Sub Club SoundSystem tickets now on sale

Sub Club’s annual two-day, day & night party in the Barras.

26 & 27 August 2017
Barras art and Design

TICKETS ON SALE NOW

Weekender – £60
Saturday day ticket – £35 / 45
Sunday day ticket – £35 / 45

Saturday 26 is SUBCULTURE

DIXON
PEGGY GOU
HARRI & DOMENIC

+ MORE TO BE ANNOUNCED

Sunday 27 is SENSU

MACEO PLEX

+ MORE TO BE ANNOUNCED

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Sub Club’s annual two-day, day & night party in the Barras

26 & 27 August 2017.

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6 Degrees of Kevin Dorward – January at Subculture

1991, what a glorious year. We all remember 1991 right? The internet on which you are reading this, was invented. The poll tax was abolished. Bryan Adams’s ‘Everything I Do’ spent 16 weeks at number 1 (which still holds the record for the longest un-broken run at the top of the charts) and M-People played their 2nd only gig in Sub Club Fast forward a couple of years to 93 and James “Harri” Harrigan had already cemented himself in the Glasgow clubbing scene with a Saturday residency at Atlantis in Sub Club alongside the guys from Slam and had even produced a remix for M-People.

7th HARRI & DOMENIC + TELFORD

The Saturday night we all know and love, Subculture, was formed but a year later with Domenic Cappello joining the ranks alongside Harri & Oscar Fullone and 2/3 still remain to this day. Having built up a wealth of knowledge and experience over all those years, Domenic lends a hand in the running of Sub Club’s record label Nautilus Rising alongside resident Telford. 2 releases already under their belt, Nautilus are going from strength to strength with NR03 due out 30th January 2017 and much more to come later this year. Both Harri & Domenic are no strangers to music production and releases themselves. Harri’s son, Jasper, has followed in his old man’s footsteps and stepped into the world of music.

Jasper released his 2nd EP, ZTRK1, on Matt Tolfrey’s Leftroom Records in 2015 which featured a remix by Optimo’s JD Twitch.

Not exactly a stranger to remix’s (check out his discography), Twitch remixed ‘Charles Hayward – Lopside‘ released on “ΚΕΜΑΛ”, the French sub-label of “Berceuse Heroique” back in 2013. Mark Forshaw released ‘The Fuck‘ on Berceuse Heroique and more recently released on Glasgow Label Dixon Avenue Basement Jams (DABJ) with ‘In Basements Vol 1&2‘

14th DIXON AVENUE BASEMENT JAMS + HARRI & DOMENIC

Dixon Avenue are a relatively new label, conceived back in 2012 and run by Dan “Monox” Lurinsky and Kenny “The Wasp” Grieve. Albeit it still in its infancy, fear not, these 2 have bags of experience having run the MNX Recordings label and techno night Monox at the now sadly defunct Soundhaus, housed in the old Bilsland biscuit factory. DABJ are constantly releasing bangerz from the likes of Denis Sulta, Fear-E, Big Miz and Marquis Hawkes respectively. Hawkes, a pseudonym of Mark Hawkins released ‘Carbrini-Green‘ (named after a Chicago housing estate) on DABJ in 2012 before going on to release ‘Outta This Hood‘ on Clone Jack For Daze, a sub-label of Clone in 2014. Also releasing on Clone Jack For Daze was Geeman with ‘Bang’t / Fire Extinguisher‘. Geeman remixed Martin Landsky ‘1000 miles’ along with Laurent Garnier (who this week received the French legion of honour for his services to music). Back in 2003, Garnier mixed a compilation called Excess Luggage which featured a track by Domenic Cappello under his Hutton Drive guise called ‘It’s Dark But I’m Not Afraid‘.

21st HARRI & DOMENIC

Both Harri & Domenic have had multiple releases/remix’s like this edit of ‘Apache Indian – Chok There’ by Harri and this jazzy wee number from Domenic Cappello on 20:20 Vision. Also appearing on 20:20 vision was Mark Broom with ‘Take Me Home‘ and going back to that 51 track Laurent Garnier compilation I mentioned earlier, it also features Mark Broom and Moby.

