’t seem so competitive, all bedroom composers. Now, of course, it’s of music, which is a good thing, and it’s much certainly the people I know. It’s the nearest normal, everyone makes music in their bedroom more easy to get hold of, so the chance you’re thing I’m going to get to playing live, and I with their laptops. But then it was unheard of. going to sit down and listen to an album from enjoy it very much.” You couldn’t make a record unless you had a beginning to end is fairly slim these day. Then, big professional studio. It was the beginning of of course, there’s social media. People’s lives are We chat to Daniel about Seinfeld creator Larry the whole DIY movement. A lot of things that very busy in the Western world, we’re constantly David, modular synths and why Mute works best happened in those days are strongly echoed in trying to keep up.” without any artist contracts... what is happening now.” “It’s not hard to make quite good-sounding Why do you think Depeche Mode stuck with It is true you almost became a comedian? electronic music now, but it’s as hard as ever to Mute, despite the lure of the majors? It’s quite a different path to putting out dark make exceptional music of any kind, whether it’s “When I saw them first at the end of 1980 at The synth-pop… electronic or anything else. From my perspective Bridge House, Canning Town, supporting one “Ha ha. I wouldn’t say I almost became a as an A&R person, or running a label, you have of our other artists, Fad Gadget, I thought they comedian, I was very into writing comedy. Three to sift through an awful lot of OK stuff to find the were amazing. I asked if they fancied doing a or four of us used to write together at school really great things, but that’s fine. It encourages single, and they said OK. I told them we didn’t and we met John Cleese a couple of times. I’m people to push the envelope, if you pardon the have to have a contract, we could just have a definitely still into comedy, although not so much pun.” profit-share, which is what I’d done before, and stand-up. Curb Your Enthusiasm is my favourite take it single by single. For whatever reason they situational comedy. Larry David is an absolute You’ve done a talk on modular synths, casting felt comfortable working with me. genius. It’s hard to watch other stuff after that light on what sometimes seems an esoteric “I think I understood the music a lot better than as it’s not as good — I can watch it over and over world. Are they not what producers get into to other people, who just thought they were a band again. I also like people like Jackie Mason, who’s try and make it elitist again? who’d have a few hits. I didn’t have a contract getting on a bit now like all of us. He’s not scared “It’s not really elitist. You can start small with with them for about 15 years, and I still work to push the boundaries. I still love the old Monty two or three modules and take it from there. I with them on a kind of A&R basis, which I’m very Python thing and Fawlty Towers, of course. What think they’re sick of pushing a mouse around, happy about. In those days — it’s hard to imagine else... I wasn’t ready to talk about comedy!” and sick of going through endless lists of presets — none of them had lawyers or managers. But and sample libraries. They just want to create gradually people started getting lawyers and OK. Your dream in starting Mute was of something on their own, which I think is much managers, and lawyers and managers have to electronic music changing from something more pure.” justify their fee, and that’s it really. elitist to something popular. Did you think “I understand why people want contracts it would end up quite like the American EDM We’re in an age of reissues and revivals. completely, you need to protect yourself. explosion with a producer on stage with a Is there the same appetite for anything But if you find a home or label where you feel laptop and a silly mask? revolutionary as there was after punk? comfortable and you trust the people, then “Yes! I wouldn’t have been able to tell you exactly “People have been asking that question for I don’t think you need a contract. That trust how, that it would all be done via computers, but almost as long as I can remember. In the ‘70s, element, both from a business and a creative I thought it would. The price of synths around it was ‘It’ll never be as revolutionary as the ‘60s side, is part of what has kept us going so long.” ’76/’77 started to really come down and a lot again’, then there was punk and post-punk. Then

djmag.com 011 GET TO KNOW

MWX FROM? GLASGOW, SCOTLAND

SOUNDS LIKE? , DJ STINGRAY, HELENA HAUFF

WHERE NEXT? DJ MAG SESSIONS @ BLACKBOX, RAINBOW BIRMINGHAM W/T JACKMASTER, JASPER JAMES & AUSTIN ATO ON FRIDAY 18TH AUGUST

GLASGOW has brought us some seriously iconic artists in electronic music over the years; the Optimo (Espacio) duo have become cult heroes for their contribution to genre-morphing dancefloors, and Slam are considered veterans in techno. In steps MWX, aka Marianne Wilson, one of the freshest faces on the scene. Growing up, she frequented the legendary on a Sunday, the Art School and Slabs Of The Tabernacle to satisfy her affection for Italo-disco. “The clubbing scene was pretty vibrant, lots of DJs really experimenting with genres, obviously there’s a pretty big house and techno scene but it was celebrated to play quite eclectic music as well,” she tells DJ Mag. She started spinning at the age of 21 when her friends admirably pitched in to buy her a hefty collection of records. Her flatmate at the time had a pair of belt-drive turntables, and it all went from there. Since then she’s built up an impressive vinyl collection influenced by the classic sounds of Italo, disco, new wave, post-punk, electro and beyond. “In terms of Glaswegian record stores there’s, of course, Rub A Dub, which is everyone’s haunt and such a music hub for people,” Marianne mentions when we ask about her avid crate-digging. She’s ventured far and wide to find rare 12”s, shopping from London to New York. Playing an impressive run of clubs including Greissmuller in Berlin, she admits there’s still something special about gigs in her hometown: “I think getting a really good Glasgow crowd is always really satisfying, cos people are so into the music. Everyone in Glasgow really loves Italo as well, so you can really get everyone going and pull all their heartstrings.” Now residing in London, she’s started a new residency called Strangers Rotation Club at East London jaunt Jaguar Shoes, playing alongside fellow DJs Wave Energy Converter and Mr TC. She’ll be taking the stage for DJ Mag at Digbeth Dining Club and the Blackbox at Rainbow, alongside the cream of the Glasgow crop Jackmaster and Jasper James later this month. “I haven’t played in Birmingham before and I’m really looking forward to playing to a different crowd, it will be exciting,” she says about her first time at the Midlands’ leading venue, Rainbow. When she’s not in the clubs, find her on Holland’s finest underground radio station Intergalactic FM, and making industrial with various analogue gear under the guise of Uni.Omni. ANNA WALL

