Jimpster – Porchlight and Rocking Chairs

Freerange founder Jimpster has a long tradition of releasing well polished deep His new album ‘Porchlight and Rocking Chairs’ is a fine collection of well rounded bombs. The album kicks off with the boogiefied sugar coated ‘Jasmine Dragon,’ which helps to set the album up as a strong collection of songs rather than a collection of dancefloor hits. ‘Dance of the Pharoes’ grows into a myriad of tones each one opening up a fresh texture that builds as the track opens up. The tech based ‘Hold My Hand’ combines a metallic piano hook with a sparse subtle vocal able. It’s a beautiful lesson of powerful driving electronic music. ‘High Wire’ has a set of warm keys giving this a sprightly summer feel. The hypnotic ‘Rollergirl’ conjures up a futuristic setting with rolling arp line and monk like chants. The pressure is then eased for ‘Wanting You’ with the temp dropping and a phat bass combined with warm keys leads up a low slung vocal hook. The song that gave the album its title is up next. A majestic journey of epic proportions. It sounded really large on my system. ‘Cracks in the Pavement’ is probably my pick of the album because of its brash attitude. The next track called ‘Towards the Sear’ drifts effortlessly with a jazzy undertone and use of intermittent effects. The penultimate track ‘The Glowing Embers’ crackles away brightly as the flames grow insistently. The album finishes off with ‘These Times’ featuring Jinadu and a track that invokes visions of the sixties and Haight-Ashbury. A dramatic closing for an excellent album.


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Deep House

Was in need of a Deep House fix and miles away from a decent record store so went on line and checked out the DEEP HOUSE sections on Traxsource and Beatport . Now i know there’s some smart ass shouting ‘ that’s where you went wrong already ‘ but i was stunned to find tons of Soul less tech house masquerading as Deep House . Slowed down 120 Techno and tech house with beige sounding singers not getting it right . Call us old fashioned but if your gonna hijack a black music genre then at least make a effort to have some Soul and Depth in the track , dont bring me some failed pop singer along to the party unless her job is to serve the drinks .. look all the foundations were created by kids , kids who in the main struggled to work out just how to work there equipment yet still created timeless black american music that stands up with anything created today . If your gonna use a name then don’t use it in vain.

Virgo 4 – Take Me Higher
( simplicity in it extreme – soul stirring machines ) this is DEEP HOUSE .

MR Fingers – What About This Love
Modern Deep House from the true Godfather of the genre .

Mondee Oliver – stay close
If Loleatta id the queen of Disco and Liz Torres the queen of House then Deep Houses queen must be the exquisite Mondee Oliver .

From 1995 and Mainstream records in Germany – as good as any Modern Deep house vocal records ever made

Vincent Floyd – dream of you
Dance Mania records out of Chicago remain a timeless label and this from Vince Floyd is up there with the best shit Dance mania ever released , deeper than the deepest warm blue ocean you could ever immagine.

Fingers inc – never more so lonely
featuring the divine voice of Robert Owens this has been a perennial favourite of House heads worldwide . Those techy keys give it a 2013 feel even though its over 25 years old . Dropped recently at Boys Own party in london by Dixon at 4am – cue grown men weeping .

Gherkin is a label that the heads , collectors and dancers all agree is legendary – the logo makes a ace T shirt as well .

( Still gets played to death especially in its ‘ acieed ‘ mix – heard it horse meat disco on NYD )

Virgo 4 – are you hot enough
seminal piano track from Marshall Jefferson , vince lawrence and Adonis .. producers been trying to copy this shit since the late 80s without getting anywhere near it .

vincent floyd – im so deep
some unknown Chicago cat called Chan provides whispered vocals and its mixed by the much missed Armando .. strings to kill for .

If you can’t put soul on your deep house then make it sleazy as hell

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Eddie Flashin Fowlkes

Eddie Flashin Fowlkes was instrumental to the development of techno as a global force. Over the years he’s released on labels such as Metroplex, 430 West, Tresor, Peacefrog and his own City Boy. Eddie is returning to London after a long hiatus to play at the Bussey Building on Saturday 23rd March. We caught up with him recently to learn about his progression.

Can you remember your first introductions to music whilst growing up in Detroit?

My first introduction with music was through my uncle Terry. He used to pick me up in the summers when I was around 14 years old. He used to play me all these jazz records. He was a Funkadelic fan too. He would literally take me to the record store with him. Back then 8 track tapes were going out and cassettes were coming in. he would get the hottest cassettes and albums.  I’d go to his crib and he would be like listen to this…. That was the beginning of me buying records. He has his groove but I liked certain different things to him.  I loved some jazz and I loved some funk.  I wasn’t into any deep Motown shit. That wasn’t my bag. That was my mother’s shit. Some of that shit was cool mind you. I liked the Motown Christmas songs. Anyway that was the beginning of me learning how to shop for records, good songs that I liked. I would then go to him and say “Did you get this?” He’d already had it. He had always wanted to be a DJ, but I didn’t know that. He had tons of records. He had a garage full of records and we speak today he still has his collection. He still won’t let me fuck with them mind you.  He will not let me touch them. That was my introduction.

Whilst in High School I ran into this guy called Derrick May. I think I was in the 12th Grade.
What year was this?

This was between 80 and 81. I graduated from High School in 81. We actually met on the athletics shit. Then after high school I ran into him around 82 and I didn’t know that he was djing and he didn’t know that I was djing. We then started passing each other mix tapes.  I was at college in West of Michigan and Derrick was studying in Detroit.  Then when I came home to Detroit I’d be like “where’s the party at?” That’s how I met Juan Atkins. We started this thing called Deep Space mixing crew which was Juan, Derrick, Art Payne, Keith Martin and  from then on school wasn’t really my bag. I was djing at all the parties in West of Michigan. Then I took a year off of college and went back to Detroit. That’s when we really got the Deep Space mixing crew going because you can actually go on the internet and find some Deep Space mixes.

What kind of music were you playing?

I was playing things like Dominatrix ‘Sleeps Tonight,’ things by Depeche Mode, the early 80s sound, a lot of Prelude shit, Status IV,  ‘Last Night A DJ Saved My Life,’ Larry Levan mixes and that type of flavour.  We mixed it up between Euro and what was coming out of New York, whilst Chicago boys were only playing the sound of New York. During my first year at College my next door roommate was called Tony Hunter. He used to DJ too and that’s when I first heard about Frankie Knuckles.  Back in the day everybody had a name like Eddie ‘Flashin’ Fowlkes and Frankie Knuckles. That name represented you as a DJ and skills. I said does this mother fucker actually play with his knuckles. That’s how young I was.

Everybody in Detroit back then looked up to the great Ken Collier from Detroit a Billboard Dj reporter. Tony said to me that Ken was passing through this way heading to Chicago and did I want to go and see Frankie. I was like “Fuck yeah.” I must have been 17 or 18. So Ken, Tony, 3 other people and I drove to Chicago. It’s so tripped out that the people who went in that car are all dead apart from me and another guy (Robert Troutmen). Robert and I still talk about that trip because this was like my first introduction to the gay scene of dance music. We left at 2 o clock in the morning and we got to Chicago at around 2 ½ hours later. They’re an hours behind so it was like 3.30 in the morning. I thought that the Warehouse in Chicago would have been full of girls. No, I was wrong!  I’m in a corner. I get introduced to Frankie. I’d never seen a man DJ with 2 turntables and with a 2 track reel to reel. That was stepping the game up in 82. He was banging 2 turntables, reel to reel and he had a light man. I’m a corner and everybody is looking at me. They called me sunshine. I was like “Why are you calling me sunshine?” There were like your eyes were so wide open. I wasn’t used to the gay scene. And back then, that was taboo back in the day.  The thing about it was that Frankie was banging some shit. It ain’t about 2 turntables no more it’s about what you can implement in your shit(mixing). Basically that was my introduction to Chicago. Frankie was about ten years older than me and his record selection was so deep. He was playing loads of shit, that I didn’t know because he was cool with Larry Levan. Larry Levan and all those cats (Ken, Frankie)had like special mixes. That always kept them one step ahead of the game, as far as banging the floor went. From that point I went back to West of Michigan and then I left a year later to go home which was when we started the Deep Space crew.