Now Moby got a mention in November’s 6º post but I couldn’t pass this one up. In 1992 Moby went on tour with The Prodigy (aptly named after a Moog synth), I know, both awesome acts but different characters all together right? But Moby had done a remix of ‘Everybody in the place‘ so their musical interests were obviously somewhat similar. Thats probably where the similarities end though, as when on tour it was apparent they didn’t get on and had a major bust up because “Moby was complaining that The Prodigy were taking mushrooms and smoking weed and he was getting high through the air conditioning…. the dick” It would appear Moby’s presence ultimately became a firestarter (see what I did there) and they parted ways. Not to worry, The Prodigy went on to become arguably the most influential dance music act in the UK. Their 2004 track ‘Girls‘ sampled DTrain ‘You’re the One for Me‘ and similarly Peggy Gou sampled DTrain ‘Keep On‘ with her track ‘Day Without Yesterday‘.

28th PEGGY GOU + HARRI & DOMENIC

Hailing from Seoul, Peggy Gou hit 2016 like a tonne of bricks. Out of nowhere this Korean born, London schooled, Berlin residing DJ and producer has released 2 EP’s and is getting bookings left right and centre. Peggy’s production skills are aided by the fact she got one on one Ableton lessons off of Esa Williams whilst living in London which led her to pursue a career in music as opposed to a regular 9-5 job. Local boy Jackmaster is an avid fan of Gou after going to a gig of her’s in Bristol and ultimately inviting her to play his Mastermix series in Glasgow/Dublin/London. After listening to productions like ‘Jen High‘ and ‘Gou Talk‘ its easy to see the appeal behind Peggy.

6 Degrees of Kevin Dorward – December at Subculture

3rd DIXON + HARRI & DOMENIC

Dixon first played Sub Club back in September 2005, the same year he launched his label Innervisions, alongside Âme. (pronounced “am”. All the time people pronounce it “ami” or “Amy”, but its “am” – the French word for Soul). A true master of his craft, Dixon’s appeal for me is two-fold. It’s the fact he can get away with throwing curveball after curveball into what you think would be a typical ‘Dixon-esque’ set, but NO, he’s gonna drop ‘Frank Ocean – Lost‘ (pardon the hilarious unofficial video, finding a stream of this was tough) before a pillow fight ensues. To quote Gene Wilder, “Little surprises around every corner but nothing dangerous”. He’s also one of the hardest working DJ’s on the circuit squeezing in as many gigs as he can whilst still making edits/remix’s and mixing CD’s. Back in 2005, Dixon mixed a yoga-themed CD (we all love yoga music, don’t lie) for Man Recordings, which featured a phenomenal track by Larry Heard entitled ‘Faint Object Detection’ from his 1996 ‘Alien‘ LP. Larry Heard aka Mr Fingers cemented himself in the Chicago house scene in the 1980 with tracks such as ‘Can you feel it?‘ and ‘The sun can’t compare‘ but also wrote and co-produced tracks such as ‘Touch Me‘ for Lil’ Louis.

10th LIL LOUIS + HARRI & DOMENIC

Lil’ Louis, who just last month held a listening party for his 3rd album in Sub Club, rose to fame with his track ‘French Kiss‘, which defined an era really. It has been out 27 years and is still as current today as it was back in 1989. It did run into some backlash though when MP Jack Straw criticised it because “his son couldn’t understand why so many people should buy a record of a woman panting, then groaning, interspersed with the occasional mumbled phrase”. Regardless, it’s stood the test of time and there’s multiple versions, my personal favourite being this vocal mix. Lil’ Louis first played Harri & Dom’s Subculture back in 1997, the same year Basement Jaxx had their first ‘out of London‘ gig, also at Sub Club. Fast forward 10 years and the 2 have worked together on the 1999 record ‘Yo Yo‘ and the 2009 track ‘One more chance‘. Basement Jaxx have had multiple releases on XL recordings including ‘Where’s your head at?‘ and ‘Oh my gosh‘. Also on XL and doing the rounds at festivals all over this year was DJ Koze’s remix of ‘Lapsley – Operator‘. Famed for his remixes (credited with 186 on Discogs), DJ Koze made his presence felt on Mount Kimbie’s track ‘Made to stray‘ back in 2013. Also getting in on the remix action for Mount Kimbie was Prosumer and Tama Sumo on ‘William‘.

17th TAMA SUMO + HARRI & DOMENIC

Kerstin Egert (aka Tama Sumo) is a Berlin based DJ and resident at the world famous Berghain’s Panorama Bar. She’s been DJing since 1994, and oddly enough didn’t even know about her first DJ booking until she saw her name on the printed posters. Her sets rely heavily on improvisation and minimal uses of effects, letting the music speak for itself – which in the Subbie, is all you can really ask for. Kerstin is also in a civil partnership with Lerato Khathi (aka Lakuti), who runs the labels Süd Electronic alongside Alan Abrahams (aka Portable) which has had releases by Move D and Stump Valley. Lakuti also founded the Uzuri Label, which through their booking agency represents artists such as Levon Vincent, Joey Anderson and Portable. Portable’s track ‘Nano Flower‘ was featured on ‘The Lifesaver Compilation‘ released by Live at Robert Johnson, a label run by the eponymous Frankfurt club. Also featured on the compilation is a track entitled ‘People Is A Crackhead‘ by Tuff City Kids, aka Philip Lauer and Gerd Janson (who is also resident DJ at Robert Johnson in Frankfurt I may add, the links just keep on coming).

