Interview: KESPER & SLIPSTONE RECORDS

Local record labels seem to be a dying breed of late. The financial costs too high, the returns too low. Fortunately, there are still some people wanting to make a go of it. Enter Slipstone Records. I caught up with founder Chris I'Anson and label debutant Kesper (aka Chris Pawlik) about Slipstone, the release and drunken house party agreements.

Good to talk to you guys. To start off, what was your inspiration behind starting the label?

CI: At the end of last year I was getting a bit sick of the same sounds being used and churned around. There wasn’t anything that I wanted to hear really - I was being sent promos that all sounded like each other. It all just got a bit old. I was bored of seeing the same names on the same labels. Don’t get me wrong, the tracks were good, but it wasn't anything groundbreaking. Then, I had a little trip abroad to Berlin, and I’d be lying if I said that didn’t influence me. When I was there I just heard a lot of really, really good stuff. When I came back I was hearing the same old house sounds, and I thought, I could do something new. Felt like the right sort of time too, university work was growing a bit stale, and I didn’t want to go into that straight away. So I thought, what do I love? Music, so I’m gonna do that.

Nowadays, a lot of people starting labels shy away from vinyl because of the expense and the perception of it being a dying art. How important was it that your label was going to revolve around vinyl?

CI: It’s very important. For me, playing vinyl is more fun than playing digital tunes, but it’s about the whole experience - the cover, the sleeve. Doing an arts degree, being able to do the creative side of the record, it can be my creative output; the vinyl, the cover, all the extras you’ll get with the record. I don’t know, digital is kind of throw away. I just love vinyl, and at the end of the day, you’ve got to do what you love.

Very true. I’ve been meaning to ask, what was the reasoning behind the name?

CI: I was having a lot of trouble coming up with the name really - I thought for ages. I’m an outdoorsy guy so I wanted to give it an outdoorsy feel, but the names I came up for that didn’t really work. Then I thought back to when I grew up, and near there, there’s a climbing crag called Slipstone rocks. I always loved going there and I loved the name. So I thought, let’s have that. I really like the name and so far the people I’ve talked to like it as well.

Yeah, I'm a fan. A question to both of you - Who approached who when it came to the first release?

K: I think I commented on one of Chris’ mixes on soundcloud.

CI: Yeah it was a bit weird really.

K: I don’t think we’d have found each other if I hadn’t…

CI: Yeah you commented on my mix, then I checked your tunes out. I messaged you - you had a profile picture that didn’t show who you were - but I assumed it was probably someone I knew from BPM or the Leeds scene. Turns out we hadn’t met. This was about six or seven months ago, and when I decided to start the label, I thought Chris would be right for it.

K: Yeah, you approached me at a house party.

CI: Is that where it was?

K: Yeah…I told you had I had some tunes for you.

CI: I can’t remember...

Where all the best relationships start….

CI: Haha yeah. We were just dancing in the main room, Chris was right next to me but I hadn’t realised. 

Kesper [photo credit: Bryony Eacott]

Kesper, have you always produced the same sort of music that's being put out on Slipstone?

K: Well, one of the first ever tracks I remixed - an Anton Lanski tune - kinda kicked things off for me, the structure of the track, the way it sounds. Ambience and atmosphere have always been a huge part of my productions so I wanted consistency, that floaty-ness and breath of fresh air you get with those sort of tunes. So I’ve just been sticking with that, and I feel this release is a result of the tunes I’ve made before - lots of different sub-genres, minimal techno but also the ambient side of things too. Yeah…we just did it, just happened.

I know you’re associated with the Bristol-based Banoffie Pies - how influential were they in your release?

K: Those guys have been massively inspirational. They just had this idea and they went for it, and you know, I’m kinda following on from that they’ve done, but up in Leeds. 

Are you thinking long term with Slipstone, Chris? Anything lined up, future releases?

CI: I’m kind of taking it easy at the moment. I’m not doing this to churn releases out, to get content out there. If I’m approached or I find some good stuff, I’ll get in touch and try and get something out, but at the moment I’m in no rush. I have got my eyes on a few people, but no solid plans at the moment. We want to focus on quality output, the pressing, the artwork, everything.

The artwork seems like an important part of the release - you’ve mentioned previously about getting local artists involved?

CI: Yeah, I want to get as many people involved as possible - if we can make it a community label, it’s more likely to succeed, and the easier it is for people to promote their sounds. It’s difficult in the music scene and I feel it’s important that people help each other out, so I want to do that as much as possible.

I noticed from the promo video that there seemed to be a space theme, was that deliberate? 

K: Yeah, we wanted the EP to have a concept. 

CI: A lot of people are starting labels but there isn’t a unique selling point. With this release, the sound, the image - it all works together. 

K: Yeah, we wanted to make it concrete with the first release, we felt it was important. It was in line with our own vision and other people’s feedback.

Have you got a date for release?

CI: May 4th and we’re doing the launch night on May 7th.

You must feel like it’s gone incredibly quickly. What is it...six months from conception to release?

CI: Yeah, it’s gone so fast. Rather than thinking a week in advance, at the moment I’m thinking months in advance.

K: It’s hard to stick to that plan as well. There’s always delays, issues…

Well, I commend you for it.

CI: Thanks. We’re trying to add as much value to the vinyl release as possible. Hand screen-printed artwork and a few more treats that are going to be in there…yeah. If you’re going to invest in a physical piece of media, you want to get your money’s worth. 

Appreciate you talking to me today guys. To finish, Kesper - favourite tune at the moment (and not your own)? 

K: It’s actually a free download, by these two amazing eastern european producers, Gorje Hewek & Izhevski.

And Chris, if you could sign anyone to your label, who would it be?

CI: I love the sounds and have been inspired a lot by Oliver Schories, a guy who's not got much of a rep round here compared to on the continent. He, and sounds similar, are a huge inspiration to me. But maybe not for the label, well not yet at least...

Moonwalk EP - Kesper [Slipstone]

[SLIPSTONE001] is out May 4th.

HH MIX #039 - ARNALDO

For the 39th edition in our mix series, we present arnaldo. We also had a pretty extensive chat - enjoy.

Who exactly are you and what do you do for a living?

I’m William Smith. I'm Argentine born but was raised in Norfolk. I cut my teeth in Manchester and currently reside in London. Norfolk is a great place to grow and to die, but in between you need to make a tree and split.

In Manchester I worked for several years at Eastern Bloc Records (established 1985). I learnt and bought a lot working there.

I’ve been in London for around a year, and I work for a music consultancy company who compile playlists and music systems for venues ranging from bars, restaurants, cinemas, shops, blah blah blah. I also play for a few bars weekly. It’s great as it gives me two clear days off in the week to write and listen to music... I can’t write music at night so it works a treat for me. I also sacrifice most weekends so I’m that guy commenting from the bedroom on Facebook!

You mention DJing in bars... do you take requests?

Haha. I am known as a bit of a… hmm how to make this sound like I’m not one? I’m a bit of twat about it to be honest. I have been doing it for many years and have studied people’s habits quite closely... mating rituals too (not that I’m a peeping Tom or anything).

I have found the best response is a flat “no”, as if you budge a little they will ride you all night thinking you’re their “mate” or “bruv” if you’re down here in the south.

It’s not that I’m that arrogant twat who thinks he’s so cool… I’m in fact that quiet guy who does not want to talk to you whilst DJing. I always get people telling me to “cheer up” – my relaxed face must look grumpy to some.

Best example is when someone requests, you say “no” and go back to mixing, then a few moments later you turn and they are still there! I’ll say “yes?” and they’ll say “You’re so rude!” and it’s like “How so? You asked a question and I replied”... it’s not like we’re gonna grab a drink and talk about the gross national debt or how expensive the drinks are in here... or are we? Maybe I’m the bad person…

Tell us a bit about your production set-up. Cracked copy of Ableton and a few VSTs, right?