From there I went to East of Michigan and that’s how I met Kevin Saunderson. From that point Kevin didn’t know how to DJ or do nothing. We were way ahead of Kevin. Derrick and Juan had gone to school with Kevin at Belleville High School when they were younger kids. That’s how you get that Belleville 3, to me is fake and phoney. Fuck that shit. That shit don’t exist. The London press ran with that shit and today and the press believe that shit. That’s not how the shit went down. Basically I’m doing all the East of Michigan parties. I invite Derrick and Juan to come to play because we had a Deep Space crew. Both Art and Keith were attending Eastern Michigan University  which made it even sweeter. This is when we actually changed the game of mixing. We did one big party. Juan came up with his 808 and we put him way in the corner. Back in the day you had the DJ on crates, so we put the turntables on the crates with the mixer in between. There was no cassette deck. Everybody took turns tag teaming. We had one light to help us see the records. We cut the light off, we cut the turntables off and Juan had his 808 going. Every motherfucker went crazy. People couldn’t understand why the lights were off apart from the strobelight which kept going. At this time you’ve gotta understand that our crowds were black kids. That was our clientele. They just went nuts and Juan took the 808 for an hour, all his programmes, patterns and shit. From there Jeff Mills heard about it because he was on the radio at the time called Wizard. So Jeff started incorporating drum machines with his music whilst he was djing. All those kids that came after us like Carl Craig, Kenny Larkin, Richie Hawtin and all these kids were inspired by what Jeff Mills was doing on the radio with a drum machine. We started doing more parties with Juan doing the 808. It just took off like fire over the whole dam state of Michigan, because there were a lot of kids from Detroit that had gone to colleges within the state of Michigan. Then the following year I didn’t go the college anymore. So I went home to my mum who said that “you can’t stay here!  Unless you are in college or have a job”. So I went out there looking for a spot(flat) and I run into Derrick May of all people in Detroit who had a extra room in this house he was renting on warren & cass . So I moved in with Derrick, who helped me get me a job. He was working during the day and I was working at night time so we always had somebody at home to watch our equipment. Then some shit went down and I was like alright cool I’ve got some money. This is how the shit went down. This is the truth. We used to do our Deep Space parties at Shelby and Congress in Detroit. It was Me, Juan, Derrick and Art Payne, Keith Martin. One night at our party night I was dancing with this girl that’s when I had a epiphany “WOW”. Everything went silent and the next thing I knew something a voice in my head tells me to make a record. I remember Juan playing his Cybotron tracks. I had a couple of people trying to get me back on my feet. I was like “What happened?” “You damned near passed out.” “Oh Shit!” That was some deep shit..!! That was my beginning to make a records.

I get back home to where me & May was staying and a couple of days later I told Juan that I wanted to make a record. So I got this money and got some equipment. Derrick was my roommate in this big ass house Derrick did not know what is doing with these keyboards and drum machines. As rent payment was about due. Derrick goes and sells the 909 to Frankie Knuckles. Just so it happens that Juan comes over and awaken me out of my sleep (Remenber we are still in Detroit at this time and no Belleville 3 thing is in mix cos we’re still in Detroit, Right?). Juan said “Hey man do you know what this motherfucker did? I said who? Derrick, Derrick sold the 909 to Chicago to Frankie Knuckles. Frankie Knuckles bangs the mother fucker out at the warehouse in Chicago. That implemented the Chicago sound VIA Detroit. They didn’t have that sound until then. The next thing you know Chip E gets the mother fucker and makes the hit record ‘Like This.’ So, that’s the whole Chicago drum sound through the eyes of Detroit. Juan was pissed and that was the day I told Juan I wanted to make a track in his studio. So, I begin practicing my chops. There wasn’t no sampling back then. You had to play your way out of that shit. About maybe a month later I started to record. The next thing I knew Juan told Derrick who then told Kevin Saunderson. It was kinda cool when Kevin said the same thing I’m saying on Youtube on his 25 year KMS Anniversary party Video. It was like a domino effect!! So, I’m still wondering were this Belleville 3 come from? – So, now we are all following Juan’s lead. Juan said “fuck it man! I’m going to send all 3 tracks to master all at once.” So we all came out under Metroplex. What happened was that Juan was moving to slow for Derrick and Kevin so they started their own things. We were all under Juan’s umbrella because he knew the business.

After Derrick had made ‘Nude Photo’ Neil Rushton got into the game. Some shit happened where I had to sell my studio so Juan could keep his studio. I sold my studio to Jeff Mills. I didn’t have a studio so I’m recording in Juan’s because he said could use his studio for helping him keep his studio for my next releases. Derrick and Kevin were like fuck it we’re rolling our own little hook ups (studios). So I’m under Juan’s wings learning which was cool in the long run because I learned how to do things properly in the studio before samplers and all that shit. But, at the end, I regret I selling my studio to help Juan keep his, because Juan was so slow in the finishing tracks back then. While Derrick and Kevin was working daily on there craft in the studio. I think that was worst business deal I ever did and truly regret to this day! – Now, Neil Rushton came into the game and he was doing some shit that I didn’t really feel. I didn’t trust the guy. In the long run I was right. So Derrick went back and told Neil that I wasn’t feeling him. That was not cool for him to tell Neil that. I guess that’s what friends are for, RIGHT!!!!!  So, Neil kind of took it personally. Then he started running with Derrick in the press from London.  They (neil,derrick) couldn’t say techno without Juan. So they started to include Juan, then Kevin. That’s how I got left out of the whole press push from the beginning, because Neil had the press at feet at that time. People from Detroit say” If it wasn’t for Fowlkes those guys would not be doing what they doing now!  You know I just thank god I was around to help create a sound & a billion dollar business. The rest of world all ways asks me “How do you fit in?” I’m like “Do your research or come to Detroit and figure it out?” I don’t like searching for interviews and I’M NOT A DIVA AND I don’t like discussing my past. To me discussing the past all the time is some ego shit!  I JUST LOVE AND I MEAN LOVE DJING AND MAKING MUSIC..!

How influential was Ken Collier to Detroit?

Ken was like the godfather, the don. Everybody would go to Ken because he was getting the music first. He was a Billboard reporter and he was getting all the promo’s before anybody had heard them. Ken and Frankie were both Billboard reporters. That’s how they were getting the cuts. We would go to Ken because he would have some extra records that he’d give out. Ken was djing at parties when I was in the 9/10th Grade. He was actually mixing. He was really the second guy I’d ever seen mix after Darryl Shannon in my 9th Grade. I was with my sisters because they could drive and I went to one of their parties. I remember after hearing Darryl for the first time I told my mother that “I needed a mixer for Christmas!” She got me a mixer for Christmas and that’s where I started practising my mixing skills, which was around 78. I used to take my mums straight armed turntable and cassette deck to learn how to mix. I figured out how to do a slip pad before they’d even invented slip pads. That’s how I got my mixing skills until they invented pitch wheels and Technics. Everybody got into those in the early 80s. When Technic came out with 1200s that changed the game because you could lock it real well with the north and south pitch control.

You said before that radio was very important in Detroit…
…I’ve known Jeff Mills since he was about 17 years old. Jeff had a brother who was already in the entertainment business. Contractually Jeff knew business better than all of us except for Juan. When he got a radio show he kept it contractually where he was locked in for years. He did it the proper way.  You had Jeff on the radio but you also had Mojo. I didn’t know all this time mixes that Mojo was not doing the mixes. When I was at High School I thought Mojo was doing the mixing, but it was Juan. When I got out of High School I used to go down the radio station with Juan for Mojo. When I went down for the first time I saw him give Mojo a two track tape. “Why are you giving Mojo a two track tape?” “You didn’t know?” “Know what?” “I’m doing the mixes!” “I thought Mojo did them.” “No, I’ve been doing them since I was at High School.” I was like “Ain’t that a bitch.” That’s why Detroit was hearing a lot of Cybotron shit because he was dropping his tracks in the mixes on Mojo show. When we started making our records around 86 we knew all the DJs at the radio stations. Then they started playing our music on regular rotation with Prince and Michael Jackson. That was the style back then for dance music on the radio. That kind of helped the American dance scene in the Midwest. You couldn’t go passed Chicago or Detroit and hear regular dance music, from Midwest to the east. LA was always slow because it’s 3 hours behind, but from the Midwest to the east it was banging. That’s when the New Music Conference in New York was off the hook. That was another stepping stone before the thing in Miami popped up. You could have made a lot of money with just a cassette tape in New York. Who knows now what the fuck Miami is? It used to be in Miami that you could go by the poolside and play your music  make some money, but the games changed now.

After you released your first record on Metroplex did that help with getting more DJ gigs?

No because the game had changed and it went to the next level(producing records). The goal when I got my mixer in the 70s was to DJ at all the clubs in Detroit. Then when Chicago and Jesse Saunders came out with that Jes Say 12” that’s when everybody was like “who is this cat?” Then you had Larry Heard. This is when Derrick and I were living together. Derrick would get these 12”s from Chicago because that’s where his mum lived at the time. He knew how to get things out of Chicago. Derrick made friends with these cats. That was our inroad into Chicago. They would send Derrick’s records to play. This is before we’d even made records, probably about two years before. Jesse, Chip E, Larry Heard and those boys would do this. They were only beat tracks. They weren’t doing no serious production like Cybotron. Chip E used to call the crib when Derrick and I were living together. They weren’t using the 909 until Derrick sold it to Frankie. If you go back and listen to Jes Say 12” there’s no 909 in that music it’s all 808, but the 909 changed the game. That’s the foundation of house music.

What record shops were around Detroit in the 80s? Where were you buying the records?