012 djmag.com djmag.com GET TO KNOW

BILL CONVERSE FROM: AUSTIN,

SOUNDS LIKE: , , DJ STINGRAY

THREE TUNES: ‘THANK YOU, ‘WAREHOUSE INVOCATION’, ‘MAGNETIC’

AUSTIN, TEXAS is famed for its SXSW festival and indie-rock. Until recently, underground dance music hasn’t fi gured in the university town and state capital’s culture in any meaningful way. That’s changing thanks to the electric, acid-seared productions of Bill Converse, whose album releases via San Francisco’s Dark Entries label have been causing a stir. Originally from Lansing, , Converse acquired a taste for techno at a young age, enjoying subterranean sounds via the Mechanical Pulse show on Michigan State University radio before moving to Austin in 1998. Since 2000, he has been building up a collection of analogue hardware and refi ning his beat-making skills. Previously best known as a DJ, it was his 2013 ‘Meditations/Industry’ cassette under the name WWC — via the Obsolete Futures label — that snared the ears of those lucky enough to hear it. Its spooky, otherworldly electronics, snaking acid lines, hissy, lo-fi electro beats and pared-back, lysergic house announced an exceptional artist, and the album was picked up for a wider release in 2015 via Dark Entries. “That collection of tracks is me learning how to use my equipment and fi guring out what it is I like to do,” Bill tells us. “That’s when I really started to take things seriously.” Bill’s method of production is unusual, too. He records his tracks in mammoth analogue jams without overdubs, letting the sounds lead him and sparking off the spontaneity of live performance. His new album ‘The Shape Of Things To Come’ for Dark Entries is a set of fresh productions, recorded in a similar way. “I get lost in it,” he says. “It’s easy to spend three or four hours working on one thing. It’s certainly meditative.” Hardware is key to this producer’s sound. He’s become so familiar with his equipment that it would be strange for him to make music any other way. “I played around with editing on computer programs before. It’s fun, but it’s better for me to record something and have it done,” he says. “I feel like when I record just the two channels, I’m capturing a performance. For me, it’s more cathartic to do that.” Infl uenced by “Jeff Mills, , Drexciya, Anthony Shakir”, in places ‘The Shape Of Things To Come’ is more club-geared than its predecessor; tracks such as the squidgy 303s and house claps of ‘Thank You’ complementing the techno thunk of ‘Position Of Home’. In others, like the tumbling beats, brain-dance melodies and eventual four-four of ‘Magnetic’, it’s experimental and more geared to headphone listening. Bill promises another mini- album soon on the Tabernacle label, a 12” on Down Low Music, and another more experimental project, all featuring his compelling, off-world hardware jams. “I’m a tactile person, I like working with my hands,” he signs off. “So I’m going to keep it going.” BEN MURPHY

djmag.com 013 TAKE TEN B.Traits Ahead of curating her own stage at SW4 festival, B.Traits 01. Blondie ‘Heart Of Glass’ from BBC Radio 1 tells us about the records that helped “My dad used to play me this record when I was a kid and it was the shape her into who she is today... first time I understood and related to a strong female in music. Blondie always stood out for me because, to me, Debbie Harry was the leader of that band: she was Blondie. Another female artist I loved at the time was Patti Smith, she fended for herself; she wrote, sang, dressed, and did only what she wanted! I realise now how important it was for me to witness this while growing up.”

02. DJ Shadow ‘Organ Donor’ “This record soundtracks my b-girl days, where I discovered my own rhythm and how to move to music. I spent a lot of time dancing to this record and used it in school projects, where I was able to first dabble in using music in a digital program on a computer.”

03.  ‘Breathe’ “I still remember the day I saw the video for ‘Breathe’, it was the first time I heard UK-style electronic music. My mum was in the kitchen and I turned the TV up super-loud, and was completely mesmerised by the sounds I was hearing along with the dark energy the video provided. I loved it — my mum was freaked out!”

04. Shy FX ‘Bambaataa’ “I used to be obsessed with music television. Instead of watching cartoons like a normal kid, I was always watching MuchMusic (Canada’s equivalent to MTV). It was very rare that we could ever hear anything other than what was popular, but there was a late- night World Music show that would come on around midnight. It was presented by this Japanese girl with really cool hair and style. I discovered this record on that show. As soon as I heard the drums, I was hooked! And after that is when I began my search for more jungle-style records.”