31st NYE GERD JANSON, JACKMASTER, HARRI & DOMENIC

Gerd Janson has a plethora of remixes and edits under his belt, a firm favourite of mine being his edit of Arman Van Helden’s take on Tonja Dantzler’s ‘In and out of my life’. I remember Sonny Fodera playing this at a Defected night in Ibiza a few years back. Signed to Defected Records, Sonny Fodera worked with Cajmere on ‘You’re the one‘ back in 2013. Most recognisable for his tracks ‘Percolator‘ and ‘Flash‘ which he worked on with Green Velvet, Cajmere is a nothing short of a legend. Along the years, Cajmere has worked extensively with Gene Farris including this edit of the Fatback Band’s “Do the bus stop” called ‘Mars Bar‘. Local wonder boy, Denis Sulta, also dropped an edit of ‘Do the bus stop’ entitled ‘Gum‘ on his Zopiclone EP which was released by Mister Saturday Night under his alias Atlus. After much anticipation, one of his most popular tunes ‘It’s Only Real‘ finally got a releases on Numbers, the record label owned by other Glasgow wonder boy, Jackmaster. Jack recently threw a Numbers Mastermix party for WHP which included Denis Sulta and Gerd Janson amongst other big guns such as Marcel Dettmann, Bicep & Ricardo Villalobos. What better way to bring in 2017 than catching the blossoming partnership of Jackmaster and Gerd Janson down at Sub Club.

Sub Club Family Series: Telford

Ross Telford is General Manager, Resident DJ and label A&R. Most people are familiar with his discerning ears, wry smile and trademark haircut but little beyond. One of the pillars of Sub Club, Telford started as a glass collector: a story to restore your faith in ‘The American Dream’. We had the chance to speak to the humble man in spite of his insistence he didn’t think anyone would care. He was completely wrong. Telford offers an uncompromising and insightful view into club culture, DJing, music, running a label, Glasgow’s scene and tonnes more. Enjoy.

In your RA bio it says that you had an interest in house music from a very young age. Did you see Sub Club as somewhere you wanted to work back then?

No, definitely not. In fact, I probably wasn’t even aware of it for the first few years I was into music. Basically I’m old enough to still remember this scene pre-internet (or before the internet became such an important part of it). Therefore, not everything was spoon fed to you, you had to ‘discover’ things for yourself. This was true in music and also the same with going out to clubs. Since I was only around 13 or 14, it was harder to find out about places to go out, since I wasn’t actually going out. I’d heard about it from a few friends a few years later but it wasn’t until I was old enough to go out that I went there for the first time. Probably what attracted me most to the place was the aura or mystique which surrounded it. No one really my age (or certainly anyone I knew) knew about it.

A lot of your adult life has revolved around Sub Club, how do you feel this has benefited you and your career?

Basically I get the chance to hear absolutely everyone who is around in the scene right now. I know what everyone else plays and this is part of my filter when searching for music to play at the club. I’m also pretty much strictly a warm up DJ. Therefore over time I think a style has developed for me that is considerably different from everyone else, especially in Glasgow. At least to my ears. I’m still surprised by the number of people who play here who don’t know how to use some of the basic tools that are available to them as a DJ, especially when playing early on. For example, volume and tempo. Keeping the volume low at the start and gradually turning it up at certain points in the music which is playing over the course of the first 90 minutes, not only highlights the parts of the tunes you want, but can also increase the intensity of them too. The same logic applies with tempo.  Starting off slower you can gradually increase the tempo with the type of music you play, which not only allows you to play different styles but can also help you take it in different directions later in the night, depending on the different aspects which can dictate how a night goes (crowd, capacity, guest etc.). You can fill a dance floor just by using these two basic tools at your disposal.

How did you become a Subculture resident?
I was working one night and as he was leaving out the back door, I gave Domenic a mix CD. One of the few times I’d ever done that and if you know Domenic, a pretty ballsy move. He listened to it in the car on the way home that night. He was living abroad at the time and they needed someone to fill in for him around once a month, or when Harri was also away. I got a call the following week to do a few warm-ups. Basically it was a gradual process and I started playing more often.