When I was hanging around with my uncle we would go to Kendricks Records, the owner was Eddies Kendricks  brothers record store. I grew up on Fenkell in Detroit from 3rd grade all the way up to 8th grade. Sometimes I used to see Eddie in the front with his brother. I wasn’t star struck or nothing like that. Most of the time I remember it was the spring time when I see Eddie Kendricks  walking home from school because it was only 2 blocks away. There was Kendricks, Buyright records and another shop I can’t remember its name. I remember when ‘Planet Rock’ came out. I bought that from Kendrick’s Records, because that motherfucker had a ton of them bitches in his store. I bought my first 45 at Kendricks and I wasn’t even at High School then.  My first record was ‘Benny and the Jets.’ I remember walking in the snow to get that 45. I said “mum I’m going to get that record.” She gave me some loot. I went and got it. I banged it on our system in the basement.

Were you surprised when techno broke in the UK around 87/88?

I wasn’t surprised at all because you’ve gotta remember when we put our first records out that was the beginning of hip hop. When my first record came out and I saw this group called Public Enemy I was like “what is this?” I wasn’t into rap or hip hop at all. You’ve got to remember that our clientele was black kids. People don’t realise that when we used to throw parties at universities the white kids make faces about that crazy music we played. It was way before its time. So the young black kids weren’t coming to our parties no more because they were getting into hip hop then. So radio started playing hip hop. The next thing that you know hip hop blew up and cut out our clientele across the whole United States. Hip Hop came through and cut off our revenue.

Then our distributor started distrusting us in different places. The next thing you know Neil Rushton had contacted Derrick and he started going to the UK. That was how the press ran with Derrick’s story. I guess that ‘Nude Photo’ was so big that it started breaking doors down. Then Neil found out that there were more of in Detroit. Then Kevin and Derrick were running together. Juan and I started running together because when Neil was in town Juan and I were living in LA. We were trying to get the sound across to LA. We got a phone call from Derrick saying they’re doing a Detroit compilation. That fucked our plans with that, because of what we were doing in Los Angeles. When we was living LA every Sunday it would be Eazy E, LA Dream Team, Hammer, Egyptian Lover, World Class Wreckin’ Cru, Juan and I at McDonalds on Crenshaw. Juan got into the LA Click by having the name Juan Atkins. My first release got licensed to Macola Records. All of the LA scene music was under Macola. That’s how we met all those mother fuckers. Doctor Dre was just a side kick to those mother fuckers, but Eazy was running that shit matter of fact the streets of LA Rap Music. The boy was big before he got big.. While Me, Juan  were in LA and Derrick and Kevin was in Detroit. Juan got to the meeting because he was selling 75000 copies on Metroplex records. Shit, I was still new to the music business  At that time in the United States whoever was selling the most copies in your city was ruling the street. That’s how the game was in music in the urban hood..!!  In Detroit Juan was the man because of Cybotron. When he started Metroplex that shit took off on the west coast, particularly ‘Technicolor.’ When we drove to LA the more west we got the more we’d here Juan’s shit. By the time we got to LA Juan’s music was on heavy rotation on the radio. When we got there for my first time, it was Juan’s third time. Evenly we settle in LA. Now here comes a phone call from Derrick with this so called compilation album. So we get got back to do the comp. album. We come back to LA and things are still slow. Then Neil Rushton started swing deals to Detroit that was the beginning of the end of LA. Eight months later all those motherfuckers that we’d had the meetings with they all blew up, they all had label deals, video deals and they take off. Just think Techno coming from LA in the 80’s “WOW” To this day I say to Juan what if we’d have stayed we’d have brought the techno to the USA with big videos. The LA scene with a Detroit sound. We’d have tore a hole in there asses to this day. I still regret that move some how. One thing about this music ,you’ve gotta think outside the box. You’ve gotta see the trend coming before the train hits you.

So what happened with LA and Eddie Fowlkes?

Well, I was dating one of Berry Gordy’s niece daughter. Her name was Karla Bristol , her father was the great Johnny Bristol. I met her at Michigan State, but she was LA. That’s how I met all the Gordy’s in Detroit. They used to say that whenever you come to LA you should come through . So, Iris gordy is Karla mother. They would invite me to all the Gordy family stuff that was funny and cool thou. I got cool with them. They were so brainwashed with Detroit and soul music they weren’t ready to move outside of the box. I end up meeting Eddie Holland, from Holland, Dozier and Holland. So I’m at Eddies crib chilling watching the Lakers basketball game. That day was unreal.. Chilling with one of the greatest producers that ever came out of Detroit.  He wanted to know what’s up with this techno because he couldn’t get it inside his head. He just could not get it! That’s was about the time when I left the LA scene there, because these mother fuckers just don’t get it. Now it’s a billion dollar business that they could have been on it (Gordies family). That’s the one thing about that Detroit first compilation it’s a bad and good feeling for me. A lot of people don’t know that we were there right on the brink with all those guys made history and millions of dollars. Eazy E’s lawyer called Jerry Heller was the motherfucker that was going to all the labels saying that I’ve got the sound of LA right here. After we left do the track for the Detroit Compilation album He implemented everybody who was at those meeting with their own label deal. Me and Juan regret that shit.

When was the first time you had the opportunity to come over to the UK?
I think it was 88. It was cold. It was really fucking cold there. It was around October through to December that type of weather. I can’t remember where I played. Back in those days you stayed with friends rather than hotels. I forget who I was staying with. Carl Cox can tell you this shit himself. Juan was over too and we hooked up. He was like let’s go to this party and this party was off the motherfucking hook. We were behind the DJ booth and this motherfucker came up the stairs to the booth with two record crates before dropping all his records over the floor after tripping. We both busted out laughing and that was Carl Cox. To this day Carl still remembers that moment because it was the first time he’d DJ’d. He says that he was so nervous because Juan and I were behind the turntable. That was my first time that I was in London.
What was the difference for you between this trip and what you knew back in Detroit?

Techno for me wasn’t really big in London, but the Chicago sound was huge. You had Pete Tong at FFRR releasing all those compilations. It took us a while before really cracking the London scene because house music was the shit over there. Techno took a while and we just had to be patient. There were only four of us in Detroit doing that shit. In Chicago you had about 30 motherfuckers working it. That created a movement because they had more. There was Derrick, Kevin, Juan I putting out music. That was the crew. That was it. There wasn’t anybody else. Derrick and Kevin had Neil Rushton chopping some press through, but it always went down to your music. Now anybody can put music out, but back then you had to put some shit out to cut through the cheese, to cut through all that bullshit. Low and behold all the time that we were practising and Juan was teaching us studio shit we knew how to make our productions cut through the cheese. Juan would teach us that your shit has got to last the test of time, like steel. I think that’s where Chicago kind of fell off and you can see to today that we’re still producing music whilst everybody from Chicago fell off. They didn’t have anybody like Juan to teach them how to EQ, what’s hot or what’s not hot. They were just doing it by ear about being here for ever making ever lasting music. They would have keyboardists come and play, so when those keyboarders are gone what are you going to do sit there and watch your MPC or your Roger Linn. That’s why we’re still here today.

Obviously Detroit has changed quite a lot in your life time. Do you think that the change has been for the good?

No because you’ve gotta remember that all the kids that’s used to listen to our music they’ve got kids and grandkids now, but we’re talking about Detroit. Outside of Detroit is a different ball game. Detroit is not even there anymore, musically. it’s not there, it’s gone, evaporated. I only know two record stores in Detroit Buy-rites on 7th Mile and Shantinique Records on the east side which sells more clothes than records. I don’t even think that they sell records either.

You’ve hit up on it previously that Detroit seems to have had a strong conveyor belt of quality producers and DJs since the 80s. Can you elaborate?

Like I explained to you earlier, what Juan taught us has been passed down. Like MK, let’s take MK. He’s one of the baddest motherfuckers to come out of Detroit. MK and the fashion designer Maurice Malone used to come over to Juan’s house. Maurice is one of the biggest clothes designers around. They both tried to get into the music game back then. Juan wasn’t really feeling their music back then  because he felt that they had to get their sound a little bit tighter. Juan was like the don of Detroit. Anyway MK then started going down Kevin’s spot which was close to Juans and Derricks at that time. I was somewhere else in Detroit. I would go down to Juan’s studio, which was like my studio too. So MK, Carl Craig, Kenny Larkin and all those young cats would all come through because that was the production line. That’s where I met Mike Banks. They knew how we were so dedicated to the sound. They would come in and we would be working on shit(muisc). They would sit on the sideline as we worked. We were all friends and their ears started to get trained with what’s going on. You had Kevin doing the KMS side, you had Derrick upstairs with Carl, 430 West and Kenny Larkin. Then you had MK over there with Kevin. There was Juan, Shake and I in the Metroplex camp. Amp Fiddler used to come through. This was the way it was before Mike Banks blew up in the UK. Mike Banks was in our camp believe it or not before he set up Underground Resistance. That’s how that second generation wave came. Juan would let nobody touch his equipment. Kevin and Derrick were a little more relaxed. With Juan you had to be on the sidelines. If you didn’t know what the fuck you were doing you couldn’t be touching his shit, which was cool because you had to work to be able to work with Juan. Everbody wanted to work with Juan. I was like shit I’ve been with Juan since the beginning so I really knew what time it was. That’s how the sound is still around today because we take it so seriously. When Kevin made ‘Good Life’ on that corner and Derrick made ‘Strings of Life.’ It was cat’s really struggling to survive to making tons of money. It wasn’t about I’m the best DJ. It was about your music. That’s where kids would see us go from nowhere to somewhere. MK changed the game when he started doing those remixes. MK used to practise his chops at Kevin’s joint. He damned near used to live down there. When Kevin made ‘Big Fun’ it was actually James Pennington that made the elements. Kevin put Paris Grey together with Arthur Forrest who played the keys. Inner City was already around before then with James Pennington and Kevin Saunderson. James used to come around and fuck around on the keyboards. We’d be up like 2 or 3 in the morning messing around. He just kept it on a two track and kept it in the corner for around a year and a half. ‘Big Fun’ was made a year and a half before it came out. You practised your craft. I don’t think James ever got his just due. That’s how the business goes.

