BAUMEL TALKS MANIMAL WITH DONT DROP

Kompakt is a label we have always loved & respected, and we are sure we’re not the only ones who follow their artists and releases.  July’s guest is one of our standout favourites from the Cologne based imprint. This coming Thursday Trouw resident Patrice Bäumel comes to Dont Drop for his Glasgow debut. Having been a stalwart on the label for several years now he’s one artist that we fell in love with straight away. His sets are excitingly abundant of emotion, surprises and feel good factors, safe to say he will take us on a musical journey, a style in which defines us.

Undoubtedly the Subbie’s body-sonic dancefloor has hosted many a memorable debut and this one we are sure will stand in high regard among them.

We also want to take this opportunity to thank everyone who made it along to our third birthday in May. Your energy on the night was amazing and everyone including D’julz left with a huge smile on his face. We hope to see more of the same happy faces again this time around.

We were lucky enough to have a chance to speak to Patrice ahead of the show, for that we thank him for opening up his mind and heart to us.

1. Hi Patrice, we hope you’re well and having a great 2016 so far, thanks for taking the time to answer these questions, we appreciate that. First off, we’d like to dig a bit deeper about what originally inspired you to produce music, when did you know this was what you wanted to do? And where do you find your inspiration from now?

I had been DJn for many years before making the jump into production, I simply did not believe I was cut out for it. What really changed my outlook was participating in the Red Bull Music Academy in Sao Paulo in 2002. I got my first one-on-one production lesson and was immediately hooked. Today I feel like I am having more fun in the studio than ever before. I draw inspiration from multiple sources, basically anything that switches me on and makes me feel alive. Good art, great parties, psychedelic experiences, being in nature, physical activity and good sleep – there lies creative energy hidden in all of these things.

2. What’s been the biggest turning points in your musical journey so far?

Realising that it’s not about me but about serving the people in front of me, about connecting with them and sharing the love. Although I am still a long way from overcoming my ego, just making the step into the right direction is giving me so much positive vibes and sense of purpose.

3. What’s your top 3 tracks to play out right now and why?

Moby – Lie down in Darkness (Chris Liebing Remix)

I dug this one out from the depths of Beatport, it’s an older production. Good techno is unstoppable almost anywhere I play right now and this belter adds that extra dimension of cinematic beauty.

Kiano & His Legion – Electric (Fatima Yamaha Remix)

This floater is just so beautiful, it makes my heart ache. A gentle endorphin rush and devastatingly effective when dropped at the right moment. I know I will love this record forever.

Betoko – Solarium

A feel good bomb that slays every dancefloor. Clubs, festivals, it does not matter. Gets people grinning from ear to ear.

4. What’s your views on the state of current clubbing? Do you think it’s heading in a good or bad direction?

Clubbing is always in flux, it is impossible to make an all-encompassing statement. I don’t like what happens on the big festival circuit, where the same tired line-ups are regurgitated to the masses over and over, out of fear of not selling enough tickets for the often oversized venues. Art is being drowned in a sea of ultra-commercialism with omnipresent sponsorship logos and visitors being fleeced to the max. What amazes me the most is how little movement there is on the dancefloor of many of these festivals. Hello, we’re here to dance, aren’t we?

On the other side there is a growing movement of initiatives that totally rejects this attitude. Smaller scale festivals like Desert Hearts in the States or Noisily in the UK actively involve everybody and blur the lines between spectator and artists to the point that everybody is an artist and feels encouraged to express themselves creatively. That stuff really excites me. It is the Burning Man DNA slowly manifesting itself around the world. I think this, unlike politics, could be the source of real positive change in our society. It’s about celebrating what unites us all, not fighting over what divides us. This movement will only grow in strength as this is what people really need.

5. What’s the most magical memory you have whilst playing to a crowd?

Too many to pick one out. Every time the energy and connection with the crowd is so strong that I feel more like a medium than a DJ is special. I am talking about those gigs where the records seem to magically pick themselves and the understanding with everybody in the room is telepathic.

IMAGE: FACEBOOK

6. Do you have any funny moments that have happened while playing?

I am sure I have but that stuff does not stay in my memory for long, I am always focussed on what’s ahead and don’t linger too much in the past.

7. What production of yours defines who you are the most?

Like every human being I also contain multitudes, and who I am oscillates between different extremes. I like the really brutal, abstract side in me just as much as the loving, soothing side. Two tracks that encompass this duality perfectly are “Mike Tyson” and “This World”.

8. What’s is it really like being a part of the Kompakt family?

I love being around grown-ups who operate far away from the daily hype of the house scene. There is an air of trust between all of us and I feel super supported in my artistic choices. Michael Mayer and Jon Berry are very knowledgeable A&R’s and bring out the best in me creatively.

9. Describe to us a typical day in your life now?

Sleep until 8am, then get cracking in the studio straight away and work until 2pm. That’s when my creative energy is usually spent and I go walk the dog. Afterwards I do my non-creative paperwork and email stuff. Dinner around 6pm, then family time with my wife. On a good day I’ll also hit the gym around 10pm for an hour. I refuse to work under stress and really aim to keep a leisurely pace throughout the day – that’s when I do my best work. Weekends are a bit more hectic, which usually turns Monday into my Sunday.

IMAGE: FACEBOOK

10. What do you predict for the next 10 years in electronic music?

It all depends on technological advances, mainly in the field of interfacing between man and machine. The process of making music right now is still really mechanical. Once we can make music using mind control or at least oculus rift type 3d control, music will explode creatively and we will move away from the constant referencing the past like we are doing now towards a far more abstract and less unified approach of making music. Electronic music will once again ride on the edge of what’s possible. I also think that the unstoppable rise of psychedelics will impact music heavily and help us push beyond the restraints of our human brain. Exciting times ahead! 