Ha… I have Ableton 8, I think, and it’s definitely not for me... I just can’t seem to get on with it. When I tried to make something that didn’t just use samples and “clips” I just came up with stuff that sounded like everyone else... I’m kidding, some of my most respected peers use it and it boggles me what they can do with it... I just can’t! I’m that guy that has to get someone else just to warp something for me haha.

My workhouse is Logic, I’ve used it from the start and find that it’s very quick and has a great ‘width’ of sound… you can really place sounds well in the stereo field. Obviously its width is nothing in comparison to using a desk and having separate outs running from a drum machine... then it gets WIDE!

I guess that leads us on to the tidbits I use out side ‘the box’. I have my boom machine (808) and my thunderclap machine (909), both made by Roland in the 80s, in addition to a 606. I’d really like a CR-78 too, one day. I also use an MPC and a filter bank (not a Sherman though).

Unfortunately synths are something I lack, but I’ve borrowed a few in the past and got some great samples, so that should keep me busy until the modular arrives, ha. I also do a lot of field recording with my DAT recorder and microphone.

I think that all aspects should be considered in this day and age - including Ableton. I personally think that you should try and use analog stuff if you can but then utilise the positive aspects of a DAW for processing. What I’ve done from the beginning is to get something raw and then get it screaming yourself… not just use a pre-made sample pack.

In the 90s the production process was often a lot more rough and ready and obviously equipment was limited... I have an early DJ Spen record (“Back When”) which phases quite badly… VIBES!

It phases?

What I mean is, his samples are so rough and ill cut… possibly he may even have two records mixing together. Phasing is when you have two identical sounds and they cancel each other out.

Love the record though. I just want people to understand my viewpoint, I’m not an “anti-sampling” kinda guy (most of my favourite records are sampled to fuck) - it’s just the way I go about things personally. Just try and do the work yourself and learn the techniques.

How did the hook-up with Smallville come about?

Ah it’s actually really funny, it was a fate thing.

Oh yeah?

I played with Julius (Steinhoff, one half of Smallpeople) and Lawrence at meandyou. in Manchester a few years ago. Then maybe two or so years later I was selling a record on Discogs and noticed the guy buying it was called “Julius Steinhoff” then checked the postal address and noticed it was the address of the Smallville shop in Hamburg!

I messaged him saying “Hi, I played with you at meandyou.” or whatever and then thought fuck it and copied and pasted my Soundcloud URL at the bottom of one of the messages. It was a punt but it paid off!

I should mention Greta Cottage Workshop too. I sent Matt, the label owner, a track after I bought his Mudkid record, which I really like.

I’m really bad at deciding on what to send and who to send to. I’m not one of those types to go around sending my music to 50-odd different labels – my music is too precious to be mass-sent like that.

"I don't make music for the masses, I make music for the small majority that listens" as the great Kenny Dixon Jr. once said.

Haha good words... similar to the slogan for Hendricks gin – “Loved by a select few”.

A lot of my stuff is just me trying to make things work and experimenting, especially as I’m not a trained musician - just a guy learning, and trying things out, more importantly.

Trial and error eh?

Yeah but I go down the error route for quite some way more often than not. I’d prefer to use the term ‘experimentation’, as ‘error’ means different things to different people.

It's all just subjective I suppose.

Ha, indeed. I’m not too fussed with what other folks think.

Best way to be. We loved your set at the Smallville night at Berlin's Loftus Hall in October. How did you find the experience?

HOT. As in degrees, I don’t mean that in a ‘Seth Troxler’ kind way.

Was a bit of a sweatbox in that place wasn't it?

Yeah. You know it’s 'close' when you have to wipe your hands just to be able to get traction on the records. Plus I had to take my hat off!

But the party was magnificent. I’m starting to really enjoy playing with Dan (Juniper) and Just and Julius (Smallpeople). Great people and great jocks.

Loftus Hall, Berlin 27.10.12 - arnaldo


How does playing in Berlin differ from a regular gig?

Germany in general is a great place to place to play I think, crowds always seem so appreciative. I’ve not really played many different countries so I can’t really give too much of an answer.

That was going to be my next question actually... so I take it that wasn't the first overseas gig you've played?

No, I’ve played in Germany a couple of times before. First at Tape in Berlin for a meandyou. party, then I played for a friend’s night at Morlox in Berlin and of course the release party for Smallville030 at Ego in Hamburg.

We Met In Manchester - Juniper / arnaldo [Smallville]

You mentioned meandyou. a couple of times. They've made some great bookings over the years. Are you still a resident for them?

Yes meandyou. have some magnificent guests. Yes I am still a resident but due to my other commitments it’s hard for me to take time off... with Dan (Juniper) and Pete (Joy Orbison) looking after things it’s all cool. Hopefully I should be able to make an appearance early next year.

I'm sure they're in good hands with those boys at the reins. Do you have a favourite DJ? Or one you particularly respect/admire?

Mark Turner. Basically I would love to put on a night and have Gerd Janson first followed by Mark. That there would be an interesting night with of A LOT of dancing. Weird as I have only heard him once but amongst others he played “Can U Dance” by Kenny ‘Jammin’ Jason, one of my favourite 80s house tracks. Yeah it’s a little cheesy, but it has a hook big enough to catch a whale.

Is this the Mark Turner that was a resident at The Orbit?

Yes he was but that wasn’t all he did... he sold records to the best in Eastern Bloc and also embarrassed most of the 'best' when it came to mixing records. If you get a chance to hear him in Leeds you need to go.

Quite the endorsement, I'll have to keep my eyes peeled. What's in the pipeline for Arnaldo? Any upcoming releases or gigs you'd like to plug?

Gig-wise I’m playing this pervert party called Arthouse or something (or is it bath house?) but that’s not until March 2013. That’s at the Deaf Institute in Manchester. It’ll be three people’s birthdays (including mine) that night so should be a great party. Also I need to do a podcast for them, been a year or so since they asked!

Release-wise I have a track on Blank Slate Sounds 001 - some great cats from the east coast of the US. It’s the new label from one half of Supply Records (B-Tracks, etc). That should be available around Christmas through Honest Jons and all good outposts.

Then I have a Greta Cottage Workshop EP out mid January, and then Blank Slate 003 after that at some point.

Plenty on the agenda then. Did you have anything particular in mind when you recorded this mix for us? Tell us a bit about it.

I kind of wanted to do something a little different to my recorded club mixes, and wanted to include some particular records I’d bought recently. It’s more of a “home-listening house” mix.

Three-quarters of the way though recording it, I realized a large chunk of the records I’d taken to Berlin were missing… I almost had to stop the mix ha.

You’d left them there?!

Yeah, only at my mate’s place. He’d noticed them knocking about but didn’t know who they belonged to.

Phew! Could have had a disaster on your hands.

Things got a little ‘emotional’ let’s say.

They tend to when such large quantities of vinyl are involved...

Yeah, some I really didn’t want to have to replace due to the prices being charged for them on that record listing website.

That fucking website.

I am always so particular and cautious with records as well. Happens to the best of us I suppose.

Out to arnaldo for taking the time to chat with us - we'll leave you with his aptly named 'slow but what's the rush' mix which he's very kindly recorded for us.

HH MIX #039 - arnaldo [download]

Get following on Soundcloud if you aren't already and keep your eyes peeled for those forthcoming releases.