In answer to your question that’s how the second wave came through. You have to actually play play meaning the keyboards to get in the studio. You have to practise. You didn’t have no computer aid stuff back then. But That change  when Todd Terry went and sampled all of Kevin’s shit. To me that was the game changer when they invented the sampler because that let all these mother fuckers who didn’t know what to do in a studio start to play. I wasn’t hating on it. It was kind of taboo if you sample music from somebody else shit. Now those guys ran with craze back then are gone and I mean it was a lot of them. That wasn’t really showing no skills at that time and that kind of separated Detroit from the world. We can always get down without an engineer or keyboardist. You go into studios these days and some of those boys don’t know how to do there shit. It’s like there 20 years behind time. Because then you realize  they had other motherfuckers doing that shit. That’s when you find out who actually made that music from Chicago & New York from 80’ to 90’s.

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Picks of the Week

Damian Schwartz – Inwards – Lovemonk – a return to form
Adam Shelton – Here Today Here Tomorrow – Back To You – Decisive driving house
Jakkin Rabbit – How Deep – 19 – essential cut needs to be nice and loud at 6am for maximum effect
Aqob – All Moving Over the Earth (J Daniel remix) – Question of Time – percussive bomb
Marc Askhen feat SOS – Cat Walk (& Zombie Disco Squad Rmx) – The Classic Music Company – seductive sole
Sek – Typerventilating – Music With Content – strong 4 track ep
Annie Errez – Marching – Saints & Sonnets – footstomp
Jordan Peak – Mean Streets Part. II – Robsoul – larger than life
Be – Move – Hudd Traxx – bomb
Jesse Rose & Oliver $ – Bitchslap – Play It Down – loopy business
Alien Alien – Monday – Discaire – mindfuck
Alison Marks – Honeybee – Rebirth – perfect sunrise music
Sylvie Forêt, Aschka, Jerome Sydenham – No Shade – Ibadan – strong simple and effective
Sello – Everyday House – Compost – loud hypnotic affair

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We decided to get some of the amazing Dj’s and producers who will be making the first FSTVL so special , together and have a little chat about how life is for them at the moment and there thoughts about Music , FSTVL and the scene in general . Let me introduce you to our panel , firstly we have Chicago’s one man Jack attack DJ Sneak a House legend who has produced so many classics since the late 90s and played at every club worth talking about from DC10 to Fabric and hosted the most HOUSE thing ever in Ibiza last year a BBQ cook out in the car park at DC10 .. Geordie girl Anna Wall is one of UK’s House music’s rising stars for 2013 , anyone who caught her Mixmag DJ Lab’s live stream from Miami will testify of her skills and passion for the music , Dan Perrin is one half of Jack & I ( alongside partner Jack Michaels ) the duo have risen from the east london minimal / tech scene and there music is now a staple in many of the major DJ players sets . Another fast rising young gun is Iranian / Canadian Amirali who’s debut album ‘ in Time ‘ seemed to come out of no where and drew admiration from all quarters . Amirali has played at world class clubs such as Panorama bar , Fabric and Miami’s Electric Pickle and those attending FSTVL are in for a real treat .

Matias Tanzmann needs no introduction – the man behind the fantastic German label Moon Harbour records has been a resident at Circo Loco’s infamous monday parties at DC10 since 2007 . London House label Lower East is Cozzy’s baby as is the well rated London party ‘creche ‘ . Cozzy has released tracks on labels as diverse as Real Tone , 1trax and Four : Twenty . Davide Squillace is a son of that amazing city Naples and its creative vibe has been perfectly channeled through Davide who is another weekly resident at DC10 this coming summer . London based Ben Hoo a formally trained musician who has worked on music by Moby and M.A.N.D.Y as well as well as his own music on Kindisch records . MK aka Marc Kinchen was one of the early 90s most in demand US remixers providing seminal mixes for the likes of MAW and the mix of the Nightcrawlers ‘ Push the feeling on ‘ that went pop around the world ‘ . After disappearing from the dance music world he made a triumphant return and his remix of Storm Queen from 2012 sealed his place at the top table of US remixers . Subb- Ann was named as DJ Magazines ‘Best Breakthrough DJ’ in 2011 and still only in his early 20’s Ashique ‘Subb-an’ Subhan has released music on quality underground labels such releases on Crosstown Rebels, Spectral and Ellum backed up by past hits on Jamie Jones’ Hot Creations, Saved, Silver Network, Mothership, Leftroom, BPitch Control and 20/20 vision .

Finally its a personal favourite of mine Dan Ghenacia , the french dj runs the amazing ‘Freak n Chic ‘ label DJ’s all around the globe and is one of the b2b2b DJ trio outfit Apollonia. Thats the artists all introduced so the obvious first question was .

‘How was 2013 for you guys ‘

” Well every year comes with its highs and lows, but 2012 has been pretty exciting – some great accomplishments in my working life, and some unforgettable DJ gigs such as a penthouse rooftops in Miami, post-sunsets in Ibiza, open-air clubs in Turkey and some super cool parties in London” ANNA WALL .

‘ A roller coaster of a year for me traveling around the world and playing so many amazing parties. Playing Fabric Room 1 and Circoloco at DC10 were huge highlights but so much happened over the year it’s hard to pin one down. Hang gliding over Rio during my Brazil tour was pretty unreal if I must say’ . SUBB- ANN

” For us 2012 was a massive year to be honest…….we have only been working together since the end of 2010 and this year just gone has felt like the one where things have really started to move forward pretty quickly. We have released music on some great labels and had some amazing support from the likes of Troxler, Luciano, Maceo Plex, Sneak and lots more..,plus of course the rise of Art of Dark and the very promising beginnings to the label there too. Happy! ” DAN PERRIN .

” 2012 was a great year for me. So many fond memories. I was really overwhelmed by the success of my track ‘Aphrodite’ which came out on my label Lower East. Nothing more incredible than hearing a crowd singing your track when you play it :) We had some amazing Creche parties too featuring the likes of Maceo Plex, Art Department, MK, Eats Everything, Julio Bashmore, The Martinez Brothers. COZZY

“It was a very good year. The Ibiza season with my residency at Circoloco DC10 was certainly one of the highlights again. There is no place in the world like DC10″ . MATIAS TANZMANN.

‘ Going to and playing in Ibiza for the first time, my first DJ Mag party in Miami and getting together with Lee Foss and Jamie Jones and Annabel ‘ MK

” 2012 was a great year indeed, I had an amazing run with loads of gigs & music released plus remix work. I think all around it was a well-balanced year and a very successful one, but nothing could have topped the last day of 2012, on December 31st I welcomed my son to the word! What better way to end the year than with the birth of a happy and healthy baby. I am feeling very blessed’. DJ SNEAK

‘ 2012 was a fantastic year with the launch of our label Apollonia. The goal of this adventure is to stay together, travel together, play together. One personal highlight is when we play together it’s different to when we play alone, there is a moment during the long sessions when the 3 of us become like one artist, totally in synergy on the same vibe. We don’t feel the time, 5 hours can pass easily as everything comes naturally, we don’t need to talk just play the music ” . Dan Ghenacia

” 2012 was very intense, being in the recording studio and mostly traveling all around the world. There were also new collaborations and new projects that came out that which made my 2012 very exciting. Working with Better Lost Than Stupid in the studio and collaborations with Philip Bader and singer Alex Nazar. Ibiza always beats most of the gig season, but South America has been particularly rocking this year too. Every time I go, our scene seems to have developed more; people seem to have a higher knowledge of the all music and the movement itself ‘. DAVIDE SQUILLACE

” It was an amazing year for me. Having released my first album and being able to travel all around the world performing has been such a ride. The whole year was pretty special for me, so many experiences and great times; couldn’t ask for anything more ” AMIRALI

“2012 was great! My personal highlights were playing Bestival (which is one of my favourite festivals in the world) and also playing the Get Physical party in Miami during WMC, alongside Mr C, Tim Green, DJ T and M.A.N.D.Y. Releasing my solo EPs on Kindisch (Get Physical sub label) was also a highlight. I feel very lucky to have the support from such a seminal label” BEN HOO .