One of my most memorable and favourite nights I ever had at the club was when you played before and after KiNK. What night stands out for you?

This one also stands out for me because the energy in the club that night was unbelievable. There where 100 people on the dance floor 10 minutes after we opened the doors and I was playing at 100bpm. And KiNK’s live set is amazing. That was a special night. But also, some of the first times I played there: Playing with Larry Heard and him singing over “Can You Feel It?”, unannounced with Theo Parrish taking the music down to 110bpm at 2am and building it back up again. Warming up for Dixon and playing only ambient music to a packed dance floor. There’s been so many, I’m pretty spoiled.

How would you describe your taste in music?

I play House music, in all of its forms. I like all types of music though and I don’t think anyone can describe their taste in words. At least not with any accuracy.

What’s your ‘crate-digging’ process? Do tracks usually come from promo lists/friend’s recommendations/blogs/Soundcloud/Youtube algorithms?

It’s a constant process, every day searching online for new music. It can be a long and arduous process but this is the only way. I remember 5 years ago Kristian from Ame telling me he checked every track on every single promo he gets sent, as its the only way to really find the tracks no one else does. I’m not sure if you understand how much music that is to check – but it’s A LOT of music! He’s right though and I also do my best to go through this process. Listening to different types of music too also helps a lot. And then there’s sharing music with Domenic. The only person I have almost the exact same taste in music, to the point where I can send him 20 tracks and I know he’ll play 19 of them. Having a good set of monitors or headphones also helps a lot – they can help you reference what the music will sound like in the club.

Do you feel there is a change in clubbing in Glasgow from when you first started DJing at the club? And do you feel your attitude towards it has changed as well?

My attitude has stayed the same: its always been about music for me. I think 99% of people get into this through the party aspect of it, but for me it has and always will be about music. The scene here is really healthy in terms of the amount of nights on and stuff happening. However I’m also frustrated with it. Its mainly one off events and nights constantly booking guest DJs. Where are the nights who do a weekly or monthly residency and just have residents playing? Where are the nights which even have resident DJs? Everything is very event lead and everyone buys advance tickets now so the spontaneity is almost completely gone. For me, these two things are what lead to some of the best nights and helped to build small communities in these spaces and club nights in the past. From the Sub Club to Club 69 and everywhere in-between. In a time when venues are being shut down and the fundamental ideas of going out and listening to music are being challenged, its never been more important to get back to basics and remember why we do this in the first place.

You are heavily involved in the Sub Club record label, Nautilus Rising. How did the record label come about? And how did you become involved?

Its something we spoke about for a few years and last year we finally decided it was the best time to do it. We got some tracks together for a few releases which we loved and thought they needed to see the light of day. Some of them have done pretty well, but its still early days for us. Its harder to do than I thought it would be. They asked me to come on board in an A&R type role, which is choosing the music that’s released. I also have an input into the look and feel and general running of it, which has been something of a dream of mine since first going down this path.  So when someone shows you a video of Dixon playing air-synth to an up and coming release in a warehouse in Milan, its a pretty strange feeling. Maybe we’re doing something right.

How do you split your time between club management, label and DJing business? Which bit is best?

I’m constantly working, much to the dismay of my girlfriend. But ultimately I love every aspect of it, otherwise I wouldn’t do it. I don’t think I’d be very happy only DJing on the weekends, so they feed into one another. Which is the best bit? Well, that comes down to filling out expenses spreadsheets, going through countless demos or playing music to 400 people in the best club in the world? I’ll leave that to you to decide.

What interests outside of house music do you have and do you feel they influence your work?

My girlfriend is a designer, so she’s introduced me to the art world. She’s really talented and has a great eye for every aspect of design, so everything from Gio Ponti furniture to a Dieter Rams clock to the whole Bauhaus movement. I’m not really sure how it relates to club music but of course, you can find inspiration everywhere if you look hard enough.

Any mixes/labels/tracks you can’t get enough of at the moment?

I just discovered an album last night by a French guy Jonathan Fitoussi called “Imaginary Lines” on the American label Further, which is totally amazing. His previous album with Clemens Hourriere came out on Versatile last year and his new album is in the same vein. I’ll be playing a few of these in my up coming warm-up sets.