HH MIX #030 - EJECA

The name EJECA first appeared on our radar late last year after a couple solid EPs on HellZone Records, since then the Irishman has had a torrent of releases, predominantly in the form of remix commissions and compilation contributions. However, heads really started turning after his addition to the vinyl only Tusk Wax series in May. Around the same time BICEP ended their outstanding Boiler Room set with 'You', the duo's collaboration track with EJECA forthcoming on an EP out on Aus Music next week. As the relatively new producer heads towards a surge in popularity, we thought we'd delve a little deeper into the world of EJECA. Here are a few questions and a mix for your listening pleasure.

You - BICEP & EJECA [forthcoming Aus Music]


When did you start producing and what were your main influences as you were growing up?

When I was about 10/11. I got a DJX Keyboard, it was so much fun , actually learn't a lot of it. Had a wee sampler on it and all. I used Cubase with it but got too confused (I still do) then went on to Fruity Loops.

Your output as Ejeca so far has been somewhere in the house/disco domain, have you ever, or would you ever, consider producing any other styles of music?

Haha, I've produced quite a varied amount of genres. Trance, Drum and Bass, Dubstep, IDM, Techno, House, Garage. I guess I get bored quite easily, but in my opinion you can learn a lot producing a new genre for a while, even if it's miles off the standard. I always like making more 'concept' type music, I've actually made a lot of albums of stuff with IDM and minimal type sounds that not very many people have heard.

Can you talk us through your approach to producing? What does your setup consist of?

A PC, Ableton and a midi keyboard. That's what it has been since I was about 10. I look at computer music magazines like porno mags, wishing I had 1k to blow on a hardware synth but i don't. In Ableton I would start in the loop mode just chopping and changing vsts and samples until I have about 5 tracks (drum, bass, synth, pad, vocals) that go well. In my opinion if you have a good 4 bar loop that has been playing for an hour and it doesn't annoy you you're probably on to a winner. As I've always produced on my own I've had to do my own A&R, in my opinion this is key as if your don't really like it then chances are others will be the same. Another tip is don't produce when drunk, 99% of the time it's pish(ed).

I Got What You Want (EJECA Remix) - Jet Project [Extended Play]


Over the last year you have worked on a lot of remixes, is putting your own stamp on someone elses track something that you enjoy doing? How does it contrast with making your own original productions?

I enjoy remixing, really see it as a challenge. Compared to making my own stuff at least i know someone else will hear it so I put full effort into it. Usually I will listen to the original and try to see what I can fundamentally change which will add to it - that could be adding alot of swing into a straight/quantised track etc.

Tusk Wax 5 was a vinyl only release, whereas all of your previous output was only available digitally. What style of djing do you favour and where do you stand on the analogue vs digital debate?

I had 1210s when I was 11, then bought CD decks too when I was about 15, then sold the lot when I was at uni/skint. I now DJ off a Traktor S2, and I think it's great. As I've sort of used everything I would say do whatever you want. I just love the idea of playing a track out that I made 2 hours before, if I was using vinyl I would have to wait 6 months for test plates before i could play it. I really see no difference between timecode, CD decks and controllers, they are all just controlling binary data. I agree there is a nice natural sub bass off vinyl records, but this is no match for the on the fly nature of Traktor and controller where you can drop in new loops, edit, samples, tracks and pre-program your own effects.

Your collaborations with Bicep have been very well received, do you see yourselves working together again in the future?

Yes, we all love 90s house and garage so I can see us making more end of night rave hits, probably 2013 as we are both busy enough with our own stuff.

Finally, can you let us know of any upcoming projects or releases that we may not be aware of yet?

I'm quite busy getting stuff arranged for various labels; Extended Play, House of Disco, Saints & Sonnets, Needwant and Kolour. Keep posted on my Soundcloud and Facebook.

Thanks for your time.

Make sure you download this mix below which features EJECA's very own unreleased version of 'You'.

DOWNLOAD

01. You (EJECA's Piano Version) - BICEP & EJECA [unreleased]
02. Absolute Drop - Spirit Catcher [Z Records]
03. Planet Patrol - Chris Carrier [OFF Recordings]
04. Ghetto Kraviz (Amine Edge Edit) - Nina Kraviz [Rekids]
05. Think It Over - DJ Steaw [Local Talk]
06. Reference One - 25 Places [Liebe Detail]
07. Home By Six - Nils Nuernberg, Florian Kruse, Karina Junker [Liebe Detail]
08. Twerk - DJ Funk & Zombie Disco Squad [Made To Play]
09. Fuzzy Border - Jay Shepheard [Lo:Rise]
10. Eva Mendes - Mosca [Hypercolour]
11. Dreamer - Livin' Joy [MCA Records]

As an added bonus we've re-hosted some recent free giveaways...

Wish - EJECA

Use The Body - EJECA

Twilight - EJECA

You/Don't EP is available via Juno and other outlets from Monday 16 July.

Introducing FULCRUM RECORDS

Record labels seem to be appearing on an almost weekly basis these days, so it's important that new labels create an individual sound and aesthetic so as not to be lost in the quagmire of obscurity, a task which Sam Schorb (aka Damu) and Adam Rogerson have successfully achieved with their new label Fulcrum Records. In the wake of the Dubstep phenomenon, artists and labels have worked tirelessly to ensure that the music scene here in the UK stays fresh and exciting. Labels like Fulcrum will hopefully help ensure that the UK continues to be considered one of the most innovative centres in the world for the progression of electronic music in all it's forms. FULCRUM 001 comes from Paleman, a producer whose debut I'm sure most people will agree has been a long time coming. Label co-founder Damu kindly took some time out to answer a few of our questions.

Fulcrum 001 (Clips) - Paleman [Fulcrum Records]


First of all, what made you decide to start the label?

Before any of my own productions were released I was already keen to start a label. At first, the idea was to release my own productions, but the more I learned about the realities of actually doing it, the more I realised it would have been the wrong time. It was a time to fully concentrate on my album and nothing else. The idea took a backseat for a while until a couple of years later when i started talking to my friend Adam (who is running the label with me) about all the new artists we were already in good contact with who we felt were ready to get some physical releases out. It was obvious that the time was right to get the ball rolling. I still spend the majority of my time making music, but working towards getting Fulcrum running gives me a better reason to get up in the morning; it lets me incorporate some of my other hobbies into my output because we're designing all the sleeve art ourselves. Besides that, it's satisfying releasing music that i really love, that's been made by friends and allies.

Fulcrum Records has been on our radar for quite a while now, it seems like we've been waiting a long time for this first release. What has been keeping you busy these last few months?

We announced the project quite a while back, when Thefft and Paleman were both doing mixes for Mary-Anne Hobbs' radio show on the same night. It seemed like a good opportunity let the cat out the bag even though we'd have to let it simmer for a bit while the process of getting the physical records made took place. We've got a pretty good response to the idea so I don't think people minded waiting. Getting the first release out isn't a quick process, I don't really feel like the timing of the releases is a major factor, it's more important to put the records together exactly as we imagine them.

The producers that are being associated with the label at this early stage could all be considered 'up and coming'. Has it been a conscious decision to sign up fresh talent?

I wouldn't have it any other way. There are enough labels releasing music by artists you already know, which is one of the reasons it would make no sense for us to release records by well established artists at this stage. Before we started the label, we knew we were waiting to hear something special that we felt strongly about releasing, I knew I wouldn't know what it was until I heard it. Tunes started coming through from people I was talking to around last December that really caught my ear, so I decided to start working towards releasing some of their music. Almost all the artists I was in contact with weren't signed, simply because they were the people making the music I was most excited about hearing. It was important to build it from the ground upwards so I think releasing music by people we'd discovered is essential to that. There are some other artists we've spoken to but i'm not giving anything else away for now.

Where does the name 'Fulcrum' come from? Do you feel that electronic music has reached a tipping point, so to speak?