We Are FSTVL is launching May in Essex (just outside London), the line up is a real who’s who of the House and Techno scene – do you think its time London had more festivals leaned towards House & Techno?

” Well of course London is spoilt for great parties and events….but up until now i dont think we have had the ‘definitive; house and Techno event …..’We are’ definitely has the potential to become our love parade/timewarp etc ” Dan Perrin

” For me the best festivals are the ones that have acts from different genres of music. Personally when I go to a festival I like to listen and experience a wide range of music with different sounds and vibes. I think having a festival specifically for House & Techno is cool and if that’s all that you want to listen to then it’s perfect. It depends on what the individual or crowd is expecting to hear and see” . AMIRALI

” I am in favor of having and participating in as many great festivals everywhere, Essex has always been a great place for music….London too.. but you know the Prodigy come from essex, guess its never been the same since ” MK
” I know London is in a changing period, 2012 had a lot of great events not only for the regulars but for new comers looking for something fresh and exciting. I welcome better events, I welcome more parties that want real DJs and real ground breaking music whether it be Techno or House” . DJ SNEAK

” England is the home of the best festivals, it’s part of the culture of this country. It’s a great moment for house and techno in the UK so new events like We Are FSTVL is the inevitable progression “. Dan Ghenacia

What one thing would you like to see happen to improve the current scene?

” I believe things are already in motion for changes all around the globe, I know in England the Warehouse Party Theme is really kickin off, things are improving in general and I really think people are staring to pay more attention to what they support. I want to believe that the crowd is starting to pay attention to the quality of the music and this is a very good thing. If quality music and talented DJ’s are at the forefront then more power to new promoters, new clubbers & a new scene that allows these types of events to grow. I’m happy to be part of a few different scenes that have welcomed me into their events, always grateful to be able to play along side talent and quality ‘ . DJ SNEAK

” More vinyl DJ’s. We know what we are talking about…we are back to vinyl since few years now, we tried the computer thing and honestly nothing compares to real wax ” DAN GHENACIA

” More love, less hate – people should put more energy into supporting what they love, as opposed to knocking something that might not necessarily be their bag. Seems social media sites have given people a platform these days to hide behind a computer, and just try to get attention by slagging things off. End of the day the music industry should be all about the love for the music, so why wasted your breath hating on things when you could be bigging up something else instead” COZZY

‘ i think the ‘scene’ will be what it will be…thats like asking how can we improve human nature or society. Individual parties and promoters i think have a responsibility to keep the vibe a happy peaceful one on the dancefloors and not to become too ‘get rich quick’ by charging over the odds or letting people into the parties that are not going to add something positive.’ DAN PERRIN

Will the shadow of EDM with its vast wealth threaten the real club culture we have loved for the last 25 plus years?
” I don’t think so; as much as the EDM scene is wealthy and strong, our scene and the real club culture that we have loved for the past 2 decades is getting stronger too; so I wouldn’t worry about it too much” AMIRALI

” I don’t think so. This will not make people turn away from our scene and the way we know clubbing. And certainly some of the new EDM fans will dig deeper and find out about the real electronic dance music” . MATIAS TANZMANN

” * I don’t care about EDM, it is just another fad that will die out, and if we’re all lucky this will happen sooner than later. I had my days of talking about it but now it all seems really chessy, short lived and not worth my energy. I truly believe there are enough people out there who know, respect and care about the culture that it will never die. There any many people who’s lives have been shaped and molded by an amazing experience or event that was created by this culture and it is these very people who will keep the culture alive and well. We have been here and WILL be here after EDM.’ DJ SNEAK

” no, I don’t think anything can destroy something so strong – its part of our culture. there will always be a strong underground. And I think the commercial scene actually helps raise awareness of club music, and might get more people into the scene.” BEN HOO

” There will always be a spot for everybody, it’s part of human nature, and the difference in tastes will keep every single declination of music alive. The only problem could be the media brain washing kids about what is cool or not. But I’m confident that everyone will find their own taste ‘ DAVIDE SQUILLACE

Name One DJ or Act who you are tipping to be huge in 2013?

‘ Djebali is definitely one of our fav new artists. He has been hanging out with us for a few years, he shares our culture, he is a great producer and an amazing DJ. Chris Carrier and Hector Moralez, we cannot wait for their new live set. They have just released their debut album together ‘Lotus Seven’ on our Apollonia label ‘ DAN GHENACIA

” Us!! hahahah….no, erm…..wow theres loads! Last Magpie is fantastic, and basically everything Hypercolour are doing. Outside of that Nastia is brilliant, Dinky is going to have a big year again, Tato is doing great things over in Ibiza with his Isgud Records…oh and Lilith!! her and David Gtronic are going to make some very serious waves this year. Hence why we have them as part of the crew i guess! DAN PERRIN

‘ There’s a lot of UK producers I think that are really going to shine through next year…. I reckon 2013 is going to be the year for producers like Citizen, Jack Dixon, George Fitzgerald, Dale Howard (sorry I cheated there that’s definitely more than one!) ANNA WALL .

What is your fave club / party that you have played at and why (IE crowd / sound / reaction)
” Dc10 Ibiza ….. best crowd, no social boundaries, no bullshit, enjoying music together, the real nature of the party scene’ . DAVIDE SQUILLACE

” Has to be Below in Birmingham. It’s not the obvious choice but I’ve been playing this same courtyard for over 5 years and it NEVER fails to impress me, here’s a picture from our New Year’s day party… second choice goes to Fabric Room 1″. SUBB-ANN

‘ I would have to say DC10 in Ibiza – main room. I love that system, the space and the sound. I had the pleasure of playing that room a bunch of times in 2012 and it was great ‘. DJ SNEAK.

‘ I really enjoyed English crowds a lot last year. The Circoloco party in Birmingham was outstanding and just recently I had a great night with mUmU in Liverpool on Boxing Day. Another fantastic night was the Time Warp in Italy ‘ MATIAS TANZMANN

‘ My live performance in Fabric Room1 last spring is still on the top of my list. There was great chemistry between the crowd and my music. The sound in that room is top notch and they have such amazing staff. Another favourite show I played was at Panorama Bar in Berlin; I had the great pleasure to play alongside Andrew Weatherhall and Ivan Smagghe. I started playing around 4am and the reaction was phenomenal, It was such a magical night ‘ AMIRALI

‘ I reckon the coolest club I played recently was About:Blank in Berlin. The club is darky and smoky (just how I like them), the vibe was super-cool, Ewan Pearson played in the other room plus some of my best friends in the world were there. What more could you want! ANNA WALL

‘ I have so many favourites, but one night that stands out is when I played at a venue in Aarhus for the Stella Polaris Festival after party a couple of years ago. The atmosphere was great. Its a really dark, intimate venue with a really low ceiling and when it goes off in there the atmosphere is intense! People were going crazy and the place was a sweatbox ‘ . BEN HOO

Its been a fantastic 2012 for all the DJ’s and Artists about to appear at FSTVL and 2013 looks even bigger and better . Finally we ask them
what are they looking for this year music wise

‘ Something a little bit different! Warehouse parties aren’t what they used to be, so I think we have to get a bit more creative this year in London…I went to some great overseas music festivals last year, so I’ll definitely be escaping the big smoke again in 2013′ . ANNA WALL
‘ Well we’re looking forward to our season in Ibiza very much…with the Art of Dark residency on Sirocco and some great gigs at Sankeys and other places. Then theres all the Art of Dark parties, a few other great festivals and of course We are in May as part of such a great line up! ‘ DAN PERRIN

‘ I’m currently just back from BPM Festival in Mexico after a nice winter break and am ready to get myself back in the studio and work on some new material aswell as finish off some bits I started before Xmas. I’ve got a remix to do alongside Lee Brinx for DJ W!ld which will be coming out on Resonance. At the end of January my Lower East release ‘Listen’ comes out which features a remix from Droog. Looking forward to to tours of North & South America, South Africa among others too’ . COZZY

‘Mostly I am looking for time to produce music myself. I managed to slow down touring a bit now so I could finally spend more days at studio. And as a positive side effect being able to step out of the touring routine recharged my batteries and pushed my inspiration a lot again.’ MATIAS TANZMANN

‘ * Honestly? I want people to challenge their so-called skills to give “punters” what they want, not some boring ass set that they played the night before. I think we all need some fresh air to survive the changes in technology & the DJ culture. In music I am looking for the same, better produced music instead of music for the charts, make something with meaning not something to hit the charts to make yourself feel special.’ DJ SNEAK

‘ What are you looking for music & DJ wise in 2013? I have a great EP in which I’ve collaborated with Tom Trago and Footprintz that will hit on Visionquest early in the year and will coincide with my podcast for Resident Advisor and then my second mix CD compilation which will be a Rebel Rave CD. After that I’m solidly working on my album for Crosstown Rebels’ SUBB -ANN .