11. Finally, for our random question of the day, if you could create a sport what would it be? What would you call it?

It would be a sport that encourages us to use our physical capabilities in such a way that it whips us into shape on all fronts – stamina, mobility, strength, coordination. Something that places us in a super-stimulating virtual reality game with our real bodies as controllers. We would be discovering worlds far beyond our imagination and not compete against each other but team up with each other. The whole experience would have to be so compelling that it never feels like hardship but like a treat. The end result would be super healthy human beings with balanced bodies and souls, which again would end all negativity coming from the human race, simply because we would feel happy the way we are. I would call it “Manimal”.

Thank you Patrice, it has been an absolute pleasure and we are looking forward to having you.

Advance tickets for Thursday at Sub Club are on sale HERE, then more on the door from 11pm.

Facebook: www.facebook.com/DontDropUK

Twitter: @DontDropUK

Instagram: @DontDropUK

Marquis Hawkes makes his mark on Social Housing, Juice Gardens and Kitchen Listening

With output on D.A.B.J., Clone and Aus, including his collaborative Hawkes and Blake project we’re bringing back Marquis to let his music do the talking once again at Subculture on Saturday. With his new LP on Houndstooth which recently dropped on June 10th, we fully expect this to go down right.

Ahead of the main event we caught up with the mysterious and mindful musical maestro for a rare interview!  Over the next 2334 words we covered, social housing, communist era apartments, the “dying” art of albums, rhythm sticks, juice gardens, festival bangers and Frank Zappa in the kitchen…

First up, nice work on the album!  Was releasing this debut album a statement of intent or has it always been part of the long term plan?

Thank you! I’d never really originally intended to write an album, as with my work as Marquis Hawkes, I’d always felt that it was more of a twelve inch thing, just cuts for the dancefloor. But when Houndstooth first approached me in regard to releasing for them, they asked me if I’d ever considered working on an album. I had always wanted to do something like that since I first started making music many years ago, but never really had an opportunity like that on offer before.

We were delighted when this landed in our inbox, as a full album from a producer in our world is very rare these days. Do you think that the decrease in album production might be down to people not listening or staying focused for long periods of time? 

I think more than anything, that the whole concept of a “Dance Music Album” is very difficult to pull off, in the sense of making it more than just two or three pieces of vinyl which are just like some EPs gathered together. I worked very hard on trying to make music which is a bit deeper than what I would usually make for an EP, and to put them together in such a way, that it has some kind of audio narrative behind it.

I guess also though, in this day and age, it’s hard to push an album as a whole when many people prefer to just cherry pick individual tracks, and make up their own playlists. I have to say though, I’ve been pleasantly surprised at some of the feedback I’ve received, which has clearly shown that there are still people out there who enjoy listening to an album as a whole, so I don’t think the album format is completely dead in the water just yet! 

The title “Social Housing,” How did this come about? 

I just looked out of my kitchen window at the identical blocks to mine over the way and it came to me, and just felt right. I quite like the double meaning also, cause you could read it also like “housin’” in a social way, you know, getting down on the dance floor with your mates in a social way. 

Affordable housing seems to be a lot more realistic in Berlin than the UK right now. How do you find the housing and social situation in Berlin compared to “Great” Britain at present? 

Well, it’s certainly more affordable in many respects, but that’s not to say it’s not also under threat. We’re suffering in Berlin right now with the vulture investors moving in, and the rent cap hasn’t worked as well as it could have done. I’d say the stage we’re at here is 10 or 15 years behind how it’s ended up in the UK. That said, the fact that there’s still a lot of housing under housing association control, that is never going to be sold off should hopefully prevent it ever getting that bad, there’s still loads of communist era apartment blocks, like where I live personally which are very affordable, and the housing associations are active in building more housing capacity, the question is though, whether it’s going to be rented out at reasonable prices, as it tends to end up that if it’s in one of the more trendy areas, it starts getting a bit too close to market rates for comfort, and that just doesn’t work when there is a stagnation in wage rises as there has been here over the years. But yeah, we’re a long way off people living in garages or warehouses like people do in London these days as they have no other option. The rental market is VERY regulated here also, and for me, this is a very good and necessary thing.

IMAGE: POLARINERTIA

Tell us about your journey into music? Who are your main musical influences from the early days? What was the first album you ever bought? 

I guess the first music I remember goes back to when I was 3 years old, hearing Ian Drury and the Blockheads “Hit Me With Your Rhythm Stick”, Donna Summer “I Feel Love” and Stevie Wonder’s songs like “Isn’t She Lovely” and “Sir Duke,” but I think I buried that deep into my subconscious for many years.

My dad was quite into things like Captain Beefheart and Frank Zappa, and also thinking back to those formative years he was listening to the Berlin Trilogy of Bowie albums also, he still has all of those records along with a few Greensleeves reggae 7”s and albums also, so yeah, Reggae was in my musical universe growing up also, I guess that’s where the love for bass probably comes from.

Myself, the first album I ever actually bought was a Gary Numan live album, recorded at what was then the Hammersmith Odeon (Now the Apollo), the last date on his Bezerker tour, but to be honest, when I think back, there is just too much to list here, as I’ve been listening to music my whole life, and have been through many many different phases. The key thing I find as you get older though, is you lose the tribalism rooted in a lot of music styles, as in, being hardcore into one thing at a time, and you lose that embarrassment of perhaps your mates catching you listening to what you might think is the “wrong” thing! As I get older I just like what I like and care less and less about what other people think, which is a good and healthy thing I think.

Talk us through the production of the record. Was it a working progress or a solid 3 months in the studio style? 