05. DJ Pooch ‘Let The Bass Roll’ “This was the first speed-garage record that actually made me want to learn to DJ. I was still dancing as a b-girl, and I had a DJ friend that wanted to learn some basic moves, so we traded a few tips and techniques — and we both haven’t looked back since! He still dances!”

06. John B ‘Ole’ “Kemistry & Storm included this track in their ‘DJ-Kicks’ compilation. It is still one of my favourite compilation to date! I felt that in 1999 there were very few female DJs, and I looked up to these two immensely. They inspired me to do it, no matter what style I wanted to play.”

07. Jonny L ‘Hurt You So’ “Another jungle-y record that soundtracked my early DJing years, I even wrote a track called ‘Fever’ that pays homage to it!”

08. Missy Elliott ‘Get Ur Freak On’ “I used to open with this record back when I was playing predominately jungle and drum & bass. Missy Elliott was also aking her break as part of Shy FX’s Digital Soundboy crew — the first ever a very strong female role model for me, she influenced young Digital Soundgirl — after she relocated from Canada to London during the women to embrace their individuality and showed us that we ‘00s, Brianna Price has since gone onto become one of the darlings of the could be as weird as we wanted to be.” M UK dance scene. Inspired by rave, jungle, garage — and everything in between — she dropped house/breaks hybrid hit ‘Fever’ onto the label in 2012 and 09. Laurent Garnier ‘The Man With The Red Face’ reached the UK single charts in the process. Next she secured a weekly Radio 1 “Being in a very small town in Canada, I felt many boundaries residency on a Monday, filled in for Annie Mac and then moved to a prized slot on a in terms of discovering different genres and styles of electronic Friday night (1am – 4am). music — I had to search, hard! And often we could only come In recent years, she’s embraced darker realms of techno and tech-house, pushing the across the big records. I actually discovered this track in the jazz likes of Adam Beyer, and Alan Fitzpatrick with her show and DJ sets section of the local music store! I couldn’t believe my luck!” (at havens such as Awakenings and MELT!), while In.Toto, the label which she set up at the end of last year, is two-releases deep and home to her latest pitch-black 10. Theo Parrish ‘Falling Up ( Remix)’ productions. “I’m pretty sure everyone has a story about this record. I heard With her own stage at London’s South West Four this year (Sunday 27th August) it for the first time in a field at a rave in the middle of nowhere. featuring names as huge as Carl Craig, Dusky (live) and this month, B. And then again in a warehouse in the centre of the city. It took Traits is one of the UK’s leading taste-makers, so we asked her to tell us how — me months to find the actual record! It is the perfect example of musically — she got here... how my tastes had began to evolve over the years — my love for in-your-face drums and rolling basslines.”

014 djmag.com Untitled-1 1 17/07/2017 18:27 CHEEKY BUBBLERS

Fresh acts rising to the top... ANTHONY FADE Thou shall not…

ANTHONY FADE is the brainchild of Australian duo Brendan and Mikey. Emerging onto the scene last year, their 12” on Lobster Theremin sub-label Tomahawk was a dusty house number with a choice selection of classic vocal samples that made it a must-have for any DJ’s record bag. DJ Haus snapped up their next work for his imprint House Crime, bringing us four lo-fi analogue treats including the 303 acid-laced ‘Wild 9’. Their latest tune is a selection of hazy and atmospheric cuts for Shall Not Fade’s new sub-label Lost Palms; the former being the label that has showcased some of the lo-fi house scene’s fi nest stars including Ross From Friends and DJ Boring.

SOUNDS LIKE: Rick Wade, Mall Grab, Rimbaudian

TOM BULWER It’s a London thing AFTER spending his delinquent years frequenting Brussels’ esteemed night-club Fuse, Tom moved to London and cut his teeth in the UK garage scene. Never biting off more than he can chew, he worked his way onto notorious pirate radio station Freek FM and produced with legend Karl ‘Tuff Enuff’ Brown. Nowadays you’ll fi nd him in his analogue mastering studio TB Audio, equipped with a custom-built modular system used to fi ne-tune his very own deep, stripped-back house music. Tom’s launching two vinyl labels this summer; Parasol Culture and Alternative Facts, alongside Dexter Kane. His debut ‘Nuit Blanche’ on The Bricks is a synth-led burner inspired by insomnia and well worthy of your attention.

SOUNDS LIKE? Shonky, Cab Drivers, Mountain People

MONGO No fl ash in the pan

TAKING their name from the fi ctional Planet Mongo in Flash Gordon, this Southampton duo are fast becoming the name on everybody’s lips on the south coast. Having met at a sci-fi nerds convention, they quickly swapped their action fi gures for decks and Star Wars binges for production practice, and things appear to be paying off. Their debut release dropped in February on their label High Tide Recordings. Hefty tuneage, such as the hair-raising ‘Krypton’, came out on Born Electric, and Toolroom included the assaulting arp-lead belter ‘Laser Brain’ in their ‘Ibiza 2017’ compilation. They’ve gained the plaudits of Carl Cox, John Digweed, Groove Armada, Hot Since 82, James Zabiela, Eats Everything, Alan Fitzpatrick and Nick Curly, and all of this inside six months. Returning to High Tide Recordings in July, Mongo fi nally release their highly-anticipated EP, ‘Planet Mongo’, which was lauded by Carl Cox on Monki’s Radio 1 show shortly before their debut release back in February — how’s that for hype?! Topping off this package is the exquisite dark techno remix from Southampton native and Drumcode-affi liate Alan Fitzpatrick. We’re hooked, and you should be too.