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The old Russian Bar on Kingsland high Rd has been the spot for many a messy session in the last few years but the space as been taken over and been renamed Shelter . We spoke to Guy Williams and Martyn Fitzgerald whose mixed night Bionic starts its Friday weekly spot on the 8th of March. A mixed night where everyone is welcome regardless of sexuality/race as long as you have the right attitude, its about the right vibe and the right music

So Bionics on the old Russian room site – what improvements they made …

” New Sound System , new Lights , lick of paint but more importantly new music policy, program and door policy.
small Dalston places seem to be all the rage in 2013 with Dance Tunnel opening – can small spaces compete with larger venues ‘ We’ve always preferred smaller venues anyway, you can get much more of an inclusive ‘house party vibe’ of course there’s room for both though’

whats the ethos behind BIONIC…

‘ To have somewhere regular where you will always be sure of great, quality music, a friendly vibe and affordable mixed night. Where everyone is welcome regardless of sexuality/race as long as you have the right attitude, its about the vibe and the music. Somewhere people can go every Friday and party until 5am knowing they’re going to have ace DJs behind the decks!.’

what future guests you looking to booking..
‘ Terry Farley, Faze Action, Sophie Lloyd, Jamie Bull, Rocky, Leftside Wobble, Amp & Deck, Daniel Irvine and Guy Williams and Severino as residents, and thats just the first 8 weeks!’

Looking like another . essential add to East London’s House scene

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Picks of the Week

From the selection of cuts that i’ve been sent recently the tracks below are ones that tickled my fancy – Now it’s your turn to track them down and make your own mind up

Seb Wildblood – Lusk (Thefft Remix) – Madtech – Wonky bizzness with a few twists and turns
Christian Malloni – I Got You – Get Slow – a mover and a groover for two step generation
Alex Dolby – Modular – Affekt Recordings – raw deep shit
Elliot Thomas – Desert Light – Voyeurhythm – proper techno warm pad turn out
Dale Howard – Give Me – Silence in Metropolis – 90s house for the modern age – quality
The Burrell Brothers – Non Stop (Cubby Dubz remix) – Danse Club – respectful makeover
Neville Watson – One Four Green (Deep Space Orchestra Remix) – Teng – an unknown world
Mikey V – Activate – The Classic Music Company – simple but effective
Jorge Velez – Untitled 2.1 – Rushhour – from a collection of trax from the late 90s all ACE
Xamiga – Kermit’s Day Out – Rushhour – haunting
Danny Daze – The Calm – Ellum Audio – a grower
Citizen – Worship + Tribute (Your Love) – Love Fever – the backlash must come soon

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Face Love Anew

Facing the lyrics – a group interview about “Face Love Anew”
Written By Jacob Sperber

Honey Soundsystem and Cocktail D’ Amore came together to release “Fave Love Anew” together at the beginning of this year. The vinyl and digital single by Australia’s Stereogamous featuring vocals by Shaun J. Wright came supplemented with a handful of wonderful remixes by Horse Meat Disco, The Miracles Club, Kim Ann Foxman, The Carry Nation and Jason Kendig.

Too get to know the family of lovers involved in the release a bit better we asked everyone a question related to Shaun’s wonderful lyrics heard on the original…

Shaun J. Wright
Q: What keeps you from deep sleep and is clouding your dreams? Are you a hard or light sleeper? Do you need it to be pitch black or night-lit?

A: Oftentimes, I stay awake when watching youtube clips of voguers or silly song parodies. I also like to boogie at night and the dancefloor is not the best place for deep slumber.

Self-doubt has been the darkest cloud surrounding my dreams. It’s confused my ability to fully live out my potential. My challenge has been to work through the fear and fight off the insecurities.

The night-lit sky is so much more pleasing to the senses. That’s why disco balls were created!

Jonny Seymour
Q: How did you learn the way of pleasuring? Tell us about your first kiss. Were you a natural or did someone have to teach you how to kiss well?

I lost my virginity to a babysitter at age 11. She had a predilection to virile prepubescents. She explained “We can have sex because you can’t come” Clueless, my response was “but I’m already here” Still, I learnt the very valuable lesson that you always get your partner off before you do. Nice guys do finish last! I learned how to kiss properly a only few years from my local parish Catholic priest. “God gave you great lips, you should know how use them” he thoughtfully counselled. The girls at school used to say “I bet he became a priest because he’s overweight and hairy” My response was “thank God!” Please don’t be shocked. It wasn’t abuse or rapey as I was really into him. I turned out just fine, no?

Q: Do you believe in “the rapture”? Where would you run to if you knew the world was going to end and why?

A: Not really… but let’s say it’s gonna happen, OK? In that case, I wouldn’t probably go anywhere (pointless right) but take a lot of tranquilizers (wouldn’t you be freaking out?), get a lot of weed, cook tons of food and invite all my friends over and stuff ourselves. Aw, wait, I’d be probably trying to fuck as much as possible too.

Paul Mac
Q: Why do you think most people dance after the day fades? What exact hour of the day do you think is the perfect time to dance… Where is the best place to dance during in the sun?

A: The day is to get things done. It’s jobs, sweat, harsh and it’s real. But after it fades new rules apply. It’s okay to get drunk, people want to get loose, gravity is suspended. People start to get a roving eye, seeking possibilities in the darkness, it’s time to dance. When the sun comes back its time to find some shade and the dancing goes horizontal.

Kim Ann Foxman
Q: Tell us the first place you heard ‘Deep Inside’ by Harddrive? When is the last time you played it? What do you think that diva means when she sang ‘Deep Inside’?

A: I was probably 15 or 16 years old, I was living in Hawaii, and my older cousin who was living in Reno came for a visit and introduced it to me. I thought from then on that my cousin was cool.

Wow, haven’t honestly played that track out in a really long time… but you just made me realize that, so, I’m gonna play it tonight in Brooklyn :-)

Those samples came from Barbara Tucker’s Beautiful people. She is the ultimate diva. She was saying to the world to open up to each other and love one another. But then again, who doesn’t want the lovin “deep inside”??

Jason Kendig
Q: Tell us about a lover’s memento you’ve kept to have the relationship remain in your memory?

A: A mixtape from the first guy i ever dated as a teenager. We met at an Orbital concert in Detroit. He was aspiring to make music and was heavily influenced by the work of Aphex Twin, Autechre, and Mike Paradinas so the tape had tracks from these guys interspersed with snippets of dialog from movies. (He eventually went on to release music on Skam.)

The Miracles Club
Q: Describe “Ecstacy”

A: Ecstasy is when sound, vision and emotions come together to form the most balanced high, oneness or feeling of enlightenment. It usually happens out of nowhere and the feeling is one of extreme connection to some sort of source or pool that everyone is connected to. True bliss, joy, and attainment..

Horse Meat Disco
Q: Tell us something you we’re at first afraid of and now no longer? What are you deathly afraid of still?

A: Nuclear War – I’m an late seventies / eighties kid we were constantly threatened with all-out imminent war between Russia and the USA and films like the THREADS and WHERE THE WIND BLOWS just fed into my terror. I could never understand why we weren’t acting quickly and preparing a nuclear shelter at home. What am I deathly afraid of – well we’re all afraid of death itself right? It’s bloody horrible -Jim Stanton (Horse Meat Disco)

The Carry Nation
Q: Who’s gives the best Face? Who give’s the best BODY? Describe…

A: The obvious choice for FACE tonight is “Face Love Anew” by Stereogamous ft. Shaun J. Wright (2012)…but she was honored in the grand march for This ball. The contestants walking for FACE, including “Queen Of Face” by Vjuan Allure (2011) & “Is It All Over My Face” by Loose Joints (1980), provided fierce competition but “Guess Who (The Carry Nation Remix)” by Ride Committee ft. Roxy (2013) took the trophy. Good showings in the BODY category were had with “My Body” by Network (2012) & “Pussywork” by Andras Caron (2012) but when “Body Strong” by Sylvester (1979) hit the runway, she snatched the prize and no one could argue. Carry On Children!

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V/A – Atmospheres – Batti Batti

Life must be sweet right now if you are Owen Jay. Respected as a DJ and producer, a must-listen radio show that the deeper heads swear by (myhouseyourhouse.net for those that haven’t) and now a record label, Batti Batti, that reflects with deadly accuracy his own impeccable musical taste. And although the imprint has been around for a few years as a successful digital specialist it is the recent addition of vinyl to the fold that has been particularly smart.

Because so far the formula has been simple and effective. Four tracks, four different producers, one aim: raw, deep and high-quality sounds. It worked on Batti Batti’s first vinyl release last summer, Basement Tracks, and it works here on the latest EP, Atmospheres.

As with BBR01, the EP opens with Jay himself alongside studio partner and accomplished musician Melchior Sultana, this time with a cut entitled Spheric. And as is often the case with Jay’s selections as a DJ, this one is all about the vibe. A smouldering, crackling and dubby undercurrent plays perfectly alongside the understated kick and rising synth, contrasting sharply with the more groovy and soulful cut the duo crafted for Basement Tracks.

Making his label debut here is Natan H, a producer who is currently and deservedly getting attention from all the right people and places. Here he offers up Alpinism, a track that is not dissimilar in sentiment to the Jay/Sultana opener but less menacing and deceptively funky courtesy of some great perc work. Little wonder the man is coveted by many a label these days.

