Posts Tagged ‘A Love From Outer Space’

Tusk Turns Three!

This February sees an important anniversary of one of our favourite parties, Tusk! Promoters Ant C, James Baillie and Chris Camplin have been bringing over some of Europe’s most impressive underground electronic music talent to our lazer basement for three years now! With previous guests including Andrew Weatherall, Craig Richards and Doc Sleep, we can’t wait to see what they have planned for 2018. They’re kicking it all off with Ostgut Ton legend and Dalston Superstore favourite Prosumer! We caught up with the boys to chat past highlights, favourite club nights and 

You guys have been throwing your TUSK night at Superstore for three years now! That’s awesome, happy anniversary! How did the three of you meet and start promoting together? 

Ant C (AC): Thanks! Time sure has flown. It’s been a lot of fun. Thanks for having us! I’ve known the boys socially for years from out an about around London.

Chris Camplin (CC): Yeah, we would bump into each other at our favourite dance floors – in fact I think I met both James & Ant at Horse Meat Disco initially. I know James came back to my place for a post-HMD afterparty one bank holiday Monday.

James Baillie (JB): It became obvious we all had a love for music, so I took the idea to Chris and Ant about us doing our own night and TUSK developed from there…

For those that have never been to your party before – tell them what it’s about (and what they’re missing out on!)

CC: Amazing music, great DJ lineups, stellar crowd, lasers and that awesome DSS basement sound system.

AC: Yep, that pretty much sums it up. We just want people to have as much fun as we’re having. I do love me some lasers! We bring in some extra lasers for TUSK and the boys have started calling me Laser Minelli. I kinda like it!

If you had to sum up the TUSK sound in one track, what would it be?

CC: For me it would be – Tiga – Love Don’t Dance Here Anymore (C2 Remix 1)

AC: Tough question – I think it would have to be Markus Gibb – Tohl (Original mix) – Always seems to go off, plus I tend to layer it up with a vocal loop from Voodoo Ray, which fits nicely.

JB: For me it would be Shake It by Fantastic Twins.

Who have been some of your favourite guests over the years?

AC: We try to keep things fresh by working with people who have something individual to bring. Doc Sleep was awesome – she really worked us out. Ewan Pearson for his musicality. A Love From Outer Space (Andrew Weatherall and Sean Johnston) when they took over the basement all night for our Pride Special in 2016. Ketiov was great too and a world exclusive for us!

CC: Ketiov, Doc Sleep & Nail have been some of my faves.

JB: A Love From Outer Space, Craig Richards and Doc Sleep.

Has there been an overall highlight for you?

CC: Being able to book some of my favourite DJs and producers at one of my top clubs.

AC: As Chris says, being able to work with some of the people we have admired for years. Everybody has been super nice and its been interesting to hang out and chat with them about their experiences and get their advice and input.

Your special birthday guest is Prosumer – why did you choose him to ring in your fourth year?

CC: I think Prosumer has a special place in all our hearts and we’ve been discussing booking him for some time now and everything just landed into place!

AC: Yeah – absolutely. I met him at Glastonbury a few years ago and we got chatting and stayed in touch. I think he liked what we were trying to do with TUSK and seems much more open to working with people on that basis, rather than just going for the huge shows. I tried to make it happen during 2017, but we couldn’t make the dates line up – so the third birthday party seemed the perfect choice to have him with us!

What are some of your favourite club nights in London at the moment?

CC: Of course at our sisters Discosodoma and Homodrop at Superstore are up there along with the legendary Horse Meat Disco.

AC: All of the above. I’m also enjoying the residency programs that XOYO and Phonox are running – its interesting to get somebody else’s take on who to put together to make a cohesive night of music.

JB: Similar really – A Love From Outer Space, Chapter 10, Discosodoma and Horse Meat Disco.

Any DJs that you would love to work with in the future?

CC: Sure, we have a big list forming. The Honey Soundsystem guys, Midland, The Black Madonna, Octo Octa.

JB: Felix Dickinson, Black Merlin, Job Jobse, Superpitcher, Massimilliano Pagliara.

AC: The list goes on – Jennifer Cardini, Justin Robertson, Optimo, Mike Servito, Marcel Vogel, Derrick Carter – who knows? Watch this space…

Are you pulling out any special surprises for your birthday that you can let us in on?

AC: Now that would be telling…

JB: I’ve got a good few head melting tracks that are not coming out until Spring…

CC: You’ll have to wait and see!    


Catch Tusk at their Third Birthday Bash on Saturday 24 February from 9pm-5am at Dalston Superstore!