SOUNDS LIKE: Cristoph, Alan Fitzpatrick, Rodriguez Jr.

016 djmag.com djmag.com CHEEKY BUBBLERS

YGT Young groovy twosome SLOVENIAN fi ve-piece, Your Gay Thoughts, made a splash last year with their debut album ‘Watercolours’ — a tripped-out blend of experimental pop, instrumental hip-hop and broken . Now two-man off-shoot YGT are upping the ante with an EP of soulful, jazz- centric house — the brilliantly titled ‘Chrono-synclastic Infundibulum’ EP — providing a groovy, danceable side, while maintaining the off- beat cool of the full band. Whether it’s ‘UWTB’ and ‘Midnight Sun’, two funk-driven cuts perfect for the rooftop BBQ season, or ‘Mary Lou’, with its clattering, jumble-sale percussion, the record (out via new label, Jazz Cabbage) is as healthy for the brain as it is for the hips.

SOUNDS LIKE? Glenn Astro, Henry Wu, Danvers

NASTIA REIGEL Ghostly industrial

NO, not that Nastia… Taking a darker, more solemn approach than her Ukrainian counterpart, rising Russian star, Nastia Reigel, transforms the icy wastes of her homeland into rolling techno for industrial spaces. Since debuting last year with haunting effort ‘Figures In Brine’ for Credo (a release which also featured a tough, loopy remix from none other than Truncate), Reigel has been picked up by Dustin Zahn’s Enemy Records imprint for her second outing. The four tracks presented on her new ‘Trust, Intimacy’ EP build upon this previous work: weighty kicks wrapped up in a swirl of smokey warehouse atmospherics, while creepy, spoken vocals — which are becoming something of a signature for Reigel — permeate the haze with their frozen tendrils. In the DJ booth, meanwhile, Reigel takes a more hardline approach, roaming the thumping, industrial end of the techno spectrum, displaying a wealth of knowledge and technical ability in the process.

SOUNDS LIKE? Rebekah, Cosmin TRG, Antigone

LOOKY LOOKY Take a peep WHETHER it’s the buzzing analogue synths, popping percussion, or the plain, irresistible cheesiness, it’s a well-known fact that ‘80s movies have the best soundtracks. Which is exactly why Detroit duo, Looky Looky, have been on repeat ever since their ‘Flamingo Boots’ EP appeared on our radar a couple of months back. Formed of Ultramajic-affi liate Jeffrey Sfi re and Ian Clark of ‘90s outfi t Le Car, the pair dropped their debut album ‘Part Flamingo’ last year, and have now zhuzh’d up four tracks for the club. Super-slick synths and breezeblock snares are the order of the day as the nostalgia dial is cranked up to full, but the key ingredient here is, simply, fun. So whether you’re grooving on the dancefl oor or strutting through a lobby in your best shoulderpads, get some Looky Looky in your life!

SOUNDS LIKE? Com Truise, John Carpenter, Kavinsky

djmag.com 017 CHEEKY BUBBLERS

HANNAH PEEL Grab your space boots

NORTHERN IRISH artist Hannah Peel’s third album drops next month on her label, My Own Pleasure. After contributing vocals to work by Erol Alkan and Richard Norris and getting remixed by both, Hannah has rallied up a brass band for her latest LP, ‘Mary Casio: Journey To Cassiopeia’; an album comprising of seven tracks that take us on a striking odyssey through the possibilities of what happens when analogue machines meet a 29-piece brass band. Backed up by a wall of analogue synths, drawing comparisons to early electronic pioneer Delia Derbyshire, her soft-spot for the trombone also shines through. Recounting stargazer Mary Casio’s intergalactic dream of a voyage into space to catch a glimpse of constellation Cassiopeia, the counterpart live show is already causing a stir across the UK, all suggesting that the sky’s the limit for Hannah Peel.

SOUNDS LIKE? Philip Glass, Max Richter,

FABE Fabe-ulous

FABE is the Mannheim-born, Berlin-based DJ/producer that’s been wow-ing dancefloors across Europe with his slick blend of percussive house music made up of choppy drum patterns and swinging grooves. As a resident at Mannheim’s Parker Lewis venue, as well as being a regular at Berlin’s Club der Visionäre, he’s also broken out this year to play FUSE London’s Infuse series, Birmingham’s new Scru:Club and Rex Club in France to name just a few. Real name Fabian Winkels, his remix of Shai Spooner and Jordan Dessar’s ‘Balanced Diversity’ has been on repeat on the DJ Mag office stereo since it landed in March, as well as doing damage on countless soundsystems with its undulating bottom-end. As the label owner of Salty Nuts, Winkels has also put out three of his own EPs, as well as material by fellow Mannhein-based producer David Nicolas. With upcoming releases slated on Mulen Records — which lands in August — and his second release on FUSE London sub-label, Infuse, which follows later in the year, as well as planned performances at Cocoon and the Mdrnty Cruise this summer, it’s clear 2017 is Winkels’ break-out year.