At the time we decided to start the label, I pretty much felt like UK electronic music was beginning to lose its edge a bit. There was still loads of great music coming out, but I felt that on the whole, UK electronic music was leaning too much towards being influenced by the rest of the world, instead of having a characteristic style that could influence the rest of the world. I feel that every artist we release is making music that marks the difference between those two schools, hopefully these records can show even younger producers that the best way is really to just do your own thing and you end up with still great, but much more individual music. 'Fulcrum' fits what we're aiming to do in that every planned release is a warped version of the style that the artists are influenced by. I think its the subtle oddities that gives music its locational identity, when I hear the tunes on a system, I can tell where they come from and what kind of nights the guys have been going to before they made the tunes. The tunes I've been sent by my friends since we've started the label aren't a watered down version of anything else, they're very individual but take on a familiar concept.

We are currently living in a very exciting era for electronic music. What artists and labels do you feel are leading the way at the moment?

Obviously there's never a shortage of great music being released, but one of the main reasons starting a label felt like a good idea in the first place was that there isn't really any other labels operating themselves in the way I'd like to. That's not to say I don't like the way other labels are run, but everyone has their own take on things so this will be ours. Personally, I'm a massive fan of Blackest Ever Black and Modern Love ahead of almost everything else but we're planning on releasing more straight-up dancefloor music than the dubby techno I love those labels for. I've been working behind the bar in a club for a long time until very recently and I've noticed a lot of different 'scenes' moving closer together over the past few years; The nights with the music I liked weren't necessarily the nights with the atmosphere that I liked, but the crossover crowd between the two nights I'm thinking of became more and more and both nights benefitted as a result. I think there's a bit of a post dubstep hangover in the way a lot of labels operate, making the records hard to get hold of or hear about, again, I think it's great that others keep that going but if we were to run a label like that I think it might alienate a lot of the people who I'd like to hear the music. People who probably won't buy the records, but they might download them then come to the nights with a whole lot of energy and some shoes they want to ruin, if you get me? So much is changing in music at the moment, we feel like the DJs and labels need to get a lot closer to their audience again. The nights we really enjoy are already getting really good at increasing that connection so I think the label will become a reflection of that.

Do you have a clear vision for the long term future of Fulcrum Records or are you going to take things one step at a time?

We want to keep it as open ended as possible, it's a project for everyone involved to contribute ideas to, enjoy and learn from, so I guess there's bound to be a lot of directions I'm not expecting. I know which artists are doing it for me at the moment so the label will really go wherever they want it to, it really needs to develop beyond the embrionic stage before it takes on a life of its own and starts deciding its own fate, so to speak. We all like playing together so I'm hoping we'll be able to put on some nights ourselves, but not until we can do it exactly how we envision it, no compromises. There are a few surprises I'm working on as well but thats strictly between me and my brain at the moment.

Are we going to see any releases from yourself on Fulcrum Records in the future?

Currently, I'm not planning to release my own music through Fulcrum. That could change a bit further down the line, but there are a few things we've got planned before I'd think about putting out my own tunes ahead of other guys on the roster. I did originally plan to run the label on the sly and not tell anyone it was me but people work these things out pretty quickly, I didn't want to stop playing Fulcrum tunes in my sets, so it's worked out like this instead. My tunes tend to randomly vary in style quite a lot from one to the next so it wouldn't really make sense for me to release any of my own music through Fulcrum until I was happy with some tunes which fitted in with the label as a whole.

FULCRUM 001 is out on the 16th July on wax and will be made available digitally soon after. Here's a mix that was posted up on Fulcrum's Soundcloud in February to give you a taster of things to come.

Fulcrum 2012 Mix

Featuring DEETRON

Today we welcome something a little special. Deetron, a superior producer and DJ in the House/Techno scene, and a name that has been firmly fixed in our memory since the release of 'Starblazer' back in June last year, has answered some questions ahead of his performance at Flux on Wednesday 22 February at Mint Warehouse.

Deetron, you’ve just embarked on your world tour. How has it been so farʔ

It's been absolutely great, the tour kicked off nicely down under and took me all across Europe with Asia and the US coming up in the next months. I'm glad to see how well the Balance release is received and appreciate the reactions from the crowds. Some of the highlights were Panoramabar on the 1st of January, Trouw in Amsterdam, the Balance launch at Corsica Studios in London, Bob Beaman in Munich and Lux in Lisboa.

You grew up in Berne Switzerland. How did you first encounter dance musicʔ

After I had been deejaying Hip Hop for a while, I started to run a little youthclub in a village outside of Bern This was where I got introduced to early Hip House records by a friend of mine and I was instantly hooked.

The tour is to promote Balance 20, your new mix CD. The Balance series is a pretty big deal – did you feel the pressure at all? Do you make sure to play a lot of the featured tracks in your sets?

I didn't feel the pressure from previous versions or the reputation of the series but more so from myself since my aim was to create mixes, which can stand the test of time rather than just featuring current big tracks. I do play a good amount of tracks from the CD as they're personal favourites but mixed with a lot of different and brand new material obviously.

You’re known as a meticulously tight and technical mixer. Lately, you hear some DJs claim how it’s all about the loose, rugged mix – what’s your take on the power of the smooth, seamless blend?

I believe they refer more likely to the calculated and automated beatmatching by DJs using digital systems exclusively because the live element goes missing. That's why I keep using Vinyl and CDs only at gigs rather than a digital setup. I'm making lots of edits and versions
of songs to play out from CD though, which is what I wanted to showcase with the digital CD of Balance 20.

After the success of Each Step, I hear you’re planning to get back into the studio with Seth Troxler? What is it about your relationship that works so well?

Yes that's right, we're currently working on a tune but who knows when that will be ready. Well I'm really into his vocals and lyrics so it was a logical step to cooperate with him. The funny thing is that we still haven't met in person.

If you could go back to any era of dance music, from the Seventies disco explosion in NYC to the acid house raves of rural England, and play a 2 hour set to a packed dance-floor, where would you go and why?

Paradise Garage of course, I would have loved to play in that booth and to experience Larry Levan live.



Finally, you’re headlining the Flux 1st Birthday in Leeds next week. Have you heard anything about Leeds' scene and the new Mint Warehouse space? What can we expect from your show?

Yes I did hear quite some great things about Mint and I'm really looking forward to playing there. You can expect a set of good music!

Thanks for your time, we look forward to seeing you on Wednesday!

DOWNLOAD: LWE Podcast 112 - Deetron

01. The Loop Digga, “Sounds of the Studio” [Madlib Invazion]
02. The 7th Plain, “Seeing Sense” [General Production Recordings]
03. Pinch & Shackleton, “Rooms Within A Room” [Honest Jon's Records]
04. Moritz Von Oswald Trio, “Pattern 3″ [Honest Jon's Records]
05. Junior Boys, “You’ll Improve Me” (Caribou Remix) [Domino]
06. No Boundaries, “Modular Pursuits” (Dahpni Cwejam Dub) [Planet E]
07. Mr. Fingers, “Stars” [Alleviated Records]
08. The Mole, “Love Is The Way” [Haunted Music]
09. Floating Points, “ARP3″ [Eglo Records]
10. Life & Death, “Step Aside (Lightweight)” [Visionquest]
11. Rocketnumbernine, “Matthew & Toby” (Four Tet Remix) [Text Records]
12. Scuba, “Flash Addict” [Hotflush Recordings]
13. Boddika & Joy Orbison, “Swims” [Swamp 81]
14. James Blake, “At Birth” (Edit) [R&S Records]
15. André Lodemann, “Where Are You Now?” [Best Works Records]
16. Martyn, “We A You In The Future” (Redshape Remix) [Brainfeeder]
17. Ethyl & Flori, “Shelter” (Rolando Remix) [Secretsundaze]
18. Scott Grooves, “Detroit 808″ (Beats) [Natural Midi]
19. Omar S & Ob Ignitt, “Wayne County Hill Cop’s Part 2″ [FXHE Records]
20. The Reese Project, “Direct Me” (Marty Hardy Mix) [Network Records]
21. M.A.N.D.Y vs. Booka Shade, “Home” (Kollektiv Turmstrasse Interstellar Mix) (Edit) [Get Physical Music]
22. Little Dragon, “Thunder Love” (Mario & Vidis Redo) [Philomena]
23. Matthew Dekay & Lee Burridge, “Für Die Liebe” (Dub) [All Day I Dream]
24. Radiohead, “Bloom” (Jamie XX Rework Pt. 3) (Edit) [Young Turks]
25. Sepalcure, “Inside” [Hotflush Recordings]

HH MIX #024 - JOSH T

Our mix series is going from strength to strength and as we push on with no genre boundaries, this time we've called Josh T into the hot seat for you to find out a little more about one of the key players in Leeds' party scene and our first all vinyl mix.