Man Power

This Saturday we welcome the enigmatic producer and DJ Man Power to Dalston Superstore’s laser basement for the last Bust Yo Nut! Championed by the likes of Sean Johnston and Test Pressing, but still keeping his identity a mystery, Man Power has been steadily remixing and releasing records whilst only playing a handful of DJ sets around Europe. We managed to send a few questions over email to find out what we could about him…

TOB PODCAST 024: Man Power by Throne Of Blood

This is only your second gig in England, how do you intend to maintain your air of mystery, especially DJing here in London?

I like to cover my face when I play. I think I will do this at Dalston Superstore.

That is, if it is really me who turns up to play. I’m not trying to be deliberately mysterious, but I honestly feel that my face is not essential for someone to enjoy listening to my music. I wish people would look at the DJ less, and look at each other more, when they go out to dance.

If you had a manly super power, what would it be and how would you use that power for good?

I like the anonymous part of being invisible. This holds many naughty possibilities. Not sure that I want to use it for good though.

Where does Man Power originate from? Your Soundcloud says Tokelau, your RA page says France, rumour has it as Eastern Europe somewhere… if Man Power has no fixed geographical origin, where does the concept of Man Power come from?

I like the idea that music can be something that exists outside of physical geography. Genres and influences will always be present, but everything is shared so freely now that the idea of national identity is becoming less meaningful.

The concept of Man Power is something that is unfixed. There are certain sounds and feelings that I return to, but they are dictated by machinery and feeling rather than a place.

Arpeggios feature heavily in a lot of my music, which lends a feeling of time. There is something very 1977 about an analogue arpeggio, which is one of the things that lead to the Man Power imagery. The name is supposed to be a slight homage to the producers of disco and electro like Cowley and Parrish etc.

What’s the latest release or remix due out you can tell us about…?

Next record out should be my remix for an amazing Mexican Live act called Zombies In Miami. It’s due out on Jennifer Cardini’s Correspondant Label, which is among my favourite labels in the world right now. I loved the dark new wave sensibility of the original, so I wanted to stay true to its feel. I have added a bit extra disco stomp to it, with a ridiculously overblown hair-rock guitar line, which hopefully gives my version an over-the-top appeal.

You’ve recently been working with former Dalston Superstore special guests Sean Johnston of A Love From Outer Space and Last Waltz amongst others. Who would you most like to work with that fits the Man Power sound?

Sean has made an amazing remix of one of my songs. I have also been very lucky and Raudive has also remixed one of my upcoming tracks. I love his blend of discordant techno. It’s very spacious and powerful. I think we both have a love for dark synthesisers too.

I also love the beauty and melody that the Hivern artists display, particularly Marc Pinol, Pional and John Talabot. Hivern is another label I am fortunate enough to be releasing my music on, and I hope people will think I am a good fit for their sound.

I am a very big fan also of a lot of Japanese artists right now, and would love to work someone like Cos/Mes or KZA in the future.

You’ve previously cited Patrick Cowley as an influence- does this extend beyond his music and into the films he soundtracked such as School Daze? Is film scoring an avenue you’d like to pursue under the Man Power moniker?

I love Patrick Cowley. His remix of Donna Summer will forever be the greatest piece of dance music ever made. I also love his soundtrack work, as well as that of artists like Vangelis, Moroder and Tangerine Dream.

Donna Summer – I Feel Love (Patrick Cowley Remix) by patrickcowley

I would love to work on soundtracks. I have a fascination with the connection between sight and sound, and I think enhancing a piece of cinematic art with your idea of how it should sound, would be a very rewarding experience.

You’re clearly a lover of homoerotic imagery. What, in your opinion, was a better decade for manly men, the ’50s or ’70s?

The imagery was chosen because it is provocative. Depending on your outlook the images I use can be viewed as homoerotic or as naive and innocent. They can also be viewed as either arousing, repulsive, amusing or passé, depending on the viewers particular prejudices.

I am drawn to using the images from the ‘50s, as I find that conceptually these are the more decadent due to the attitudes that were present when they were taken. They often have a butch quality which was distilled somewhat by the ‘70s.

What outside of music (and pictures of men) influences the music you make?

This sounds pretentious, but I am never consciously aware of anything that influences what the music I make sounds like. The music is normally an edit of some form of experiment that I have attempted without any clear objective at the start.

When I finally start pulling the separate parts together in to some type of music, then certain aspects of genre and style start to reveal themselves, but I’ve never knowingly put them in there and I am never sure how they’ve actually come to be there.

Your album is due out this autumn- what is it called, what label will it be out on, and what’s one highlight from it that you can share or tell us about

The current working title is (Sh)E.D.M., which is an exclusive for this interview and will probably get me in trouble with the very beautiful and talented Jennifer Cardini who runs the Correspondant label, who are releasing the record.