It was two years of basically sitting on everything I was writing, not giving anything to anyone other than Houndstooth, which is why I didn’t put so much stuff out over the past  year. I had other things which were already finished which came out through 2014, and 2015 to a lesser extent, but yeah, I was pretty much on lockdown in regard to doing any other records for anyone else during that time.

I tend to write everywhere, as I’m always carrying a laptop with me, and tracks grow out of musical sketches. With the tracks I wrote with Timothy Blake, he sent me over the keyboard parts separately, but then we’d finish them off in my studio together, and more generally, that’s how I work. I get the rough ideas down, and then spend time in the studio to get them sounding right, so the studio is much more of a post production place than programming to be honest. That said, I did write a few things here and there in the studio also, I have no hard and fast rules really, just whatever is most comfortable, but I couldn’t imagine only writing in the studio, I wouldn’t get anywhere near as much stuff done as I can when I write on the road or at home in the kitchen.

Do you find that you consciously create new arrangements and sounds or does this come naturally once you’re in the zone? 

I think the conscious influence can often come subconsciously, and also you can often start out on something totally copying something else but then it just goes off in a direction of it’s own as you strip away the things you don’t like and keep the things you do. I’m a firm believer that everything is inevitably a “remix” of something else, whether you do that consciously or subconsciously, but I think even if you try to out and out copy something it still comes off sounding like you.

A lot of your music samples some strong and funky vocal bits. Who are your top three female vocalists? 

Oh, I don’t think it would be fair of me to name only 3 to be honest! I like many different vocalists for different reasons, obviously Jocelyn (Brown) is great, Martha Walsh, India, Dajae, Sabrynaah Pope, Yolanda Reynolds, and also a vocalist I found in Scotland who I’m going to be working with a lot more soon!

The track “Something in Yr head” is a personal favourite, this crosses over a whole host of sounds, but the 4×4 UKG vibes are reaching out to me here. Was this “genre” ever relevant to you as a producer? If you could predict a year for another old school revival, when would it be?

I liked the records which influenced UK Garage, rather than UK Garage itself, that was never a scene I really identified with, although hearing Double 99 “RIP Groove” being played all the time on the radio back in the late nineties was kind of entertaining. But that scene was always a bit too “bling” and flashy for my liking, whereas you had underground soundsystem like DiY and Smokescreen playing a lot of the stuff which influenced UK Garage.

I often wonder about some kind of updated New York ‘Freestyle” revival, and tracks I made like “Fat Man” I felt were a bit on that kind of vibe. It’s a side to my sound I’d like to develop further, which I think could be interesting. No idea if it would ever take off though.

We’re honoured to host your album launch at the new look Subbie. Is there any other plans around the album launch? Anything worth a mention for the Subbie’s techno tourists? 

Well the big guns like fabric and Panorama Bar are already done, but I’ll be doing Space, in Ibiza at the end of the month, so kinda cool to play there before it closes. I am however playing in Berlin again in August also, at Prince Charles, so that could be a good one to bear in mind if anyone from Glasgow is looking for a good time to come to Berlin.

IMAGE: PRINCE CHARLES 

Do you see yourself working on more albums in the future?

Houndstooth signed me for three albums, so there will definitely be more, I already have the basic stylistic concept for the second one already planned out.

What are your expectations of returning to Subculture and to Glasgow? Is there anywhere you want to visit? Favourite cafe or pub? Favourite chippy? 

Taps Aff! That’s what I’m expecting! And one of the best crowds in Europe, if not the world. It’s often a little disappointing the weekend after playing to a Glasgow crowd, as you go with the expectation of that level of energy, and when you don’t get it, you’re like “What am I doing wrong?”. I definitely want to try and get a visit in to the Juice Garden on Union St, I quit drinking this year, so if I want a wee refreshment, I like a fresh juice these days.

You’re also playing for us at the Sub Club tent at TITP this weekend, hypothetically speaking, if you were to close the main stage at any big festival what record would you play? [Apart from your own Social Housing ;)] 

Have to say I think my favourite closing track for a festival would have to be Teule “Drink On Me” which was actually one of the very first records released which was produced by Kerri Chandler. But most often, it depends on which tracks came before as to what I’d play to close, as you gotta keep the flow good.

“Jumpin” by Todd Terry is another good one for that kind of situation also.

We are always interested to hear what other music artists are listening to at the moment. Any tracks or producers that stand out for you recently? 

I am absolutely in love with the new Kink record on Clone right now, that’s one of the biggest tracks of this summer, for me personally, also Floorpan “Music/Tell You No Lie”, both sides of that record are just killer.

There’s an Italian producer called Alex Agore, some of his recent tracks I like a lot, and also a new artist from Finland called Ruolamies, who’s an old mate of mine, he’s been doing some absolutely killer stuff, so killer in fact that I passed one of his tracks on to Jackmaster, and he’s now featuring that on his Mixmag cover Cd which is out on the magazine soon.

Can you list us your favourite 3 home listening tunes with a wee sentence of why you picked each one. These don’t have to be house & techno or even dancey, just something you like to listen to post gig, at home.

I generally listen to full albums if I’m listening to stuff at home, but if I had to pick favourite tracks from those albums, then it would have to be firstly a track by J. Dilla from his “Vintage” album called “Doo Doo”. There’s probably 3 other tracks I could pick out as favourites from that album, but this one is a particularly quirky hip hop instrumental, in a style which I really miss in Hip Hop in this day and age.

Second up would be Boards Of Canada “An Eagle In Your Mind”, as it reminds me of a particular time of my life when I was first releasing music, before I was doing the kind of music I do now, and there was a certain vibe in the air, which I really miss, a kind of 1990s hangover or something.

And lastly, but by no means leastly I’d pick Frank Zappa “Who Needs The Peace Corps,” which again reminds me of my formative years at the mercy of my father’s record collection.