You're based in Leeds - have you been here all your life? Where did you grow up and how did you get into music?

I grew up in Cambridge, where the music scene is small but pretty cool. There were loads of illegal parties in meadows, tunnels and warehouses when I was growing up, kind of cut my teeth at those. Aim was always to come to Leeds and get stuck into it up here whilst doing a degree. The degree only lasted a year but I'm still here!

You're the co-founder of Louche, right? Give us a bit of background on Louche. How and when did it first come about - did you launch the club night at Mint? (We're very envious of you getting to play regularly in Mint!)

Yep its a lovely place to play, it never gets old : ) Three of us started it- brinsley, ed and myself, we'd been partying together for ages and thought there was a bit of a gap in the market for a house/techno party at mint. Brins applied to throw this charity party for oxfam, we all agreed mint was the place for it, they took us on for the one night, it went well, so we took on a regular slot and Louche was born!

What came first, DJing, production or promoting?

DJing, been doing it for almost 10 years now. Old tosser! Then came producing, then promotion. They all kinda go hand in hand nowadays.

How long have you been producing and where does your unique cross of Hip Hop/Funk/Disco style come from?

Flattering : ) I guess just a love of different genres of music - I was into hip hop and that from about 13ish before getting into house music. Really been feeling the hip hop again over the last year or so, so started digging up shit that I used to listen to, and think about how I could gel them together. I love sampling shit too, it’s such an art.



You're productions have started to get picked up by various labels, most notably, 'Green Surprises' made it onto the Hot Waves compilation alongside some well respected artists in the scene - how did it come about?

This is why I said producing/DJing and producing came hand in hand. We book Lee Foss a fair bit for Louche. Gave Fossy the tune and he liked it a lot. Richie Ahmed played it at Burning Man last year, apparently it went off (wish I had been there) so they signed it up.

Green Surprises - Josh T


Is there a Louche label in the pipeline?

Yep, it’s definitely gonna happen, but we wanna do it right so not rushing into anything just yet.

Have you any views on the absence of quality control taking over the internet with the mass of digital upstarts?

Yeah I guess there are loaaads of labels putting music out, but I reckon the good stuff always rises to the top. And if you uncover a gem that no one else has found then fucking sweet! Lots and lots of new music can't be a bad thing. I've been buying lots more records these days (the podcast is all vinyl) and it’s easier to keep on top of new releases as there aren’t as many as on Beatport or whatever.

5 artists too watch in the coming months...

Well you've already had Louie Fresco do you a mix - he's gonna blow. He's got an album coming on no.19, which we have done a tune together for. Other than that people I'm digging at the minute are FaltyDL, Dam Funk, Jacques Greene, Vakula, Tevo Howard. Not all up and comers but all so so sick in my opinion. There's these dudes coming to Wolf + Lamb called Pillow Talk that are gonna be pretty big I believe. Alexis Raphael is smashing it at the minute. And Laura Jones.

Any news on forthcoming releases from yourself? What should we look out for?

Apart from the tune myself and Louie are working on - quite a slow progress as he lives in mexico, not a lot. I'm actually writing this from a ferry on the beginning of a three week trip to Berlin. Got all my studio gear in the boot of my car and am hoping to get loads done over there. I'll keep you posted! Done a tune with a mate called Emma who's a wicked singer, we'll be doing more of that kinda stuff before the end of the year definitely; the one we have down already is niiice.

Tell us a little about this mix...

All vinyl from my collection over the years - apologies, one of them in particular, the Blaze tune, is pretty scratchy! Bought a Moog lowpass filter for producing last week and routed the sends of the mixer thought that. You'll hear me fucking about with it. It makes this amazing anaologgy resonant wobble when you bring the cut off down. Definitely gonna start playing out with it after this mix. Smashed it out in one take when I came home slightly pissed from the pub on Monday night. Chuffed with it to be honest. Hope you guys like it too.

DOWNLOAD // STREAM

Thanks for your time Josh, all the best.

HH MIX #022 - LOUIE FRESCO

As we push on with our mix series, super hot talent Louie Fresco steps up the heat a notch. Not only does this guy produce, run a burgeoning label but also is the manager of El Internacional, one of the leading clubs in the vicinity Mexico. Next up they have Art Department with a 1500 strong guestlist on Facebook! We wanted to make sure you had plenty of information to fill the memory bank so we caught up with him for a quick chat.

Tell us a bit about yourself and your musical roots...

I'm from one of the hottest places on earth: Mexicali B.C. Mexico. Summer time don't play around here, it gets pretty nasty. But it's a cool place to kick it, it's super safe and it has one of the best the electronic scenes in Mexico. I used to play guitar and drums back when I was in a band. I think I got into music thanks to one of my cousins back when he introduced me to Pink Floyd and Michael Jackson and my brother who introduced me to R&B and New Wave. When it comes about music they always showed me the ropes. If they discovered a new artist/band they showed them to me almost immediately.

I've had a back & forth relationship with electronic music. Loved it in the early 90's, then I loved grunge, back with electronic music thanks to Cassius, Daft Punk, etc. then I discovered hip hop. Back again in the late 90's with trance music and then I finally became a full-on electronic dance music lover in 2005.

How has your music taste changed over the last year or so?

A lot. I have to thank a few friends and a few producers out there for showing me these new sounds. I always thought sole purpose of making a dance track was to get people dancing on the floor, but I couldn't help to notice how a lot of talented producers started making dance music with various kinds of melodies and all of that goodness. I instantly fell in love with these new sub-genres.

You run a label called MEXA Records - why did you decide to start a label?

Cliche answer: "I just want to get my music out there"

It's true though, but I also want local, national, and some international talent to have the chance to be discovered. There's a lot of hidden gems to be found out there. Many acts here in Mexico and Spain have caught my attention. There's is also a lot of raw talent here in Baja California, with the proper tools they could be living their dreams.

Your 'Cold As Ice' remix has grabbed the attention of many including No.19 label owner Art Department. How did this remix come about?

This is a really long story. I will spare the details though. I did that song quite a few months ago. A friend of mine came to my apartment and told me Lee Foss uploaded a video with the same samples I used on that song. (the song my friend refered to was Modern Amusement - Cold As Ice, and that day I found out that the song was done a few years ago by Lee). I contacted Lee and Jonny. Jonny wanted my song to be a part of the EP. Being a huge fan of Mr Foss and Art Dept this was a no-brainer so I sent Jonny the song. The rest is history. So I really have to thank Lee and Jonny for giving this huge opportunity and of course my friend for stalking Lee Foss' facebook profile!

Cold As Ice (Louie Fresco Remix) - Modern Amusement


Top five tracks at the minute?