SOUNDS LIKE? Thomas Melchior (Twin TM), Lazare Hoche, Chris Carrier

MANI FESTO Punch-drunk policies

GOT a penchant for whiplash snares, guttural b-lines and bleary-eyed references to gone by? Then Mani Festo is your… well, man. Best known as one half of Swamp 81 outfit Cousin (alongside Mia Mouse), Nick Marks is now making headway under his solo moniker thanks to some stripped-back collab work with Sheffield’s Denham Audio, and, most recently, a lone three-tracker for Bristol imprint, Durkle Disco. On the latter, shattered beat patterns allow Nick’s ominous low-end to take the lead, a combination of bullish aggression and murky threats, while faded, old MC vox and the odd explosive (see: ‘Kreuzberg Riddim’) nod to his junglist interests. A rock-solid club record if ever we heard one, then, made all the more impressive given it’s also Nick’s first full EP on his tod. Expect a lot more in the future from this up-and-coming UK talent…

SOUNDS LIKE? Paleman, Denham Audio, Otik

018 djmag.com WE ARE ORIGINAL SIN

WE REINVENTED PARADISE

WWW.EDENIBIZA.COM @EDEN_IBIZA EDEN_IBIZA /EDENIBIZAOFFICIAL

Untitled-1 1 13/07/2017 16:28 GAME CHANGER Seminal cuts that altered dance music forever

When Masters At Work produced a jazzual broken beat track which came to be called ‘The Nervous Track’, they were mildly concerned that it might alienate the house scene in which they’d made their name. They needn’t have worried — not only did it go down a storm, it attracted people from across the genres and helped introduce Latin fl avas into the four-four. DJ Mag meets Kenny Dope and Little Louie to hear more…

It’s Friday night at ’s Sonar festival and Twenty-six years into their partnership, the duo Kenny ‘Dope’ Gonzalez and ‘Little’ Louie Vegas — are still an exciting prospect. And, looking back, it aka Masters At Work, Ken Lou or, more importantly would be easy to attribute the commotion caused for this article, Nuyorican Soul — are back-stage by 1993‘s ‘The Nervous Track’, released under their making last-minute adjustments for tonight’s Nu Yorican Soul alias, to the band’s pre-existing marathon DJ set. success as Masters At Work. They’re about to play an all-night session in a But to fully understand why the track leapt into dedicated Masters At Work section of the festival, the record bags of everyone from acid-jazzers to and there are already queues forming outside their drum & bass DJs, you need to appreciate why MAW arena. In a few hours the queue will still be there, decided to adopt this new personae in the fi rst NUYORICAN SOUL waiting for one-in one-out entry, while the lucky place. crowd already inside is dancing wildly to MAW’s “Before Nuyorican Soul happened we were doing ‘THE NERVOUS TRACK’ mix of carnival percussion, soaring sax solos, a lot of remixes between the States and the UK,” (NERVOUS, 1993) simmering snares and merciless kick patterns. explains Kenny Dope. “So we were bouncing back and forth a lot. And it got to a point where we had