Photography and questions by Jenny Johan Reid

Introduction by Richard Phillips-Kerr

6 Degrees of Kevin Dorward – November at Subculture

5th DJ SPRINKLES + HARRI & DOMENIC

“Opening Subculture for November is Terre Thaemlitz (aka DJ Sprinkles). A unique artist, sometimes making arguments and often her opinion felt in her music. She first released her album “Tranquilizer” on Instinct Ambient (a sub-genre of instinct records) back in 1994. The same Instinct Records that were the first to sign Moby with his single Mobility and the B-side “Go” in 1990. Moby’s track “Go”, a mix of samples from Laura’s Theme (Twin Peaks) and a Northampton gothic-rock band called “Tones on Tail” has been remixed by numerous people including Jam & Spoon (RIP Mark Spoon), Bart Skills, Rex The Dog, Trentemoller & Loco Dice. Loco Dice, weirdly, hooked up with grime artist Giggs for their track “Get Comfy”. It was made MILES better though by Robert Hood when he put his stamp on a remix. Robert Hood (aka Floorplan….NEVERRRRRRR AH AH AH) released his 3 volume EP PARADYGM SHIFT on Dekmantel Records this summer, pulsating techno to make you bleed, now that’s my type of music! Dekmantel records is run by Thomas Martojo and Casper Tielrooij. They run the label, Dekmantel festival in Amsterdam and perform as Dekmantel Soundsystem.

12th DEKMANTEL ALL NIGHT LONG

Dekmantel Records released tracks by Tom Trago for their clothing and music collaboration done with Patta. Buy a piece of clothing, get a free vinyl. Excellent deal. Tom Trago remixed New Order’s “Tutti Frutti” giving it that very disco, funk Todd Terje kind of feel. Also on the remix treatment for New Order was Agoria with their track “Restless”.

Agoria collaborated with DJ Tennis on Bapteme (Lucky Blue Eyes Version), DJ Tennis’ “Divisions” was remixed by Roman Flügel and Roman Flügel remixed Jennifer Cardini “Stay”.

19th JENNIFER CARDINI + TELFORD

Cardini mixed Module Records “Rexperience #2” back in 2011 and features tunes by Rebolledo, John Roberts (if you haven’t listened to his album “Glass Eights” then DO IT NOW!!!!) and Matthew Dear (aka Audion who played here for the RA in residence series). Who, along with Hudson Mohawke had a HUGE influence in the production of Tiga’s 3rd EP “No Fantasy Required” with both featuring on “3 Rules” and “Planet E” respectively. Tiga’s 2009 belter “Shoes“, co-produced with Soulwax, was given the remix treatment by Mr. Oizo (remember that wee yellow puppet from the Levis advert, aye well the mastermind that put him in the “Flat Beat” video.) He’s just released a new album called “All Wet”, track highlights for me include “No Tony” and “Ruhe ft. Boys Noize”. Mr. Oizo back in 2007 wrote and directed the film “Steak“. It’s a pretty weird French film about a guy who gets out of a psychiatric hospital and wants to join a gang that goes about playing violent games, drive trucks and drink milk….. I know, weird right! Anyway, he also produced the soundtrack to the film along with Sebastien Tellier.
 Sebastian Tellier’s album Sexuality, produced by Daft Punk’s Guy-Manuel de Homem-Christo features a track entitled “L’amour et la Violence” which was remixed by the super talented Floating Points (I mean super talented, he wrote “Nuits Sonores” on a plane journey to the festival of the same name, c’mon).

Back when RA had their in residence series at Sub Club, resident DJ Telford was asked to do a mix for the series along with Harri & Domenic, Slam, Beta & Kappa & JD Twitch of Optimo. The talented selector chose to open that mix with a Floating Points remix of “The Invisible – Life’s Dancers”. Out with his RA mix, Telford is a regular on this Sublog, picking out tunes he’s currently into and would potentially play in different situations. The last issue “Telford’s Spring Steppers” back in March this year featured tunes from Dorisburg, the new Nautilus Rising piece from Lazaros, the forthcoming Nautilus Rising piece from “V” and a Red Axes remix of Michele Minimi – Hyper Martino. If you didn’t catch Red Axes when they played here a few weeks back with Job Jobse, you missed a blinder. Red Axes are without a doubt, remix kings. Hailing from Tel Aviv they have remixed Tiga, Moscoman, Autarkic, Marc Houle, Margot, Damien Lazarus and most recently a tune entitled “Frankfurt Advice” by Andrew Weatherall, released a little over a week ago.”