This Saturday at Subculture catch Marquis alongside a very special guesT who will be making his Sub Club debut Too. Advance tickets are on sale HERE or from RA, then more on the door from 11pm.

Hi to Hi & Saberhägen

Huntleys and Palmers are heavy excited to welcome talented youngster, Baba Stiltz for his first appearance in Scotland. His outstanding debut album ‘Total’ on Studio Barnhus is one of the best they’ve heard in a long time and he’s been smashing it ever since with subsequent releases on Unknown To The Unknown and Public Possession.

On Thursday he’s joined by upstarts, Hi & Saberhägen who have recently announced that they will follow up their debut H+P release with a new EP on Anthony Naples esteemed Proibito label. They’ve been championed by everyone from Joy O to Roman Flügel, we anticipate more great things to come. Splendid stuff.

H&P caught up with their main players ahead of Thursday…

You recently made your debut appearance on the Boiler Room. How was that experience for you? Are the masks going to be a regular feature?

The Boiler Room experience was pretty chilled, we knew the director and speaking to him before hand took away any kind of reservations we had. Everything was well organised and everyone else on the lineup were friends. 
The masks were just there to take our minds off any dumb concentration faces we might have been pulling. I reckon it helped with switching off from the cameras and locking into our set. It probably won’t be any kind of permanent feature in our performances but personally we think the job of of a DJ should be one of anonymity. 

The two of you have quite an interesting process when making music, can you tell us a bit about that?

Our tracks are usually built through recording long sessions then slicing and sampling within those recordings to create coherent passages. Occasionally a sample from a record will be the basis of layering multiple tracks but once the song is fleshed out the original sample has to be cut out. Finding a starting point when making music can be the hardest thing and we find this is a pretty useful and fast way of working.

You’ve also both recently moved from Glasgow to Edinburgh, what’s all that about?

Moving to Edinburgh was for practical reasons as we play regularly at Sneaky Pete’s and Headset. Glasgow clubbing scene is quite extraordinary but we felt there wasn’t any room for us. There’s a lot of competition and it’s hard to get involved without being out almost every night. Eventually we’d like to get involved with a Glasgow club residency but for the immediate future our best friends are in Edinburgh and being around them makes us happy and creative.

What’s your most used emoji?

What’s happening over the summer?

We got another couple releases coming up for over the summer. We contributed a track to a Permanent Vacation compilation and have our next EP forthcoming on Yumé records which has apparently already been doing the rounds in some great DJ sets.

Protected: Lazaros Rising – Nature & Science Sounds

Fort Romeau’s battle-house record bag spills out on to the Subbie floor…

Harri & Domenic’s Saturday night guest is part of a new generation of producers incorporating the signature tropes of classic Chicago house into a post-millennial reinvention of the genre, creating a wealth of new takes on one of the most influential sounds in the history of electronic music. Few producers, however, have done so quite so deftly as London-based producer Mike Greene, aka Fort Romeau. An epic Subculture debut in the making!

Ahead of the weekend we asked Mike to empty the contents of his record bag on to the Subbie floor…

How important is the role of the resident?

I think a good resident helps shape the ethos and identity of the club, a club can survive on the strength of its residents if they are doing their job, musically speaking at least, perhaps not financially! In terms of providing warm up sets only the very best DJs can do it properly and its almost exclusively a thankless task. 

What are your expectations of Glasgow and your debut at Harri & Domenic’s Subculture? (Longest running house night on the planet)

I’m very excited! I’ve never had a chance to visit Sub Club so really happy to be playing.

We are always interested to hear what other music artists are listening to at the moment. Any tracks or producers that stand out for you recently? 

Theres so much good stuff around these days, too much to take in really. Everything on Hivern Discs, my friend Massimiliano Pagliara, whose tracks I must play more than any other producer, young buck Orson Wells, Jonathan Kusuma, all the Honey SS crew, loads of stuff. 

https://soundcloud.com/orson-wells

What’s your DJ schedule and plans like for Summer 2016?

Busy! lots of festivals and new places. Hopefully lots of cocktails on the beach…

EMPTY YOUR RECORD BAG ON THE SUBBIE FLOOR:

The track you’ll be opening your next DJ set with?

This absolutely killer new one on Hivern Discs…

The track you can always play to rescue a dance floor?

Ohh depends on the dance floor and the particular emergency at hand. But sometimes you just need to get a bit slinky, this does the job…

The track or mix you would listen to on a beach in Australia?

I would listen to this mix of fantastic 80s Japanese electronic music while drinking many Mojitos…

The track that currently gets the best reaction for the crowd?

This, I actually like the A2 better, but i can’t find it online…

The track you’d play at your auntie’s wedding?

This one probably keeps everyone happy…

An all-time track you wish you’d signed to your label?

And not just for the substantial royalty checks…

The track/album which you would listen to on your iPhone in an airport?

One of my favourite LPs by Move D, listen to this all the time when I’m traveling… 

The ideal festival track?

Not a mashup fan but this is always irresistible..

The track you’d play at sunset in Ibiza?

Shameless self promotion..

The track you want played at your funeral?

Your ideal Sunday listening soundtrack?

My favourite YMO record, but any of them will do…

https://www.youtube.com/watch?v=y7GtXG6Sgv4

If you could pick any movie from the past, what one would you love to have recorded the soundtrack for?

I actually had the idea to re-soundtrack the entire works of John Hughes with the Live At Robert Johnson catalog, I think its a brilliant idea but where would you get the dialog tracks from? Tricky business. 

Here’s some of Fort Romeau’s latest offerings…

Advance tickets for Saturday are on sale HERE or from RA, then there will be more available on the door from 11pm.