The little-known Cleveland has previous with the label’s digital offshoot and here makes a cracking vinyl debut with Pandora. Emotionally-charged synths and melancholic keys are the order of the day yet there is plenty of dance potential still underpinned as the track is with a surprisingly bouncy bass.

Completing the package is another familiar Batti Batti collaborator Bittersuite with Monk Vibe. Arguably the most soulful of the four tracks, Monk Vibe has a near jazzy – in the loosest possible sense – feel about its take on this thing called house. No bad thing that and an entirely satisfying way to round off a damn fine EP.

Natan H & Amy Jean – For Her – Man Make Music

It’s that man Natan H again. Remember the name because you’re going to hear a lot more from and about him this year as he is currently something of a hot property here in Europe where labels and heads love the cut of his jib.

Roots of the Natan H sound are firmly in Chicago and Detroit as with many producers. But there is a distinctive 21st century high-tech twist to his work that at times has more in common with the fertile musical grounds of central and eastern Europe that have embraced deeper vibes with a fervent passion. Indeed, aside from an earlier outing on Anton Zap’s respected Ethereal Sound imprint, also coming soon to a record store near you from the California-based artist is the mightily sweet Gave EP on recently-founded label Mysterious Russian Soul.

It is, however, this delightful part-collaboration with long-time friend Amy Jean that I am here to praise. And praiseworthy it is. Three tracks of achingly sumptuous deep house. It is almost as cut and dry as that.

Title track For Her is a bright and breezy affair that for just a nano calls to mind Julio Bashmore’s Au Seve but far less intense or bass heavy, while I Know is equally dazzling and a veritable mover and shaker. However, it is the collaborative track Rush – the first two being solo productions from Natan H – that steals the show. Pumping and bumping deep house at its finest, soulful too, and one very much for the head as well as the feet. Remember the name.

Ethyl/Flori – Plurals – Contrast-Wax

Contrast-Wax know their shit. Having issued a statement of intent by signing Spain’s deep house don Ernie for their debut release, they’ve displayed just as much ambition and style for the follow-up by enlisting two of the UK’s brightest and most talented hopefuls, Ethyl and Flori.

Although the young pair often work together – Quintessentials/Secretsundaze/Freerange – here they fly solo with a track apiece on this double-A sided vinyl-only EP, which again is limited strictly to just the 100 copies. And it seems the friendly competition has brought the best out of each. Both producers are in sparkling form here giving Contrast-Wax another ‘must-have’ release on their hands.

Ethyl was the first of the duo to emerge a few years back initially alongside Huxley who too has gone on to great things. His track here Syncopate suggests he has lost none of his swagger, a gurgling acid line ebbing and flowing continually alongside ethereal synths and a muted kick. Psychedelic house anyone?

By contrast, Flori’s cut Wandering is more orthodox though no less superb. More bumping than the flip and effortlessly easy on the ear, Wandering skips its way joyfully through with the aid of heartily warm pads, jaunty hi-hats and just the occasional vocal interruption. Ace.

All of which begs the question, what the hell do Contrast-Wax do next?

V/A – Words From The Medium – Remote

The east has given electronic music some significant talent. East Anglia that is, not London. Guru-like DJ Harvey, the revered Idjut Boys and more recently the excellent Jitterbug are all straight outta Cambridge. Now with one foot in the university town and another in the smoke comes the label Remote.

Around since 2010 as a digital imprint, Remote made the move into vinyl last year with quality releases from Ed Maddams and Toni Be. Now comes its third foray with a various artists EP that is bang on the money.

Opening salvo is from Perseus Traxx who fire off a jackin’ analogue title track that pays homage to the early days of Chicago house and is exactly the kind of sound that is getting the deeper heads all worked up right now. Newcomer Lakumer follows on with Kensal Prize – a clue to his neighbourhood? – that is sparky and raw yet melodic and engaging all at the same time. A name to note no doubt.

Get Down from Montenegrin talent Kammerton (Boe Recordings/Housewax) is deeper and more hefty than the first two cuts, though no less excellent or well-executed, while finishing proceedings in style is the superb Hurt You from Haze ‘n Adaze (aka Lady Blacktronika). Pumping bass, siren-like synth and a mournful vocal that borders on disturbing; it’s a chunky mother.

Joey Kay/Chicagodeep & Taelue – Keep The Face – Minuendo Recordings

You know the deal by now with Minuendo. Lovingly crafted releases, superior aesthetic values and proper deep house on vinyl and self-distributed by the man himself Ernie. So if it ain’t broke then why fix it?

He hasn’t. In fact what is really interesting is that save the odd remix, Ernie hasn’t released on his own label for a couple of years now and during that time Minuendo has matured into a thing of rare beauty. That’s no reflection on Ernie’s work. No way. No one is a bigger fan of the man from Madrid than me and during that time he has been busy making incredible records for other people’s labels, most of which are proudly stacked on my shelves. It’s just that taking a step back from Minuendo, concentrating on the A&R, which is faultless, the management and the overall feel of the label has paid dividends. For many it is the best label in Spain and I for one wouldn’t argue.

So what of Keep The Face? Quite simply it is joyous and grown-up. It smacks of a label head that really knows what he likes, what he wants and gets it. Presented here are two tracks from Chicago producer Joey Kay including Perfect Time, a fully-fledged soulful vocal house song of the old-school variety and the most commercial track ever to appear on Minuendo. Kay’s Cliff Dwellers (2013 reprise) is more shuffling beatdown by comparison and no doubt a perfect tool for DJs.

Debuting on the flip are Chicagodeep and Taelue, both fancied producers in their own right, but collaborating here on Sunday Drive. It is deep house of the hustling, bumping kind, simple for sure, but effective too, groovy and totally mesmerising. The track is given the remix treatment by Ernie’s old pal Dubbyman who does what he always does best; deep, sexy, hypnotic vibes.

Trinidadian Deep – Vision & Sound – Deep Explorer

Talking about Deep Explorer without mentioning the ‘d’ word is darn near impossible; see, I did it already. Seriously though, the label’s foundations are deep in every sense of the word and even the name tells you everything you need to know about this beautiful imprint.

Fast approaching ten years of releasing top-notch music and nearly 30 records in now, the label has been presided over with much tender loving care by the Alvarez brothers Javier and José, who are better known in underground circles as Above Smoke and Dubbyman respectively.

Their fingerprints are all over this EP which is entirely in the Deep Explorer mould although the artist is actually Toronto DJ and producer Trinidadian Deep, a cousin of Ron Trent. It’s a perfect match.

At the risk of sounding like an old hippy, opener Mind Fluid has a spiritual vibe about it that is both beguiling and likely to make you want to move. So what’s not to like? Title track Vision & Sound is of a similar ilk, with waves of synth swirling languidly in the distance, floaty chords punctuating from time-to-time and neat percussion and drum work providing plenty of pep.

Above Smoke chips in with a classy remix of Vision & Sound that is more muscular and has a tad more dance-floor nouse than the original yet still respectful of the artist’s work. As for the ‘d’ word, definitely.

Tim Gibney Feb 2013

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Ron Trent

There’s no denying the house credentials of Chicago legend Ron Trent. As a teenage DJ and producer he was cutting a name for himself in the windy city with his own personal style. By the time the ground breaking Altered States dropped Ron was already a highly respected member of the house community. Ron continued to develop his sound with his partnership with Chez Damier and a relocation to work in the KMS Studios, Detroit. Their labels Prescription and Balance are regarded by many to be the HOUSE labels of the nineties. In recent years Ron has maintained regular output on labels such as Need 2 Soul and Future Vision. Roual Galloway chatted briefly with Ron recently on his involvement with house music.

With the formalities out of the way

Are you back in Chicago?

I’ve been back here a couple here a couple of years. I’ve done my time in New York. Ten years it was. It’s a beast. Now I’m back in Chicago and I’m doing my thing out here again. I’ve been here two or three years now officially.

You also lived Detroit?

I lived in Detroit years ago. Way back in the nineties. I lived there for like three years or so. It was a short stint and it didn’t last long. I had a nice apartment there and things. It all centred on recording at the time. We did a lot of recording out of KMS studio.

You come from a musical family.

You could say that. I was raised around music all my life. I really started getting my start with music during the late seventies. My dad used to be a record pool director and he was actually the vice president of the pool in Chicago during the late seventies. The pool stopped existing around 83 or so.I started playing records during 1982 as a hobby kind of thing leading into the late eighties I was out DJing at parties and doing the whole shit on the circuit here in Chicago, as can be seen on a lot of the flyers that have been posted on deep house page. A lot of people say that because of my age that I didn’t do that. When they go through the history and see the proof it freaks them out. I’ve just been around music all my life and there’s always been a soundtrack to go along my existence.

What happened to the record pool?