26th ANDREW WEATHERALL + HARRI & DOMENIC

By Kevin Dorward

Sub Club Family Series: Sean Watson

Continuing our series of features on the unsung heroes of Sub Club, we present: Sean Watson (or Shambles to those who know him when he’s in party mode). Sean has been an integral part of the Subbie family for 6 years as technical manager of the club. He ensures the best possible experience for the club residents and our long list of visiting DJs. With his extensive knowledge of decks, sound and soldering we leave the Sub Club sound system in his very trustworthy hands every night.

Jenny Johan Reid sat down and talked about where it all began for him and some stand out moments from working at the club; as well as some tips for any aspiring technicians, the secret to the Sub Club’s world famous sound and what was uncovered behind the roof during the refurb.

What was it that made you want to follow a career in sound engineering?

I have always been into the technical background of music. I played instruments when I was younger and stuff. And when I started going to gigs and clubs I was always interested in what happened behind the scenes. When I started going to college and going to clubs I realised that this is what i wanted to do. Basically I wanted to start out by working in a studio but the more I got into college the less I wanted to do that.

You studied sound engineering – what was the most beneficial thing you learnt?

Acoustics. You know the physical nature of sound.

Expand on that for those of us who don’t know what you’re on about.

Acoustics is like how sound exists within a space. Psychoacoustics is more how your brain interprets it. So very, very scientific. It was my most feared subject but I found it the most interesting. It kind of cleared everything right up.

Is that why you think you wanted to work in clubs? Because it’s about the space and the feeling?

Well yeah the lecturer that taught that class on the very first day of acoustics said “you guys are a dance orientated class and I know you all go to clubs and stuff but if you don’t go to see Stuart and Orde on a Friday or Harri and Dom on a Saturday you’re doing it wrong.” I was like: ‘I’m gonna like this guy!’

Ha! that’s actually class! Ok, how long have you worked at the club for?

6 years going on 7.

Was there a sense of excitement when you started at the club? Did you realise what you were getting yourself in for?

Eh yeah it was mental aye! When i first started there were lots of problems happening. I had to go in basically at the deep end. It was also during the last 6 or 7 Optimo’s as well so I had a crazy two months. And after Optimo I was like “yup, this is the one for me”.

Within those 6/7 years, what was your biggest stand out moment? Big question.

That’s a hard one. Probably the first Boiler Room we did. That was good fun. That was a stand out moment.

Was that the one with Harri, Dom and Optimo?

Yeah it was a massive gruel of a shift and when it got on it’s feet and started broadcasting it was a total sense of achievement. I was in there for 36 hours before hand fucking trying to get a 2.5 Mbps upload rate in the club. Fucking cabling all the way round to the back bar trying to work out the best way and when we finally got it it was like “yas that’s it”!

Who has been the best live act and why?

Maybe have to say Kink and Neville Watson. Just really fun to watch.

Did they play together or on separate occasions?

Na together. My favourite part is the setting up for them.

What have you learnt from working with DJs?

Just learning how to deal with problems. professionally, calmly and not freak out the DJ at all. Come across as really confident.

That’s something I’ve learnt within the technical world is looking as if you know what you’re talking about.

Basically if you’re flapping and the DJ starts flapping. And when I’ve worked with DJs in the past, the minute they come in “oh i know this guy”! It’s about knowing what you’re doing and knowing how to look like you know what you’re doing.

Biggest technical disaster at the club?

It was a quiet night and there was a link problem, and there was a problem between our sound processors and it was just constantly cracking through. These really loud cracks and bangs, and then at one point (whilst) trying to fix it the sound was off for maybe like 15 minutes. The promoters made the choice to close the club just as I’d fixed the problem. I was like “no no we have to stay open! Open it back up again!” Yeah that was a long 20 mins.

So what’s your process in terms of fixing technical disasters?

Start at the booth and work your way back. 99% of the problems are in the booth. Check that, make sure it’s all going fine. Then work your way back and that’s how you find the problem. Like that technical disaster that I thought originally was a power issue but it turned out to be a faulty cable in the line. It was a matter of just finding that, clearing it, reprogramming the sound system so it just took that link out of the equation.

You played an integral part in the Sub Club refurb – you were literally there day and night – are you happy with the outcome?

Yes. I can finally say yes. It was a brutal, brutal, brutal month.

I remember coming into the club at reopening weekend and being “SHAMBLES YOU DID IT”

The last bit of work was the LED lighting. It’s like strip lights but you’ve got to solder the wee things and it’s a fucking ball ache. My soldering game is strong now.

We heard there were a few interesting things in the ceiling – what was up there?

First off 60 kilos of unused cable. I just kept pulling it out and the sparky was like “should you be pulling it out?” I was like “mate, you see this connected? Naw. It’s coming down”.