Bigfoot’s look to the future with Matrixxman

Matrixxman makes his Sub Club debut alongside Palms Trax this coming Friday May 20th. The Dekmantel producer caught up with George & Wrick from Bigfoot’s Tea Party to talk about everything from Artificial Intelligence to smashing it in Berghain…

You aren’t such a fan of doing interviews, is that right?

Haha. I actually enjoy interviews.

Where are you right now, physically?

At the moment, I’m visiting Southern California working on music.

And personally?

Personally I am quite excited for the future. The pace at which technological advancements are occurring in the field of artificial intelligence has been speeding up considerably. For whatever reason, most ordinary folk I encounter have a hard time wrapping their heads around the implications of ‘exponential growth’ with regard to such pursuits.

Talk of AI and a post-singularity civilisation is met with a subtle sense of incredulousness albeit one that’s totally understandable. People tend to dismissively chuckle a bit, or get apprehensive and opt to not think about what it all really entails. I don’t blame them (as it is difficult to fully parse) but it’s a subject no longer confined to distant-future sci-fi tales or mere conjecture. This is something people at Google and Tesla take very seriously and for good reason. “What the hell does any of this have to do with techno?” you may be thinking. But to me, this is a matter of the utmost importance. It’s the driving impetus for the bulk of my work.

We are looking forward to welcoming you to Glasgow, has anyone told you what to expect from your time here?

I’ve heard many lovely things about Glasgow actually. Everyone told me to expect a rowdy bunch of heathens shouting, punching holes into ceilings and what have you. I trust I’ll be in good hands.

If you could sum up the last year of your professional life, how would it go?

The last year of my professional life has been an epic but humbling adventure with a few unforeseen plot twists.

What’s it been like to blow up as a musician and performer on a global stage over the last couple of years, playing Berghain & Awakenings / the best bits and the worst bits of touring?

It is surreal. You spend ages making tunes alone in your bedroom while fantasising about what it might be like to “make it” and be heard by the world. Several years ago, I pretty much stopped caring about any desired outcome and focused solely on the craft. Around this same time the music I was making started taking on a life of its own. Subsequently many doors started to open up themselves. It goes without saying the traveling part of the job can be tiresome at times but all things considered, it’s still a dream come true. I am super grateful for the opportunity write music and play some weird futuristic stuff for eager crowds.

https://www.youtube.com/watch?v=1piZDmGkTDs

Can you give us some insight into your studio, what kind of gear you like to work with at the moment, who you have been working with lately, and any releases you have lined up for the rest of the year?

Studio-wise, my setup is in complete chaos as I recently relocated to Europe and have been rebuilding my studio slowly. Fortunately, a rather important project I am working on at the moment has afforded me access to a number of synths that are insanely fun to use. At the moment, I’m spending most of my time with a Synthex Elka, Modal 008, Moog Model 15, Erica Black Eurorack System, and a Koma Komplex sequencer among other things.

It seems like you have been working on some very interesting projects recently, can you tell us about it? Do you hope to work outside of club spaces more often over the near future?

I can’t disclose who/what I am working with at the moment but it’s something that transcends the work I have done thus far so I’m quite excited. Incidentally, there will be an announcement later this month about a series of 12″s also. You can most certainly expect some music that is wholly removed from the club realm too, so stay tuned.

You once told FACT magazine your work was subversive. Subversive against what, philosophical or physical institutions, which ones in particular? And for whom – you as the author, or do you want the listener to feel affected by the music in a certain way?

The remark in question was referring to my outsider producer background specifically in the context of techno. Prior to my forays in underground dance music, I was predominantly making rap with a number of established artists like YG, Ty$, Riff Raff, Elephant Man, etc., so this path has been “subversive” insofar as it’s not every day that you encounter someone who makes gangster rap but then migrates to techno or house without some critical missteps of sorts. Left to their own devices, your typical rap producers might easily conflate proper techno with heinous EDM and conversely many techno producers couldn’t be bothered to entertain the notion of making something like rap.

At a glance the two disciplines are very much mutually exclusive in some senses (although I personally don’t subscribe to such thinking). Urban format vs techno issues aside, I still have many disparate musical aspirations that I would like to see through at some point involving shoegaze, proto-industrial, and even some film score stuff, should the opportunity present itself. I know it sounds a bit mad but it’s important for me to follow these inclinations. Besides, it’s not like techno is just going to up and disappear anytime soon so…

You seem like you are ready to embrace the future, so what were you “Homesick” for?

I guess you could say I’m homesick for the future, if that makes any sense.

How did you fall in with the Dekmantel crew?

Casper Tielrooij from Dekmantel personally hit me up. It was around the same time The XX Files Part 2 came out, if memory serves correct. They are some cool ass dudes. I’m very much honoured to be in the squad with them.

What do you listen to when you aren’t in the studio or a club?

When not at the club I listen to all sorts of stuff: The Smiths, Chopin, Cocteau Twins, Depeche Mode, Jimi Hendrix, Prince, lots of old Studio One and Coxsone records. I’m also really into northern soul ballads as well.

Where would you like your musical output to flow over the next year, what else do you feel like you want to discuss with your work?

Over the next year you can expect to hear the bizarre results of me playing around with a bunch of modular synths. Lots of loopy techno, the odd rhythm track or two, some acid perhaps. Also noise-y techno stuff as well.

Is there anything you don’t get to do anymore that you want to get back into?

I used to draw a ton during my art school days as a youth and I miss using that part of the brain. It would be nice to have a go at it again.

Do you think the human race has another 1,000 years left in the tank?