• Fish Go Deep - The Cure and The Cause (Russ Yallop Remix)
• Jamie Jones feat. Art Department - Our Time In Liberty
• Luca C & Brigante feat. Ali Love - Morals (Clockwork Remix)
• Richy Ahmed & Miguel Campbell - Tell Me
• Tale Of Us - Winds Of Change

Favourite sandwich filler combo?!

Meatballs with marinara, cheese, olives, and bacon.

What have you got lined up release-wise?

I'm gonna be doing a few collaborations with some people I really admire and some remixes for some very talented producers. I do have a few remixes coming out on Defected Records, another one OM Records, and the remix I did for Ali Love coming out on Dim Mak. I'm also working hard on my album for No.19 and my first EP on my upcoming label MEXA Records.

Tell us a bit about this mix - how did you go about it, was it recorded live?

This was recorded at a private party using CDJs, I just hit REC and started playing songs that I really like at the moment.

Thank you for your time, it was a pleasure.

From the quality of this 1h48mins seamless recording, we reckon this man knows a thing or two about mixing - you'd be a fool not to have it in your summer playlist.

DOWNLOAD // STREAM

01. Fred Everything ft. Vanessa Baker - Friday (Crazy P Remix) [OM Records]
02. Mark E - R&B Drunkie [MERC]
03. Richy Ahmed & Miguel Campbell - Tell Me [forthcoming Hot Creations]
04. ???
05. ???
06. Benoit & Sergio - Everybody [DFA]
07. Nick Lawson & Matthew Burton - Gruff It [forthcoming Visionquest]
08. Richy Ahmed - Killah Velvet (Richy Ahmed Edit) [unreleased]
09. ???
10. Miguel Migs - Everybody (Nav Izadi Remix) [forthcoming OM Records]
11. Nina Kraviz - I'm Gonna Get You [Rekids]
12. Fish Go Deep - The Cure And The Cause (Russ Yallop Yooou Mix)
13. ??? (Louie Fresco Remix) [forthcoming Defected Records]
14. Danny Daze - Fall Away From Love [Hot Creations]
15. Jus' Bros - The Truth (LF Edit) [unreleased]
16. Miguel Puente & Sishi Rosch - Serious Compassion [No.19]
17. ??? (LF Edit) [unreleased]
18. Lula Circus - Miami Vice (MANIK Remix) [Stranjjur]
19. Greg Paulus - Nightime (Crazy P Remix) [Wolf + Lamb]

Featuring BUILD

To follow up from Build's biggest release to date, a very smooth sounding collaborative album entitled 'Joint Ventures', label boss Baobinga answers a few questions exclusively for us...

Hi Sam. First of all, congratulations on ‘Joint Ventures’ – a fantastic listen. Tell us a bit about yourself and how you first started up in the UK music scene.

Glad you like it! As far as I go, I got into dance music through jungle and techno, and then followed my way through an obsession with interesting drums along many twists and turns to wherever I am now...

In 2011 new labels seem to be appearing all the time, but what motivated you to start a label back in 2009?

Well, I'd got a bunch of tunes stockpiled that all seemed to be hanging together quite well, and the opportunity arose to get the label going without having to risk a huge amount of capital upfront (thanks Multiverse!), so it was a case of the right situation arising at the right time. I'd been thinking about doing a label for a while, but it was only around 2009 that it seemed as if the barriers between genres and styles had broken down enough for me to be able to do the kind of label I wanted to do - i.e. one that wasn't pushing a specific narrow stylistic agenda.

You have just released the vinyl of BUILD006, a collaboration between yourself and Guido. How important do you think it is that labels continue to put tunes out on wax?

I think it's very important, even in the sense that although sales aren't great at the moment, people still respect a vinyl release over a digital-only record - and this applies to young producers who don't really buy much or any vinyl, they still feel that a vinyl release gives a record some kind of 'reality' or solidity. For me personally, I love vinyl and I love the culture of record shops, so I'm happy to be able to contribute in some way to keeping that going.



You have collaborated with so many different artists, from Mensah to Cosmin TRG. How do you find collaboration as a way of producing and have there been any which just haven’t quite worked out?

I really enjoy working with different people - it's a great way to learn new tricks and it kind of forces you to come with your best stuff as well! When a collaboration works really well, I think you can hear elements of both producers in the track, but there's also something there that you wouldn't normally find in either producer's work - that's the exciting element and what makes the whole thing fun. There's been a couple that haven't worked out, but I think that has generally been down to scheduling issues and general lack of time on both sides, rather than any kind of dramatic personality clash with people storming out of the studio, smashing synths and threatening violence!

Trans Pennine Express - Baobinga & Jack Sparrow


What was it that persuaded you to launch into the ‘Joint Ventures’ project, does it feel like quite a big departure from the run of twelves that have preceded it?

For me, I feel like the album is a continuation of the direction the label has been taking over the past 2 years, and it also served as a useful marker to work towards - a big project on which I could focus my energies. Obviously, the label has almost by accident become a showcase for collaborations, but beyond that, the album presents a wide range of tempos and styles, which is something I've tried to do with the singles as well. The level of work that goes into promoting an album is definitely a step up from putting a single out though - I need a week on a beach!

As you said, the album sees you producing at a range of different tempos, is this something that you can see yourself doing more of in the future?

Yeah definitely - particularly in terms of D'n'B, and the slower house stuff. Those tunes were really fun to write, as they have such a different step on them, compared to the more usual 125-140bpm range. Switching tempos is another thing that can keep the process of creating music fresh and exciting, which is important if you want to keep making music that is fresh and exciting!

Gun Talk - Rider Shafique


The "UK Bass" scene seems to have been morphing constantly over the last year or so, how important do you feel a strong local scene such as the one in Bristol is to the development of a distinctive sound?

I'm not sure location is quite as vital as it used to be back in the day - for example, the way certain clubs and record stores were instrumental in developing disco, house, jungle or dubstep for example - but it is great to be working in a city where there are so many talented people doing their thing, and also willing to mix it up. For example, at Pinch's monthly Dubloaded night, you'll see everyone from house purists to grime kids getting together and chatting and checking stuff out, and that is a big part of what makes Bristol exciting. The rise of the internet has reduced the importance of physical location, but then again there may well be a backlash against that, where people want to feel that what they are listening to is rooted in something real. I guess the rise of Berghain techno links in to this - the strength of that sound is very much tied with ideas about Berlin and that particular club, which adds weight to the story behind the music.

And finally, what is your vision for Build during the second half of 2011? Any exciting new artists you think we should be keeping an eye out for?

I'd like grow Build as a brand - doing more Build themed rooms, as we have a wide range of artists involved in the label now, and the Build nights we have done have worked really well. We'll probably put out another single from the album, maybe with some interesting remixes, and I'll probably work with some more people that are making interesting music at the moment. I've got a couple of names in mind, but I'm going to keep them under wraps until everything is sorted. I'd like to see more releases from Kahn this year, and I'm also hoping the slow house thing will blow up a bit - check out Behling for some quality mixes in that vein; proper heavy slow groovers!

Thanks, Sam!

You can buy 'Joint Ventures' for the bargain price of £7.00 direct from Build's website.

And if you want a little taster, check out this free track from Baobinga & Randomer.

Introducing KOMMUNE1

Kommune1 got in touch back in November but after a lot of slacking on our behalf we've sorted a few questions which will hopefully ground his name in your memory. His productions come out in a variety of flavours but all with an strong emphasis on getting the dancefloor moving. This is his latest and also our favourite...

Riddim Riddim - Kommune1


Where are you based, how old are you and what do you do when you're not making music?

I'm from MIddlesbrough originally but currently residing in Scunthorpe. I’m 23 and when I’m not making music I’m mixing, cooking or reading Irvine Welsh.