Also found this lighting box easily late 80s on the side of it it had like ‘LED TECHNOLOGY’ with lighting bolts coming off the side. And I was just cutting cables and this thing just went like BOOOF on the floor followed by another box. and it was just basically cable tied in place

Held on by a thread? fuck.

Yeah basically. It wasn’t until we took the ceiling panels down and it came crashing down. I was like “fucking hell there’s some weight to this”.

How does the club continue to be the best sounding club in Glasgow?

It’s the room. The layout is near perfect. Only thing would just be it could be a bit bigger. But it’s because the way it’s laid out and the way it’s shaped.

What are some of the key features that make it the best?

The layout. Because the DJ and the crowd hear the same thing. So you’re not separate from the crowd and likewise you’re not separated from the DJ. It’s really fucking intimate.

Your work schedule at the club will make you extremely nocturnal. What’s it like to never to see the sun?

Summer is the worst thing in the fucking world. Winter is by far the best. See leaving work and it’s still dark at 4/5am it’s the best thing. See when you go home and it’s sunny. Your body is tired but your brains like “come on get up!” and then you’ve got to try and sleep.

People talk a lot about the infectious energy of the club – which is a lot to do with it’s staff – how do you feel you contribute to this?

I’m just part of a cog in the general madness of the machine.

OK, one last thing – what do you want to tell the world?

Oh fuck. No more tunes.

6 Degrees of Kevin Dorward – October at Sub Club

“For over 20 years, James Harrigan and Domenic Cappello (Harri & Dom) have taken to a small DJ booth in the basement of Sub Club. Both massively influential DJ’s, producers, and label owners in their own right.

After forging a friendship with 20:20 label head Ralph Lawson back in 92, Domenic and Ralph released 2 EPs on his label alongside Carl A Finlow in 95 & 96 titled Sheltered and Shielded respectively. Since then, 20:20 vision have gone on to have loads of releases from artists like Fatboy Slim, Stephan Bodzin, Paul Woolford, Mark Broom and Motor City Drum Ensemble to name a few.

Motor City Drum Ensemble (MCDE) AKA Danilo Plessow who recently played Fly Club Open Air Festival down the road in Edinburgh, is no stranger to Sub Club, having played back in 09 and 2015. An ensemble of just 1 man packs a real punch, with a very eclectic taste in music and technical knowhow shining through. More recently, Danilo teamed up with Marcus Worgull to create their collaborative project Vermont, released on Kompakt back in 2014. Worgull, an Innervisions big-gun back in 08 remixed “Woolfy vs. Projections ‎– Absynth” which was released on Permanent Vacation. A club favourite doing the rounds just now is a Permanent Vacation release by Tuff City Kids (aka Gerd Janson and Phillip Lauer) entitled “Labyrinth”. TCK always capture the spirit of whatever influences their music and this is apparent in their track “Trouwrig” taken from the Trouw Tribute LP, which released back in 2014 is dedicated to the music the late nightclub used to play.

The now defunct club (RIP) produced a resident DJ, Job Jobse who also featured on the Trouw Tribute LP along with David Hasert and Barnt with their Cologne Megamix. Barnt who played at our RA residence party last week has a multitude of face melting tunes and remixes, including his remix of C.P.I – Proceso which was released on John Talabot’s Hivern Discs.
Red axes released their 3 track EP “Pil Sagol” on the same label back in 2015 which features a stand out track from that year, “Todum Todum” which funnily enough, reminds me of a very Barnt-esque production. Red axes featured on Matt Walsh’s Clouded Vision Experiment CD, as did Daniel Avery & The Deadstock 33’s. Daniel Avery & The Deadstock 33’s song “Magnetic” was released on Optimo’s label, Barnt also remixed “Magnetic” (we always seem to be coming back to Barnt, the guys everywhere).
Jasper James “Sneaky” EP was also released on Optimo, featuring a remix by Hillhead Young Team, which is Esa Williams (Auntie Flo) and James (Harri) Harrigan, who also happens to be Jaspers dad. Jasper’s other release “ZTRK1” released on Leftroom features a remix by JD Twitch of Optimo who released his first EP. Optimo (Keith & Jonnie) along with Harri & Dom are resident DJ’s at Sub Club.