1000 years from now I don’t think we’ll even remotely resemble the species we are at present. A vast majority of humans will have elected to go post-corporeal or at least have themselves thoroughly backed up. Disease will virtually be fully eradicated. Age and death will become a choice, more or less. Chances are we’ll get really bored with affairs here on earth leading us to establish countless outposts in the far reaches of the universe. Machines will have souls, our domestic pets will become sentient. With limitless intelligence at our disposal, we’ll be able to tackle any problem in physics we can dream of. I predict we’ll even get claustrophobic in this universe and most likely have venture off into the multiverse at some point as well.

What is the single greatest influence on your music?

The singularity :)

Thanks Charlie, see you very soon!

Final release advanced tickets for Friday with Palms Trax & Matrixxman are on sale HERE or in store Tickets-Scotland, then more on the door from 11pm.

Don’t Drop get down with D’julz

Don’t Drop are back and it’s time for a milestone event. To celebrate such lovely longevity we invite you all down to 22 Jamaica St to help them party it up in the only way they know how. As it’s such a special occasion the special guest is the one and only D’julz.

Julian does not mess around behind the decks as we’re sure you’ll agree and its an honour to welcome him to Subbie.

“ Whenever I think of D’julz my mind sends me almost instantly to Circoloco at DC-10 where i will forever remember seeing him for the first time, i look up to the booth with my sunburnt stricken face, there he is, effortlessly inflicting his rhythm on the dancefloor.” says Dont Drop resident Kris McEwan.

Julien is no stranger to the vibe at DC-10. He basically helped create it himself.

https://soundcloud.com/djulz/djulz-live-on-circoloco

D’julz has been on our ‘most wanted’ since we started Dont Drop, so when it came time to picking a guest for our 3rd birthday it was an easy one for us. His back catalogue could keep you grooving all night, not to mention his current releases via his ‘Bass Culture’ imprint.

When we were offered the opportunity to interview him for the Sublog. We wanted to take influence from our followers and everyone involved at Dont Drop, thanks to everyone who chipped in their two cents! We hope you enjoy reading this as much as we did and we can’t wait to see you all down the Subbie come Thursday 19th May for our biggest party yet.

1. Hi D’Julz, we hope you’re well and having a great 2016 so far, thanks for taking the time to answer these questions, we appreciate that. First off, What originally inspired you to produce music and where do you find your inspiration from now?

When I started going out I never pictured myself being a DJ, and even less so a producer. It was a very slow process to become both, almost 10 years to become a full time DJ and another 10 to produce and I’m still learning everyday . My main inspiration always comes from the dancefloor but I get inspired listening to other genres of music as well.

2. So you’ve been running your Bass Culture label for 7 years now, what element do you like best about running your label and where do you see it in 10 years time?

I love discovering new tunes and new artists, basically the A&R part, I hate everything else, haha. It takes so much time away from me being in my studio but luckily I have someone helping me. In ten years the label will be reaching its
100th release… Which will make me very proud obviously .

3. Do you still collect records / vinyls? If you had to hazard a guess how many records do you own and do you have any favourites?

I never stopped collecting vinyl, and in the last 4 or 5 years it’s great to see so many new labels appearing and record shops opening, so I need to make space in my collection. I have around 15,000 records but I’m gonna sell about 2,000.
I won’t even touch my Detroit Techno, Chicago house section, these are the most timeless ones.

4. What’s your fondest memory from when you moved to New York in 93?

Clubbing there was a fantastic experience, so was record shopping. Visiting all my favorite labels to pick up promos, hanging out with many legendary artists. Above all, living in this amazing city was unique and one of most exciting
moments in my life.

5. Who is/are your favourite artist/artists at the moment?

In the new comers area I follow guys like Vahrat, M.P, Mr Top Hat & Art Alfie, Lady Blacktronika. But I also love what some more old school guys like Cab Drivers, Floorplan, Mr G, Ron Bacardi, Jus Ed are doing at the moment.

6. What’s the best gig you played recently?

Heideglühen. My new favorite club in Berlin, and possibly the world.

6. What is something that bugs you about the current DJ scene and why?

Having to spend too much time for self promotion instead of digging records or making them can be frustrating.

7. If you could meet one person dead or alive who would it be and why?

I always answered Prince to this question.

8. We hear you’re really looking forward to the gig, you must have some fond memories of Sub Club ?

I always loved Sub Club, I’m honestly very, very excited to come back. I always had an amazing time playing there with Harri and Domenic who are in my opinion some of best resident DJs in the world but I look forward to playing on a
Thursday for the first time. I’m sure it’s gonna be just as great.

9. Also last but not least our random question for the day is, if you had a pet armadillo what would you name it?

Napoleon, don’t ask me why.

Be sure to check out D’julz latest mix for Mixmags In Session series

To celebrate our birthday we’re giving away a signed copy of D’julz latest vinyl release ‘Houdini’ and also a pet armadillo! Check HERE for more info.

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Huntleys + Palmers presents DJ Sotofett

Huntleys + Palmers are delighted to welcome the return of DJ Sotofett to Glasgow for the first time in ages and he’s all set for playing the whole night, uninterrupted. Book this Monday off! H+P’s main man Andrew gave us a quick introductory run down on this week’s special guest.

In these modern times when we’re updated with our favourite DJ’s latest Faceswapping antics, it’s pretty impressive that there’s not much to go on with the mysterious yet prolific DJ Sotofett. He comes from Norway, lives in Berlin, runs the Sex Tags Mania and related labels with his brother Fett Burger, loves to play long sets and that’s about all the information out there.

That should be enough though, right? Especially when his music does the talking. He knocks out a serious amount of it as well – ranging from dub reggae and jungle to percussive house and techno – becoming one of the electronic music’s most exciting and singular voices in the process. There’s a lot of soul in his music and most of his productions instantly sound like classics.