020 djmag.com djmag.com Dick Mills (Left) 1960s

GAME CHANGER brought a lot of musicians into the studio. music,” Louie continues. “Obviously, New York and EXPERIMENTATION “After doing the dub thing in the early ‘90s Chicago were thriving with the sound from ’85-’90, Except that wasn’t that. The track had been borne (when the duo were the ‘go-to’ producers of NYC but when Kenny and I got together in 1991 (to out of experimentation and a desire to create cut-up vocal tracks), one thing led to another form Ken Lou and then MAW) all of these elements something that existed between genres. As such, and we started to want to take it to another combined to create this fresh flavour — and Gilles it had no specific audience in mind. Nervous had level — to start incorporating a whole band in our saw that. taken a risk releasing a track that could have recordings.” “When we did ‘The Nervous Track’ it was funny, confused the bejesus out of the brand’s existing because we were doing so many remixes,” Louie fans. JAZZ continues. “It was 1993 and we were in the studio, “It’s like, man, what is it?” Kenny still says today. With this idea germinating in their minds, the and Kenny wanted to take a break from four-four “If you take it from the beat side, it’s jazz, it’s duo stumbled across an unexpected source of beats. We’d already cut something like 200 records broken beat, it’s, like, what? I dunno.” inspiration while playing a British festival. “‘The — soooo many record in three years! “It’s weird — a mixture of a whole lot of different Nervous Track’ really started out at a Southport “So we were working on a remix and I played these things, but it just feels good though. It ended-up Weekender,” says Kenny. “Me and Louie went to eerie chords,’ Louie continues. “Kenny had been being called broken beat, just because it’s not a check out what Gilles Peterson was playing in experimenting with these samples of great jazz normal house beat.” another room to ours. And he was playing this mad drum-beats, by people such as Art Blakey and all jazz. Like fast jazz, straight jazz, not jazz-funk or the jazz artists he collected. So he came up with Nervous’ gamble paid off. Not only did MAW fans nothing like that, but pure jazz. these very interesting beats while I was playing embrace the record, but so did tastemakers from “I forget exactly what, but there was one record these chords. They just fitted together perfectly practically every genre of dance music. “Gilles that he played by Art Blakey and it was like 160 there and then and we were immediately like, recognised it,” says Louie. “But so did Funkmaster beats per minute. And the whole flavour of the ‘Wow! We got something!’” Flex, so did Roni Size and Goldie. We were noticing room — the way people dressed, the way people “Then the bassline came in. It was all done on all these DJs from different genres recognising were dancing — the whole thing inspired me to synths and samples until we got a percussionist in this track. But to be honest, we already knew it create that broken beat feel of ‘The Nervous Track’. — which was Tony (aka Starvin’ T), a friend of ours was big.” “So ‘The Nervous Track’ basically started with from Kenny’s neighbourhood. Then we got Paul “At that time it was about experimenting,” says those elements — and because I’d got to a point Shapiro to play the sax on the record, and added Kenny. “I want more people to experiment now. where I didn’t want to mess with the four-four no the horn stabs from samples. That was the whole There are a select few, but as a whole a lot of stuff more. We wanted to go off and explore. So it was combination.” sounds the same because everybody is using the the timing of all that happening together — doing same gear, the same sound-packs. So everybody stuff with musicians, seeing Gilles play, it all came The duo knew they had created something sounds the same. You get in this pocket. Now the together.” unique, and it didn’t take them long to contact crowd is used to the pocket, and if anything is an appropriate label. “I think what happened was outside the pocket people are like, ‘What is that?’. The desire for experimentation that Kenny and Louie called Michael Weiss (head of Nervous) really It’s like they’ve almost been trained.” Louie felt tapped into the zeitgeist of early late at night and said, ‘We got this record and nineties New York. Imprints such as Eightball and we’re really into it’. And he ended up coming to The good news, for those who’ve avoided the King Street, and terms such as ‘jazz not jazz’ and the studio that night,” says Kenny. training programme, is that — after many years ‘house not house’, were rapidly re-defining the “We always used to call Strictly Rhythm or Nervous absence — MAW are back in the studio together city’s club music. first,” explains Louie. “They got the dibs — put it and are once again making music that doesn’t “There were a lot of labels at the time — Nervous, like that. We used to call them at three or four in fit any particular pocket. “We were never ones to King Street... Strictly Rhythm was really the morning and say, ‘We got this track you got copy someone else,” says Kenny. “It’s about seeing instrumental in a lot of that,” says Kenny. “At the to hear’, and they would wake up and come over! what’s happening — and then making something same time, throughout that period, Louie was Everyone was excited back then. else.” BEN OSBORNE doing his Sound Factory night every Wednesday. It “So Michael came over and heard the track. He was the industry night — a lot of labels, producers, signed it right away and said [Louie puts on a •Masters At Work play 51st State Festival in DJs came along. It was very competitive; people deeper, huskier accent]: ‘Yeah, I want to call it ‘The London on 5th August. The duo are also currently were bringing all their demos and upfront Nervous Track’.” And we were like, ‘OK’.” in the studio experimenting with Kenny’s new releases, so the room was full of producers waiting “And we already had Nuyorican Soul ready as a hardware. to hear if their record was going to be played.” name,” adds Kenny, “so that was that.” At this point, Louie, who’s been quietly nodding along to his partner’s recollections, suddenly jumps into the narrative: “We knew Gilles for years before this,” he says. “He used to come to the Sound Factory nights. He used to dance there. I couldn’t believe it! He was on the floor dropping to his knees and stuff. “We always knew him as this legendary DJ, always so ahead of his time, a super-tastemaker who found everybody before they were anybody — when they just had ideas and stuff. He’s a visionary. “So we always had this friendship with him — when he came to New York, he’d come and see us play. And we’d go and see him if we came to London.” MUSICALITY Peterson saw the potential in MAW to develop even further, musically. “He saw more in us than just a house DJ/ producer act,” says Louie. “He saw beyond that, because of all the musicality we were bringing into house music — all of the different cultures and rhythms. We are always bringing in everything from Brazilian to African, jazz to rock, funk, soul, hip-hop... You heard all that in the overtones of the beats — I mean, they weren’t just house beats. “I think we brought this fresh flavour to house

djmag.com 021 OFF THE FLOOR Books, art, movies, etc... Words: KIRSTY ALLISON FLYLO FILM ALERT!

Experimental artist FLYING LOTUS has a film out — big news!Kuso stars people like US comedian Hannibal Buress and interstellar funkateer George Clinton, and features music by Thundercat, Aphex and FlyLo himself. It’s out now on horror video streaming service Shudder. The grand nephew of Alice and John Coltrane admits that music was not initially his priority, it was something he fell into after LA film school… but he soon scored record deals with Gilles Peterson, Warp et al…