Back in 2007 both Harri, Dom & Optimo released a 2 part CD entitled Sub Club: 20 Years Underground to celebrate the club’s 20th birthday. This was released on Slam’s Soma Records. Also featured on that label under his alias “Hutton Drive”, Domenic Cappello released his “Escapades From The Edge Of The World” EP Back in 1997. Along with Harri & Dom, Ross Telford (or just Telford) is a resident DJ at Sub Club and A&R for Sub Club’s record label Nautilus Rising. With 2 releases under their belt Nautilus have had massive support, most notably from Dixon who had been playing Lord of the Isles – XIT for about a year before it was released and Dixon & Ame featured their 2nd release “Lazaros – Ge” in their Essential Mix for BBC Radio 1. Ame & Dixon collaborated with Henrik Schwarz on “Where We At (Version 3)”, Henrick Schwarz remixed Stevie Wonder “’Feeling You”, Stevie Wonder co-wrote Janet Jackson “New Agenda”, Todd Terry remixed Janet Jackson’s “If” and Todd Terry featured on Denis Sulta’s Fact Mix with “Keep On Jumpin” (JEEEZ THAT WAS A LONG ONE).

Denis Sulta released “Its only real” on Numbers, Jackmaster’s record label which also released “Sparky – Signals / Tigress” & “Sparky – Portland”, and this one is kinda cheating but Jackmaster lives with Jasper James who is Harri’s son and going right back to the start, for over 20 years, Harri & Dom have been residents right here in Sub Club.”

by Kevin Dorward

Late Nite Tuff Guy talks Prince

On Thursday night the Vicious Creatures are celebrating 3 years of parties with a night of edits, remixes and classics from disco vigilante Late Nite Tuff Guy. The scandalous alter-ego of genuine techno legend HMC (known to his momma as Cam Bianchetti), Late Nite Tuff Guy (LNTG) puts the acrimony in acronym, the oh in disco, the amp in camp and the dang in dangerous.

One glance at LNTG’s social media stream shows his love and admiration for the late great Prince. Before his show we spoke to Cam about the influence Prince has had on his career……..

What’s your first memories of Prince as an artist and how did hearing his music make you feel?

……….The year was 1981, I was 17 years old and was out at a club (can’t remember the name) on a Wednesday night. I’m out on the dance floor when suddenly this amazing tune comes on, I was hooked from the very first beat. The following Friday night I went to my favourite record store in the city to see if I could find it, and after talking to the guy behind the counter we worked out that the track was Controversy.
I bought the LP right then and there.

https://www.youtube.com/watch?v=7Std4cKdrbo

What period in Prince’s career stands out for you?

……….Obviously I like everything he’s done but if I had to pick I would choose the period from 1985 to 1988. The 2 Prince & The Revolution LPs, and 2 Prince LPs that were released in that time are absolute masterpieces, especially ‘Sign O The Times’ (the best album ever).
He also created 2 of my favourite albums, the Jill Jones LP (’87) and The Family LP (’85), which includes the original and best version of ‘Nothing Compares 2 U’ (even better than the version Prince and Rosie Gaines released in ’93.
Though many great tracks came out in the years following, I think Prince was at his creative peak from ’85-’88.

How has Prince influenced your career?

……….I think more than anything Prince taught me not to conform. To do exactly what your heart tells you to do. To be me.

Prince’s passing caused shock waves across the global music community but it seems there was a particular sense of loss from those involved in the dance scene. Is this something you noticed, and if so why do you think this was the case?

……….People who know music, who write music, who play it, really understand that he was a gifted singer/songwriter/producer, and even though some of us in the dance community really feel his loss I think it was felt much greater by his peers. Without Prince I don’t think we’d have artists like D’Angelo, Alicia Keys or Andre 3000.

Your ‘Do I Believe in God’ Prince Edit is an absolute classic, a tune that’s played by almost genre of DJ. How did this edit come about and would you ever do another Prince rework?

……….This is the power of a Prince song. The fact that it is played by DJs across almost every genre says a lot about Him.
I chose to re-edit Controversy because I love it and I had plans to do it a long time before it got released, I just needed to find the right groove (sometime it takes a while). When I looped the part that you hear in the intro I knew I was onto something special, I knew it would drive dance floors crazy! It’s really such a simple thing, once again proving that less is more when it comes to creating. I’ve done 3 other Prince tracks but I keep them for myself.

Finally, and probably the most difficult question of all, can you give us your top 5 Prince songs of all time?

……….Oh wow!! You really do ask the hard questions.
This isn’t gonna be easy but I will give it a go.
1: How Come U Don’t Call Me Anymore?
2: God (Vocal Version)
3: Ballad Of Dorothy Parker
4: Joy In Repetition
5: Anna Stesia

Illyus & Barrientos i AM 6th Birthday chart