How did you get into making electronic dance music? Where do you get your influences?

At the back end of the 90s, when I was between the age of 10-12 I was massively into the trance scene but during the early 2000s I found myself getting into Garage and House. The guitar was my initial instrument but when I started a band in 2004, I saved up for the whole summer working a shitty kitchen job to buy a microKORG. Getting into synthesizers and synthesis at that time merged together with my newfound love for the older types of electronic music I found myself listening to stuff from the 70s and 80s. I was blown away as it sounded so futuristic for when it was released. Then Ableton came into my life (about a year and a half ago) during my degree in music tech and I started making a proper effort making music by myself. Ever since I've just been improving my mixing and production whilst thinking outside the box generally.

My main influences would have to be; Kraftwerk, Afrika Bambaataa, FaltyDL, Derrick May, Steve Reich, Zed Bias, Prince, Harmonic 313, and just about everything released on Trax Records.

Communiques for Tape - Kommune1


What are your plans for releases?

At the minute I’m just building up a fan base, sending music to DJs and getting in touch with blogs to try and boost my persona. Hopefully it won’t be too soon before I get my first release, but up until then, I’m just going to keep making tracks and sending them to the people in the know.

Who's been supporting your tracks?

I've had support from Blawan, Brackles, Pariah, Dark Sky, Ben UFO off the top of my head, and a few DJs who have shows on Sub FM and Nasty FM.

Favourite artist/s at the moment?

Difficult question to answer but I’m really liking the new Clark track ‘Baskerville Grinch’, the Hessle Audio ‘116 & Rising’ collection is all killer, Addison Groove is releasing some cracking EPs and Blawan’s ‘Getting Me Down’ is probably my tune of the year thus far.

We hope it's only onwards and upwards from here. He's been kind enough to offer a track to you readers, a track that you can't find anywhere else on the internet as yet; on a similar vibe to some of Midland's tracks...

Moving On (Mvt. 1 & 2) - Kommune1 [exclusive download]


Make sure you keep up to date on Soundcloud and Twitter.

Featuring MOSCA

Tom Reid, also known as Mosca should need no introduction to any bass music listener. 2010 was a massive year with a string of stellar releases. First off ‘Square One EP’ dropped as Night Slugs' debut, then came the ridiculous remix of T Williams’ ‘Heartbeat’, which is still one of our favourite tracks and December finished off the year with the infamous ‘Tilt Shift’ and unmistakable grimey rework of C.R.S.T’s ‘Dance’.

Tom, tell us a little about what you’ve been up to recently - Bruk Magazine seems to have taken a backseat this year so I guess you’ve been busy...

Nothing but production and raves. If you come hear me at a dance I'll be playing about 10 new tracks of mine and counting...

Your productions have huge grime influences mashed with a load of other styles. How do you go about making a tune, where do you start?

Normally I make stuff aimed at a particular label so that defines a lot of it - Night Slugs aren't gunna put out a dancehall record you know? Nowadays I have more of an idea of how I want a tune to sound, but I'm still open and I still scrap huge chunks or whole tracks if they're not 100% right.

Heartbeat (Mosca Remix) - T Williams


Someone said to me you produce with just headphones and no midi keyboard – is this true?

It was until about January. Since then I've got monitors and a keyboard. I still think it's a good idea to listen on headphones/laptop/phone because that's how a lot of people will be listening to your tunes. But the monitors are obviously great for space and bass in your music.

How did the Four Tet remix come about?

He went: Mosca, would you like to remix my tune? I went: Four Tet, yes.

Haha - as simple as that. If you were offered the chance to collaborate with anyone; vocalist, producer etc, who would you choose?

Probably Kartel or Mavado. In terms of producers maybe Karizma, Kerri Chandler, a big name like that I'm not just gunna bump into at a rave.

What’s coming next in terms of releases? Is there an album planned for anytime in the near future?

Next up is a release on Numbers, two garage/bassline bangers called 'Done Me Wrong' and 'Bax'. Then I'll have some rugged kinda techno stuff on 3024 as well as loads of house, bashment, grime, and some more Square One type sounds, whatever u like to call that style. A couple of collabs I'm excited about as well. No album yet... I don't feel people know what Mosca's about yet, but when the time comes I'll see what I can do. It would be a weird album though, soulful house next to dancehall next to more experimental stuff and all that...

If one types in ‘nike mosca juno’ to Google, the second link is a mediafire download, above the two Juno links – how do you feel about the whole internet sharing etc? Is it something producers just have to accept these days? Why should they?!

I'm fine with it really. You've done it, I've done it. A lot of the time it's when people in a certain country can't access the music legally. People have this preconception of the internet being global therefore what they can buy online, other people can buy online. But it doesn't work like that. If your music is being shared on say, a Russian site, and you get some new fans and a couple of raves in Russia, you're sorted anyway. I don't rate people who don't ever spend money on music, but what we in the music industry need to understand is that not everyone is as passionately into music as we are! Some people can take it or leave it so ask yourself would you rather they listen to your record or not, cos that's what it comes down to.

Which new producers are on your watch list?

Blawan.

You recently played in Mint Club in Leeds at Bigger Than Barry. Mint is up there with one of our favourite clubs to play in - do you have a favourite?

Yeh Leeds was hectic. But I always say as long as the sound is decent, then the rest of it is all made by the crowd. If you play a superclub but nobody's vibezing then the night's a flop. Any club can be legendary provided it sounds good, reasonable prices etc and the crowd are on it. But Plastic People is up there for me.

Tilt Shift - Mosca


You’re playing Glade Festival this year 10-12 June on Motion’s BETA stage. What other festivals are you making an appearance at?

I'll be in Croatia three times over the summer for Electric Elephant, Outlook and Stop Making Sense, as well as Secret Garden Party in the UK and maybe some more to be confirmed.

Thank you for your time.

Make sure to keep track of Mosca’s movements on Facebook, Twitter and Soundcloud.

Featuring WELL ROUNDED

Here goes with the launch of a new mix series - this one is going to be for labels/label owners.

We haven't done one of these interview things for a while - we like to keep them special so this time we're pleased to announce we have Donga in the hot seat, the founder of Well Rounded Records. For those that don't know, this is label where Deadboy had his massive debut release 'U Cheated' which gained the attention of the masses. We wanted to know some more about the man pushing behind all these quality releases, so we had caught him for a quick chat.

Donga, tell us a little about yourself and your musical background...

Well I live in Brighton, UK and spend my time between indie record shops buying 12" singles like my life depends on it. I help out in record shops in town, run a vinyl label and get to DJ a bit so pretty much all areas of my day to day life revolve (no pun intended) around records in some way.

I've been DJing and producing since 1993 as well as drumming in a number of bands with varying degrees of success in underground terms i guess.

Why did you decide to start Well Rounded, and is there any meaning behind the name?

I started the label initially to release Deadboy's debut EP, as I thought it was so bloody good, I then added a second release by myself and 2 friends under the name Ultrasound to test the water. These did well enough to provide the opportunity to tentatively keep going - Ben Hackman was good enough to work with us on our third release and then Deadboy delivered Cash Antics 1. It's just continued from there...

And the name blatantly refers to the physical roundness of records as well as referring to 'well rounded' the expression, my adapted dictionary definition of which is "Comprehensively developed and well-balanced in a range or variety of musical vibes".

Have you any advice for new labels starting out?

From a vinyl label’s point of view, this is probably accepted wisdom but don’t view this as an easy career path. The market for vinyl is pretty small and specialist and you can’t afford many mistakes. I take the view that if you calculate the risks involved and can handle any outcome, then you've got nothing to hold you back from giving it a whirl.

How did you and Deadboy start working together? Did you expect that first release to do as well as it has? Would you say that release, in a way, put Well Rounded in the game?