FlyLo, you’re never one to feign the need for “Never say never — I would love someone else to and play that on set to get people to create a disguise! You started as Flying Lotus, but fund me.” and develop that. A lot of my friends came released your rapping work as Cap’n Murphy, together. People who are crazy-talented — and as a director you take on the more regular- So you funded this yourself? repeatedly, with these scenes, my homies would sounding guise of Steve [Ellison, FlyLo’s real “Yes ­— I funded it, Shudder bought it…” come through.” name]. Who are we speaking with today? “Hahahaha. Steve! It’s always me — I get jumbled How much did you spunk, bruv? How do you switch between being a music- up as one!” “About a hundred thousand.” maker, a film-maker, and Brainfeeder head honcho? The film, Kuso, your directorial debut, is deep Wowsah, what are the benefits of self-funding? “I wouldn’t say I can just switch it around. It’s in its aesthetic of post-sativa highness of the “When we see something made with an auteur’s whatever’s loudest. Films sometimes are loudest, most wacky-baccy order… hands, you appreciate it, it becomes more cartoon and I’ll write for a while — it’s with great people, “I always smoke a lot of weed — that’s my territory regardless of the subject.” and a block never happens, there’s rarely a dull normal. That’s my routine. Always pretty similar.” moment. And now I get to hang out with [The What audience did you have in mind? Thin Red Line director] Terence Malik — it’s The film reeks of it — the look is incredible. “Weirdos like me, teens on weed. I remember great. Movies are a fucked-up industry, but in the It’s kinda Kenneth Anger doing acid with David what it was like and that’s what I’m aiming for, end it can be the most rewarding art-form.” Cronenberg at a Hammer convention curated although it’s not only for them. We wanna let by Chris Cunningham… DJ Mag has never seen people explore everything, running around the What’s next? Marvel? special effects like it. How did you come up with world. “I would not be opposed to that — do one, then that DIY throw-CGI-in-da-incinerator look? “I went out in Manchester, to the Park Life do indie films forever. “Any effects are my own, I came up with ways of festival — it was like the walking dead! Kids in the “We had to start Brainfeeder Films, and now using Photoshop and After FX and made the crew UK, they are full-blown crazy, I am still shell- we have loads in development. David Spark, short animations to describe what I wanted. Chris shocked. But those kids, it’s for them… If you’re the animator, Eddie Alcazar’s first feature, Cunnigham’s my boy, he inspired me to push my visual and have been inspired in the culture, this FUCKKKYOUUU…” shit — he introduced me to puppetmakers and the is for you.” studio. It’s really hard to make a film. It took a What about a series, for Netflix or… long time.” And the music is totally intertwined. What was “ — yeah, we might just have something the process? like that.” How long did it take to make? “Back and forth — start with music as texture, “It’s crazy, I had more fun doing this than a real job, but it took two-and-a-half years of working diligently to finish Kuso.”

It’s full of your main men — Aphex Twin, Japanese sound designer Akira Yamaoka, and Mr Funkadelic, his finest voodoo-shaking self… “George Clinton is awesome — the funkiest man alive. He is very fun to work with. He said, ‘Sure’, when I asked: ‘Would you show me your butthole on camera?’ I had to think twice... but yeah, it may be in there!"

Would you do it again? Make another movie, that is, not see Clinton’s booty back-end?

022 djmag.com djmag.com OFF THE FLOOR HOUSE NATION

Marseille resident DJ HEDI, aka Farid Slimani, has also put his money where his heart is with his new Back In The House film. So put your house under arrest, chill the hell out, get your mates around, and party like it’s 1999… at the Tunnel Club in NYC! Here, he tells DJ Mag how DJ culture has changed…

Hello Hedi, tell us a bit about yourself and your journey in dance music… “I started going out when I was 13-14 to a half- gay/straight house club. The DJ was playing New York stuff, Chicago, it was just amazing — I was the youngest person there. There were drag queens, lawyers, thugs, models, fashionistas, The late with DJ Hedi happy handbag, etc, etc... “It was delicate because we dressed with short t-shirts, sweating with ecstasy, and so my against the new arrivals , Dimitri, they are always using their same old traditions mother thought that I was gay or a junkie or Cassius, Bob Sinclar, Gregory etc… but Laurent of New York or Chicago. The competition worse, just made stupid by this new culture…” Garnier, DJ Deep are the pillars of this story. between them is formidable. That talk about However, they remain in the underground, so family, but I believe that the country of the You've created a documentary on NYC — why? we have no support in France. dollar remains the country of the dollar! “It was always the music of high school, and it “Then I met of Daft Punk who “There is always a Top 10 of US DJs like Louie followed me because I listened to a constant invited us to Miami because everyone is there. Vega, Morales, , Armand, Kerri, loop of the tapes of house music from the clubs We have no means, our material is rotten but we Kenny Dope, Tenaglia, Todd etc who continue (Frankie Knuckes, Morales, MAW, , to are so happy to meet everyone — Romanthony, to travel and play for thousands of Euros, but name a few…).” Blaze, Morillo, Van Helden, Moodymann, Mad ahead of them are young Europeans who play Mike, MK, Judy Weinstein, Kerri, Joe Claussell for dozens or a dozen-thousand Euros — with And how did the film come about? etc, etc — and especially to collect promo zero talent. This culture is really out of line. “I had a buddy supervisor at high school and copies! In the end, I decided to produce and “People who have bought thousands of vinyl I got on well with the professor of theatre edit this film 20 years later!” records today are bitterly separated, seeing — he encouraged me to purchase a camera their idols using a controller or the USB key. It’s in the second-hand market. With a taste for And what does that scene look like now? just disappointing for fans who have remained adventure, we decided to go to New York with “It was a glorious age of music. All the talent faithful for almost two decades to see that €150 for the week... I took the opportunity, was top-notch and the DJ stars had a real power Technics gather dust and that it is better to have took the camera, I was barely 18 years old so it between love, peace, and unity. There was a a USB key in the evening to play everything, was not easy to get into the clubs, but the pull message in the music and a real art to being in commercial or underground. The disappearance was strong. And in New York I discovered places the mix. of Frankie Knuckles has contributed to the like the Sound Factory, Limelight, Twilo, Tunnel, My history and the encounters I have made fall of this culture, and rising rents in NYC has Palladium, Vinyl etc... and I met all my idols. It through clubs, music, trends, fashions — it's a closed many clubs and shops.” was like when I came to London in 1993-94 to bit like in the golden age of jazz in the clubs, or the Ministry Of Sound on Eurostar, it was brand the ’60s, or ’70s. Where do you see it going? new!” “I think I was there at the right time, ’94-'98 “I think it will end up like indie music — was the golden age of house music. In 2000 somewhat of a rebel on the sidelines, like funk, What's the story? something went wrong to disturb everything or punk, with their codes. Techno explodes and “At the time it was a question of making just the — maybe the internet, maybe CDs, maybe rejuvenates but house ages without renewing skeleton of a film, like a memory — recording, introduction of elements like money, DJ too much. The public also ages and refuses and then returning to France without trying indexing…” these new ‘trends’, like , which these to create a real history or something with a days has no value, nor flavour. Real house music synopsis. The images stock-piled in my young So how do you find the culture now? is always in my heart, always in my ears.” adult room. “Today, I find that this culture has lost its “After a while our images become a bit obsolete flavour. First because the DJs have aged but •backinthehouse-movie.com