There are definitely bigger Sotofett / Sex Tags fans out there than myself to talk shite here – I don’t love everything, especially when it veers into the jungle territory – but these 5 records alone should be enough to win you round..

I had noticed a bit of hype around Sotofett and Sex Tags for a while, but didn’t really pay too much attention at the beginning – until I heard this beauty on Edinburgh’s inimitable Firecracker label, and immediately became a convert.

The title alone says it all – perfect 5 am number. Which isn’t really much use in Glasgow, but does the job on the warm up just as well.

https://www.youtube.com/watch?v=RihIf-gP0K0

Ultimate combination with these two teaming up. Gilb’r runs one of my all time favourite labels, Versatile (who have recently celebrated their 20th birthday). He also produces both under his own name and as Chateau Flight (with I:Cube). Sometimes the concept of a collaboration is enough to get you excited and this delivers. There’s more on the way too.

This feels familiar in an early 90’s house way and is one of those records that goes on and on and doesn’t get tired.

So I was already an admirer and then Honest Jon’s drops his Drippin’ for a Tripp album at the start of last year and it’s a real piece of work! Formed in collaboration with a bunch of good people including Lauer, Jaakko Eino Kalevi and Gilb’r, DfaT has everything going for it – from spacey new age stuff to the sublime Nondo – just listen to that vocal! Beautiful. No surprise that it was riding high on the album of the year lists of last year. Do yourself a favour and seek it out.

Adv tickets on sale HERE, then more on the door from 11pm.

Up The Road with Miss Honey Dijon

Harri and Domenic are delighted that Miss Honey Dijon is joining them once again for another generous and jacking Subculture jam down. The Chi town native plays some of the freshest parties in the world, from the Panorama Bar to A Club Called Rhonda, all the while seducing the masses with her unique mix of disco, house and techno. Just how we like it round here.

Honey invited us up the road for some after hours listening…

1. Wally Badarou – Chief Inspector

I like sexy vibes at after parties. After banging the tunes out for a few hours I feel like an after party should be all about pulling, drinking, shagging, and all around good fun.

https://www.youtube.com/watch?v=TvkOB90yf6w

2. A Tribe Called Quest – Can I Kick It

Old School hip hop always sounds great. I love to hear this in the background when everyone is in the kitchen talking shit. Ace tune.

3. Biddu Orchestra – Humanity

Love this track. In fact I remember hearing this early in the morning at warehouse parties. Such a feel good tune and a bit balearic.

4. Dee-Lite – Who Was That?

One of the best dance albums ever and I love the sense of humor of this track. When did dance music get so serious. We need more shit like this!

5. Candido – Thousand Finger Man

Just one of the most beautiful disco tunes ever made. The piano intro is just heavenly. Break out the spliffs!

6. Jean Carne – Was That All There Was

So silky and delicious. The vocal is just so mesmerizing. I would love to do a night where I just played music at this tempo and with this vibe.

7. The Pasedenas – Round & Round (MAW remix)

Much slept on and overlooked MAW classic introduced to me in A Derrick Carter mix that was a benefit for him when his house caught fire many moons ago. Will never forget that set as long as I live.

8. Sade – Snake Bite

The B Side to the 12 inch of Smooth Operator. Jesus. Makes me cum every time I hear it!

https://www.youtube.com/watch?v=SNHKvXafzy0

9. Steely Dan – Josie

One of my favorite albums in the world is Aja by Steely Dan. I listen to this album at least 3 times a week.

10. Angela Bofill – The Moon And Over The Sky

So fucking chic and elegant. If I ever get married this will be my wedding song and honeymoon tune.

We’re all set to get moving…
Advance tickets for Saturday are on sale HERE or from RA, then more on the door from 11pm.

Dimensions Soundsystem chat Sensu, Subbie, Moodymann & Roller Jams

Sub Club & Sensu are set to host their 2016 Dimensions Launch Party with Detroit legend Moodymann this Bank Holiday Sunday. Moodymann aka Kenny Dixon Jnr is a firm Subbie & Sensu favourite and we are delighted to bring Mahogani Music back to 22 Jamaica Street! Warm up duties lie with the festival’s residents, Dimensions Soundsystem.

The collective are intrinsically linked to Dimensions Festival’s very foundations. They offer continuity and a true understanding of what the beloved festival is all about. Ahead of the main event we got to sit down with David and Andy to chat over Abandoned forts, production, roller disco jams and how they became pals with Sensu…

Dimensions Festival is well known for it’s production and it’s individual look and feel around the abandoned fort. How important do you think this is to Dimensions?

The Fort is already one of the most unique music venues in the world anyway so we start at a huge advantage but there’s a great importance placed on creating a look and feel round the site that creates a synergy with those surroundings. It’s important that the work that goes into the site design enhances the strength that the site already has.

Johnny Scratchley and his team do an amazing job of this year on year, managing to highlight the Fort as the star attraction whilst continuing to evolve the look of the site.

Dimensions is one of the few festivals that showcases up and coming talent. Is it difficult to do this amongst other festivals that are going for bigger more main stream bookings? With regards to programming, how do you find the balance between bigger and smaller acts?

There’s a bit of dedication to actually doing this and at first, perhaps it was a bit tougher but the benefits of investing in artists have really shone through. We have such strong relationships with artists and always hope to work with people on a longer term basis so this adds to the atmosphere and feel around the festival as a lot of those artists come and stay for the week and really get into the culture of the festival, and really understand what we’re all about.

Dimensions sets are now at legendary status, like Petar Dundov’s (a personal favourite) do you take great pleasure in recording the sets and allowing the festival goers to listen back and relive the moment? Is it a tight selection process?