I've actually known Allen (Deadboy) for a number of years. We met each playing in bands that performed together on various bills. It wasn't long before we discovered we both had interests in a diverse range of dance music - not as common amongst the majority of our then peers - so I guess that brings you together. We've been to Sonar and Bloc festivals a few times over the years and he's been a great support haha!

Jackmaster (of Numbers) was hugely enthusiastic about ‘U Cheated’ and Oneman smashed it too so we knew before it came out that there was a fair amount of anticipation and yeah were pretty confident. It definitely kicked us off with a fair profile but I always knew each release was going to be quite varied, so the challenge was to avoid worrying about trying to follow it up or compete with its success and just stick to our musical instincts.

How's the Brighton based club night coming along?

It's going pretty good. I am fortunate to be working with Paul from Aka Aka Roar who is doing a large proportion of the promoting. Aka has to be considered as one of the best nights Brighton has for more underground music, consistently booking people that go on to be significant and key players such as James Blake, Girl Unit, Jackmaster, Ben UFO. The list goes on and on.

We've been aiming for something slightly lower-key with Well Rounded, compiling line-ups balancing artists on the label and producers and DJs that we respect. 3 dates in we've had Deadboy, Doc Daneeka, Hackman, Submerse, Altered Natives and 2562. I really want to get the formula perfected for our night. It's another learning curve like the label

2010 has seen some massive releases on Well Rounded personal favourites being 'Cash Antics Volume 1' & Submerse's 'Hold It Down'. What have you got in store for us in 2011?

Thanks. Cash Antics 2 has just dropped, there's talk of maybe extending the series onto a third. We shall see. And Submerse has kept some special bits under the radar for us that I think will surprise interested parties - he's quite multi-faceted.

We have a hell of a lot in the pipeline. Don’t want to get too far ahead of myself so I’ll just mention the next few projects.

The next Well Rounded 12"/digi EP is by Nottingham's Littlefoot. I guess often perceived as a future garage producer he has however been expanding his sound of late - dropping tempos and channelling influences into a 4/4 Detroit techno meets UK garage hybrid. He’s definitely got his own flex. It's really exciting to catch producers as they are in a new transitional stage. Felt the same way around the Hackman EP - really excellent stuff with an indefinable quality. This will be in the shops in January.

I've also somewhat crazily committed myself to founding 2 new outlets - once again all releases on vinyl. The first new label is Individuals. The main thing to note here is that the styles represented will be quite removed from the usual Well Rounded sound. We would like each of the releases to be viewed as a stand alone self-contained project and we want to let the genre change from release to release in any direction at all. It's just about highlighting producers who are exciting and innovative in their own field whether that is downtempo, electro, juke, techno or whatever. The first release is a banging Juke affair from Wheez-ie from Texas in the US. I believe he stamps his own authority on the Juke template and brings in ideas that are unique to him. The EP is good and broad including a slower jam (at 140!), 2 heavy havoc-inducers and a haunting tune called 'Leave Her Alone' that had me flipping out. This should also hit the streets in Jan.

The second label is Well Rounded Housing Project - as the name suggests this will be a dedicated House label as that remains the cornerstone of my taste. I have 5 or 6 releases lined up for this, including some quite fancied bits, but I’m just trying to decide which to launch with so keep your eyes peeled for info shortly and expect some tasty platters ;)

Watching you play at Pubstep on vinyl was very impressive, is shopping for records like it used to be?

My father was a DJ so I grew up with a man coming in from record shopping and checking out his new tunes at considerable volume with palpable excitement. I think this is one of the few ways we could bond and my fate was sealed haha! It's influenced everything. He had such broad taste - from Disco to Punk to Irish jigs. I think that exposure to so many different styles of music can be seen in the A&R philosophy of the labels - though I wasn't consciously aware of this until recently.

I got my first regular DJ gig at a club in Tunbridge Wells that burnt down sadly. I played records between bands during the first half of the night, then at 11 they moved the gear off the stage which then became a mirrored dancefloor - loads of lights though I experimented freely with utter blackouts at strategic times. I was getting hammered and playing early UK Breakbeat Hardcore, Belgian rave and some Industrial US techno VERY shoddily and swearing down the mic at people. They seemed to really enjoy it. This was 1991. So nearly 20 years outside the bedroom!!

Record shopping is still the same for me though there are fewer places to go. Brighton's got quite a good number of shops though - I favour Rounder, Edgeworld, upstairs at Wolf & Gypsy and Rare Kind. I limit my search to what I physically discover in front of me - so no mp3 or CDRs in my sets. This helps me to focus my search nicely I find. I don’t particularly want to play the same records as you - so I look closely at different genres, checking all the b-sides etc, looking for the lesser-spotted gems! That's trainspotter talk for ya!

I do find having worked behind the counter in various shops over the years that people don’t seem to have as much patience or commitment to checking out new stuff. They come in armed with info off the internet and that's pretty much all they want to find. Also because mp3s are cheap people are a lot more hesitant about parting with the cash for wax. I have readily accepted that vinyl keeps me poor. I guess I’m from a different generation where vinyl was the only option and that's why I’m resistant to change!

Who's impressed you with their productions the last couple of months?

Outboxx from Bristol definitely - got something coming with us - and James Fox's 'New Jack Swing' is a peach! Zoltan Isz from Romania has a special take on heavy and driving house that I’m feeling; Graphics is doing something refreshing at 140 - not easily falling into Dubstep or garage categories. South African house really excites me - seems more raw and instinctive and less considered than some British based stuff. Julio Bashmore is brilliant. Gongon & Bad Autopsy. I'll stop here coz I keep thinking of more and more!!!

Can we expect some more productions from yourself?

Every now and again. Our Ultrasound and Donga & Blake EPs have been quite low-key compared to the other WR releases, but I stand by them hard. I guess the stuff I get involved in is generally a bit subtler. I would never sit down and try to make a grimey-banger - i mean that's not me, though I can appreciate those tunes when made by people who truly identify with harder styles. It's gotta come from an honest place.

Thank you for your time. We’re looking forward to all that forthcoming material. On another note, we have our Brighton club night launch on the 19th of February at Jam with Shortstuff and Tom@Ramp; hopefully we'll catch you there.

I WILL be there - in the shadows I expect haha!

001: Well Rounded Records [mixed by Donga]

01. Doves – Birds Flew Backwards (Chris Watson Remix) [For Us]
02. Cottam – 4 [unknown]
03. Space Dimension Controller – Transatlantic Landing Bay [R&S]
04. Romanthony – Fall From Grace (Tony’s Main Mix) [Azuli]
05. FCL – ‘Let’s Go’ [We Play House]
06. Altered Natives – The Rain [Boscomi]
07. Mical Rhebess & Pevanu – Look Twice (Take II) [Ojodeapolo]
08. Deadboy – Fireworks [Well Rounded]
09. Martyn – Shook Up [3024]
10. Redshape – Future Shock [Delsin]
11. Sunship – Almighty Father (Solid Groove Remix) [White]
12. MCMLXXXVII – Work [unknown]
13. Round Two – New Day [Main Street]
14. Isolee – Jelly Baby [Playhouse]
15. Littlefoot – Great Dark Spot] [Well Rounded]
16. Richie Hawtin – ‘Monkee’ [Minus]
17. Dubbel Dutch – Pulso [unknown]
18. Joy Orbison – BB’ [Doldrums]
19. First Choice – Let No Man Put Asunder (Ron Hardy Re-edit) [White]
20. Theo Parrish feat IG Culture – Traffic [Kindred Spirits White]
21. Caribou – Sun [City Slang]
22. Doves – Birds Flew Backwards (Chris Watson Remix) [For Us]