At the time it was the whole disco going into jazz funk and electronic meets live thing that was sort of happening. The Warehouse had already been in existence and the Powerplant. The beginning phases of the Music Box were coming into fruition. My dad passed in 82 and they stopped dealing and servicing the record game maybe by around 80 or 81. By that time I was full into playing instruments and had my hits starting by collecting music and that sort of thing. I didn’t get the whole house music influence thing until around 83/84. You’ve got to understand that at that time dance music was predominantly gay. By the time it even reached the heterosexual community or the ears of somebody like myself it was pretty much around that time. There were those that were older that had been going out and catching that vibe. People my age were listening to the radio and getting into it that way. We were going to underground events. It was more of a late night culture, an after hours culture and that was very specific.

Do you think that Chicago, New York and the USA has been affected by the government and local authorities not wanting a late culture?

Absolutely. To be honest with you it almost single handily stated to kill dance music element in the 80s. By the time the 90s came around Chicago was all done. People might think that Chicago is the first city and that’s where it all started. That’s where the soul of house music is from. In terms of keeping it going New York has been consistent and if not the creator of a lot of this shit. You know Frankie is from New York. You know New York has always had the better clubs in terms of the aesthetic of sound systems and everything else. Also the creation of what this thing really is in terms of the whole private after hour’s culture. That was something that was grafted from New York and brought to Chicago. Even Robert Williams who was the actual owner of the warehouse and then later the Music Box was from New York. That’s where it started with David Mancuso and leading up to Frankie Knuckles at the Warehouse playing what became known as house music.

Back when you first started there was a whole creative group of people who wanted to contribute to the development of house music as DJs, producers, promoters or dancers and comparing it with today’s current climate where there appears to be a lack of love for house music in Chicago by its youth. Why do you think that is?

A lot of it a lack of exposure. The guys who were part of that scene haven’t reproduced it. Then you have people of several levels of generations and people of that time trying to re-create something that they were never part of. As you know that’s oxymoronic which causes problems where the blind lead the naked. The message gets diluted. So what people think is the standard, this is the bar this is what it’s supposed to be like instead of you know them having a reverence they have a lot of hearsay and stories. It’s a story that’s been convoluted with lots of different things. That’s the problem especially in Chicago. Where as New York up until 9/11 it was pretty consistent to the core of what it was and even today it’s still pretty good. It’s pretty consistent in terms of the message, but you don’t have the places that you can go on a consistent basis except for the Shelter to experience that music and release their pressure. Before you had places where people could to every week to hear new music and get inspired. Now people are more into annual parties where people feel that they’re checking out something special rather than checking things out on a regular basis. It’s getting all messed up. Bringing those elements back from the core to introduce people back into what is the real deal. A lot of the factors kick back to that.

From my point of view I see it that for any kind of scene to develop it needs to have youth at the core and leading the way of its future. The youth should be the ones doing what we were doing twenty years ago!

I agree with that. There should be transference of the torch from one generation to the next. What’s happening is that somewhere in there things got convoluted. There comes alienation and then competition. Then it comes I don’t want to be into that old shit. Then it turns into that I don’t want to get into that new shit. I’m talking about both sides of the fence and it turns into a separation rather than a re-union of the generations coming together. That’s another thing when I was growing up we wanted to be into the things our parents were into. We liked some of that stuff our parents listened to and danced together in the living room. It was music which was family music. Now you have music that separates generations. There’s always been one generation saying look at all those crazy kids listening to that crazy shit, but there was also a commonality that all the family members could relate to. That’s what is kind of missing. I deal with hip hop as well as dance music. I’ve seen the separation ‘cos I’ve got a 14 year old daughter. I ask her particular questions from time to time asking her what’s going on at high school level. It’s very interesting to see the mentality. What we have to understand as well is that one of the reasons why this music became what it became was because there was exclusivity. There was a specific venue or venues that allowed people to experience these things and the message was there. Then you had people playing records that knew what they were doing. I feel that today people are doing what they are doing for the wrong reasons than what we were doing it for back in the day. It was a craft. There was an apprenticeship involved back then. Now DJing is more about being a celebrity and getting a lot of attention. It’s a cool thing. Those aspects have always been there but people didn’t get into this because the pool is kind a deep if you can’t swim. Where now people can get a computer and some MP3s. The next thing you know is that they start blasting their names on the internet, creating a hype machine and bingo you’ve got somebody that’s popping up all over the place DJing. You know that if they haven’t spent at least about five years listening to some of the best DJ’s and studying their craft they don’t know what they fuck they’re doing because they don’t have a reference. We listened, we interacted, we danced, we knew the culture and we knew how to deliver it to the next listener. Now you’ve got kids saying that “I’m DJ such and such and I’m the man.” Once again it’s the blind leading the naked. I’m just giving you a couple of aspects of what I think are wrong with the scene today, because there’s so many. That’s one big thing we’ve got to start with the DJ because they don’t know what the hell they’re doing. They really don’t. It’s just some guy up there playing records and we could probably teach our children to do that. What would be the difference in the mind of somebody who doesn’t know the difference?

The thing is form the last time that I spent in New York all the DJs are playing from computer and vinyl isn’t readily available. When I was a kid it was really difficult to find the records that you wanted. You had to really dig deep to locate records. In today’s society it’s become too easy for kids. Sometimes you pay and sometimes you don’t.

It is what it is. Technology moves things along but when there’s not a respect for the art itself, I have a problem with that because it is an art form. People have struggled to get things where we are today and to say fuck off it’s really bad. People aren’t taking the time to learn about the history. If I’m flying in a plane I want have a pilot that knows everything about flying that plane. That’s the best way that I can put it, the same thing with my ears and the same thing as my party experience that’s a serious thing to me. That was our gymnasium, our therapy and our whole thing of being able to go and listen to music whilst interacting on a social level to experience new things. You had people who cared about what they were doing at the time and it came across in the party experience. Now you’ve got promoters who are just interested in making money. They’re not really out to take things to the next level. I’m not saying that every promoter is like that, but the majority of them are. That’s what I’ve seen internationally. The good promoters who know what they’re doing and care about moving things forward are few and far between.

Who were the key figures of your education in Chicago for music at the beginning?

Guys I looked up. I have family members that I didn’t know at the time such as Lee Collins. He wasn’t at the status of Ron Hardy or Frankie Knuckles ‘cos he wasn’t their age, but on certain levels he was respected. He was a valid figure. Then you had some of the radio jocks like Farley Funkin’ Keith and even Ralphi Rosario. We used to listen to the whole Hot Mix 5 on the radio. On a higher level you’ve got your Frankie Knuckles and Ron Hardy. On the producers tip Larry Heard was the man. Those were the guys that I respected. There were other guys who were making trax in the community, but in terms of who you were inspiring to be they were where it was at. Those guys were the shit. Also there was Marshall Jefferson who made his verbal tracks and even Jesse Saunders.

From reading and speaking with people from Chicago you realise how important the whole hotel youth party scene was in developing house music.

That and the High school party’s like those that Mendel put on. Those are very important because what it did was gave the younger audience who could not necessary get into the Music Box, the Powerplant or the Warehouse to experience the music. That leaves somewhat a surface version of what was happening in the clubs. The promotional teams would put on these parties. Soundsystems would be the best equivalent. They would get together to do their things. Lil Louis was an important influence. From that time I was playing records and I was on my way to creating their own stuff.

Was Theo part of your crew?

Actually Theo was. Theo lived in my neighbourhood and we met through a mutual friend who was my next door neighbour. He went to the school of performing art and Theo was into DJing at the time, maybe not as much as I was at the time. We became brothers and I’ve always been an avid record collector and I would turn Theo onto a lot of classics. There were a lot of things that I was exposed to at different parties. I also would let Theo open up for me by 88 or 89 I had gotten my kind of name and I was doing my whole party’s and that sort of thing. I had a nice little following. I was trying to introduce Theo to that. All the way through the 90s Theo and I would go record shopping where I would turn him onto things. It’s good to see Theo has kept up in terms of collecting vinyl. He’s carrying on the tradition of everything that we represent. When his time came he took the football and ran with it. I definitely took Theo under my wings back in the day. Theo is my man and I’m proud of my brother.

Was the Afterlife EP on Warehouse Records your first experience in making music?

Oh no that was an after fact. I used to make trax all the time that people from abroad have never heard, but people in Chicago have heard. Altered States was my first recorded effort. We put that out. That’s what we were into at the time. As a matter of fact Theo was into that he had a drum machine and that kind of thing. He was trying to dial out some rhythms on his machine. For me at the time I was able to play my trax on bigger platforms in comparison to a lot of cats my age. That’s kind of what my dynamic is because I’m a younger cat. I’m mid thirties, but the time in which I came up people think I’m actually much older. They don’t understand because most of cohorts and people that I grew up around are much older than me. I got turned onto a lot of things by elder folks. I was taken under their wings. That’s where I come from. There are the masters and the apprentice’s because that’s how things carry on. There’s a craft and philosophy that’s been adapted from Africa from years ago. There’s a master and an apprentice. The same thing applies with playing the drum. You watched the master play drums for at least five years before you could even touch the drum. That’s how it works and that’s how it’s worked for at least 1000 years. That’s how I don’t understand that after 1000 years something isn’t relevant anymore. Where’s the logic in that?

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