Andy: It’s amazing for us to have access to these sets. We try and have as many recorded as possible but as you can imagine getting them all signed off is tricky sometimes. With them all being recorded live any mistakes sees the release blocked by artists or management. As a result the office is literally a gold mine for unreleased Dimensions mixes, I think maybe only 20% of our sets get an actual release to the public, a shame I know! If you want to hear them you either need to work in the office (we have jobs going atm. by the way!) or know how to bribe the artist you want to hear to give you a copy. On a side not to this Dan Shake actually used to co-ordinate the recordings of all the sets with me at the Festival. Thats how he ended up being by the stage when Mooodymann was playing Dimensions a few years back and when he handed him his demos that eventually got signed to Mahogany Music!  

Dimensions is a whole experience. Why is it important that the festival has a specific feel? what was the process in deciding this?

Andy: I think its pretty natural and there isn’t too much thought that goes into it. Hopefully its pretty organic, the most important thing is that we aim to provide the best possible environment to hear the music we love. The 19th century Fort and Roman Amphitheatre provide the venus and the sound systems are the best we can provide. We other vital part is an inclusive environment. We have spent a lot of time working on our international launch party series and built up a network of some the best promoters and music brands worldwide (Shouts to Sensu and Sub Club!)

They have been instrumental in spreading the word about Dimensions to the heads into the same music as we are in their region. So it is not too forced, or I hope not! its word of mouth. As a result we have less than 40% of the people on site from the UK the other 60% is a mix from all over other parts of Europe and even as far as India, Australia Thailand and America. We are really proud of this and think it gives an inclusive feel to the festival where a mutual appreciation of good music is the only pre requisite.

We are always interested to hear what other music artists are listening to at the moment. Any tracks or producers that stand out for you recently?

David: hmmm, there are so many, literally thousands but very quickly off the top of my head I’m still really excited by the work that K15 does, and although it seems obvious, you always have to keep an eye on what Moodymann is doing. I guess add to that Broken English Club on a techno tip.

Andy: I have been working quite closely with a friend out of Atlanta called Byron The Aquarius for a while. We booked him for Dimensions early this year and its been great to see the reception his Sound signature and Wild Oats releases have got, he is a real talent and I’m excited to see how things develop for him.

Andy: The new Omar S The Best album is on a lot at the minute. Im really into Stefan Ringer, another producer out of Atlanta. Cuisine Dub is an amazing artist from Croatia who will be at the Festival this year. I’m into a lot of electronic soul and lower tempo bits too so the latest Rhythm Section vinyl release from Silent Jay and Jace XL is getting a lot of plays, (although not a recent release) as is ABRA and Kamasi Washington’s album. One thing that keeps getting me is the quality of the music being released recently by some of the greats on the scene who have been round a little while; Larry Heard is still releasing essential and relevant music, the same with the likes of Kai Alce, Reggie Dokes, Marcellus Pittman, Mike Huckaby, OB Ignit (a personal highlight) the new Patrice Scott EP and aforementioned Omar S album. We have heard from very reliable sources Larry Heard is sitting on some amazing unreleased music too so looking forward to them hopefully seeing the light of day!

What can we expect from the festival this year? Are there a few surprises lined up?

Andy: With it being our 5th Birthday and its our best ever lineup in my opinion and we have a few extra surprises up our sleeve for the Festival, stay for the Monday after Dimensions is all I’m saying. The site is going to be looking quite different this year too, we are excited for you to see the improvements but will leave the rest as a surprise! (I’m even annoying myself with that answer but have been sworn to secrecy! Its going to be a good year.)

David: Well, not actually a performance as such but as we come to our 5th Anniversary we are working on a very big announcement to celebrate. It’s been a long project but it should come be announced in advance of the festival and to fruition on site. You’ll have to keep an eye on our Dimensions Soundsystem Facebook page for more info!

How did you get to know the Sensu crew? How did that partnership come about?

David: I actually met the guys from Sensu back when I was doing Technique in Leeds many years ago and we just hit it off. We just became friends and started to work together on various things like The Garden Party which I used to run and Dimensions when we launched. It’s all been a very organic process.

What are you expectations of coming back to Glasgow, and to play the Sub Club for the very first time as Dimensions Soundsystem?

David: I’ve played on my own before so I have an idea of just what to expect. I already know that it’s going to be one of the highlights of our year. There’s very few clubs in the world that even come close!

Andy: I have chosen these words carefully ….I’m fucking excited!! I have never been to Glasgow before, but I am all too aware of the reputation of Sub Club as one of the best clubs in the world and to have Moodymann headlining too…. I cannot wait! Feel seriously blessed actually. Thank you all involved.

To keep in theme with the Moodymann himself, can you please send us over 5 Dimensions Soundsystem Roller Disco Jams and a wee line of why you picked each one…

David – Kathi Baker – Disco Jam

Well just listen to it! Makes me want to strap on my boots as we speak. Mind you, it’s a few years since I skated – not sure if be able to stay upright now!

Gwen McCrae – Keep the Fire Burning

You’ve got to have funk at the Roller Disco and Gwen McCrae brings it here. High energy business!

Andy: George Clinton – Atomic Dog

Tribute to someone who is now a Dimension Festival legend and a past headliner, George Clinton. Also a nod to a Moodymann collaborator.

Loose Ends – Slow Down

All in the title, one for the mediocre skaters and I love Loose Ends a lot.

Skyy – Call Me

https://www.youtube.com/watch?v=4_XeARl4aX0

My Dad is actually from Montreal and was nearly a pro ice hockey player, he is the best skater I know. He was also heavy in to the Montreal disco scene and a very good dancer, this track reminds me of him and skating to disco. (p.s. Shouts to Papa Lemay and his disco records still in my record bag today.)

2nd release tickets now on sale from HERE or RA.