DEPTFORD X 2017 runs from 22nd September to 1st October. Promising INCOMING sound artists and experimental visual artists the platform to showcase their wares, occupying shop windows, libraries, roundabouts, public walls, railway arches, and pubs, it’s banging like the Fringe. Come steal their ideas, or perhaps start a new collab (www.deptfordx.org)... Also in London, Selfridges’ Ultralounge is running a series of showcases, collaborating with TEM — a London-based collective of audio-visual designers. They’re demonstrating a post-Bjork immersive digital set which takes up where Soulwax leave off — it enables both artist and audience to capture HD live content for social media-sharing. The space has a 120 capacity; the stage is a modular structure of gauze, mirrors and lighting which will display live projections and generate visual/audio reactive effects. All very and , it’s on till 2nd October.

djmag.com 023 VITAL LABEL Q&A D’JULZ How and when did Bass Culture come about? “Bass Culture is named after my 20-year- long residency at Rex Club. It was created in 2009 to encapsulate the style of music I’ve been playing at this party and everywhere else in the world.”

Who’s involved? “I run the label mostly myself. A friend helps me with the promotion and paperwork.”

What does it sound like? “I hope it sounds timeless — the type of house and techno music that stands the test of time. It is made for the dancefl oors (with lots of bass and groove in it).”

Who’s releasing on it? “Mr. G, John Jastszebski, Franco Cinelli, Mr Tophat & Art Alfi e, Sebo K, M.P, Ron Bacardi, Steve Rachmad, Cassy, Lady Blacktronika, Anonym, myself and many others.”

Who’s playing it? “Ricardo Villalobos, Laurent Garnier, Raresh, Ryan Elliott, Sonja Moonear, Seth Troxler, , Apollonia, Jackmaster, The Martinez Bros, Daniel Bell…”

Proudest Bass Culture moment? “Hearing a release being played by the above DJs always makes me happy and TWENTY-YEARS deep into his Bass Culture residency Bass Culture consistency by drawing upon a series proud. Especially when it’s played by such at ’ legendary Rex Club and D’Julz is still as of touring parties, plus a mix compilation, ‘D’Julz an array of different DJs. For me, that’s a relevant as ever. A master of stripped-back, deep presents The Sound Of Bass Culture’ (out digitally sign that I’ve managed to create a label grooves with a chic Gallic touch, it was only in May at the end of July), featuring some of the fi nest with a strong identity that works across that he dropped ‘Ze Fox’ — a follow up to 2014’s ‘Ze moments from the label over the years. Tracks by many different genres.” Box’ — onto Phil Weeks’s Robsoul; a tune already Mr. G, Sebo K and Cassy — to name only a few — all poised for a place in our end-of-year chart. combine with material from the label bossman, on What’s next? This month — and throughout the rest of the year a mix that proves D’Julz is still an absolute don — in “The next release in line will come from too — he’s shining a spotlight on two decades of case you needed reminding... DJ Honesty, with a Losoul remix, on the new sub-label called Bass Culture Limited. Then, later this year, new EPs from Ron Bacardi, Point G, M.P. and myself.” GIMME 5

Mr. G Sebo K ‘JB’s’ ‘Brockwild’ “The fi rst track of Mr. G’s that I signed “Another long-time DJ friend of mine to the label is still one of my favourites who I’m very happy to fi nally have on today. Colin has always been a hero of board. It was totally worth the wait!” mine, so having him as one of the main artists on the label is a blessing.” M.P ‘Muzie Clue’ Master C & J feat. Liz Torres “It’s obviously a big honour to receive ‘Don’t Let Love Pass You By’ music by established and legendary “Every now and then I use BC to re-issue producers, but it’s also very important one of my ‘secret weapons’.This track for Bass Culture to remain a label for new from ‘92 is the perfect example of that. artists. The young Romanian, M.P, is so It was created long before my label talented and productive that I’ve already even existed, but somehow it still fi ts signed two EPs of his. A third is on the perfectly on it today.” way, on the vinyl-only sister label, Bass Culture Limited.” Cassy & D’Julz ‘What U See In Me EP’ “My collaboration EP with my dear friend Cassy. It was created in a very spontaneous and harmonious way. I believe the record refl ects that.”

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