Correspondant is a label that I am in love with, and Jennifer and Noura from the label have been wonderfully supportive and full of advice for the music I am making in general. They have truly allowed me to make the album I want to create. 

I wanted to make something that was more than a collection of dance music 12 inches, and they have been 100% behind this decision. I think I am more excited about this album than anything I have ever done before.

If you had a time machine, what dancefloor anywhere/anywhen would you like to visit?

Without a doubt that would be the original Cosmic club in Italy in the late ‘70s. The experiments that Daniele Baldelli and Mozart did still sound absolutely mind blowing when listened to today. I was lucky enough to hear Baldelli again this summer, when I played at Unknown Festival in Croatia last September. He held an entire audience under a spell for the entire time he played and was still incredibly masterful. Very inspirational from a DJing point of view.

Join Man Power this Saturday 8th February for Bust Yo Nut at Dalston Superstore from 9pm – 3am.

Sean Johnston

Superstore boss Dan Beaumont recently had the opportunity to interview the amazing Sean Johnston, one half of the cosmic A Love From Outer Space. Here, Sean tells us how he got into DJing, how he met his ALFOS partner-in-crime Andrew Weatherall, his exclusive dancefloor killers and all about his ongoing production project Hardway Bros ahead of tomorrow night’s party…

STARTING OUT

It all started in the mid ‘80s. I was a young lad growing up in Hull and my introduction to nightclubbing was the Wellington Club, or the Welly Club as it’s affectionately known in Hull. I used to go to a clubnight there that was run by Ragna Gift, sister of Roland Gift from the Fine Young Cannibals. It was essentially a northern soul and motown night, and the resident DJs were Porky and Steve Cobby, who went on to start Pork Recordings. I used to go down there and drink Newcastle Brown and dance and that was really my introduction to nightclubbing.

My introduction to DJing also came through the Welly Club. Roundabout the summer of 1985, an ex girlfriend of mine who was a student in Leeds said to me, “What’s house music? Have you heard of house music?” and I was like “No, I haven’t.” But being a curious lad, the next time I was in Manchester, I tracked down some records and the first thing that I bought was Hercules – 7 Ways To Jack. After that I was done and that was the only kind of music that I wanted to buy.

I’m pretty sure I persuaded Ragna to let me DJ upstairs at the Welly Club. I’d like to think she invited me but I’m sure I just blagged a gig. I was playing early house records, things like Steve Silk Hurley and Hercules. They were the kind of things you could pick up on Trax and DJ International but at the time there wasn’t enough house music to be playing a whole night of it so I was also playing stuff like Orange Juice and Depeche Mode and Tackhead and a whole bunch of other stuff from my record collection that was danceable.

MOVING TO LONDON

I moved to London in 1988 and I got a job as a booking agent, booking various dodgy indie bands into college balls. As part and parcel of the job I had to go out a lot to a lot of clubs. As a result of this I got to know the two guys that DJ’ed at The Camden Palace and who did the legendary Tuesday night there. It was a really big indie night in the ‘80s run by Jonathan and Eko. Eko was a real indie kid but Jonathan was a bit of a clubber and I used to go out with him to various places when he was dropping flyers off. He took me to Pyramid at Heaven, which was a Wednesday night gig that Mark Moore used to play at and it was probably one of the first clubs in London to play house music regularly. Over the course of that summer things just blew up monumentally. I mean, everybody knows what happened, but it was just the right time to be in London.

MEETING ANDREW WEATHERALL

I was moving in fairly low-level music business circles and I’d gotten to know Jeff Barrett, who at the time was a press officer for New Order and he was just about to start up Heavenly Records. Jeff kinda took me under his wing really; saw that I was enthusiastic about music and saw that I was trying to get things going on the DJ front. Jeff’s a good guy and he helped me out.

Around the time of the whole Primal Scream, Alan McGee thing, Jeff was basically the conduit for the Boys Own guys getting involved with them, so Jeff just introduced me to Andrew. We’ve been in and out of each other’s orbits ever since.

During the ‘90s I made some music for his label The Sabres Of Paradise and over the years I’ve been in and out of the studio and he’s always been interested in what I was doing. About four years ago he rang me and said “Seany, can you do me a favour? My regular driver’s let me down, can you give me a lift to Brighton?” So he got in the car and said, “What have you got to listen to?” And the only thing I had was a CD with a mix that I’d made of stuff that I was really interested in at the time and had made purely for my own entertainment. And it was all this slow BPM, nu-beaty, disco, weird slow psychedelic music. He sat and listened to it and said, “I can’t believe this, I’ve been buying this sort of stuff and we’re both on exactly the same wave-length. We should really do something.”

This idea kinda percolated for about a year and then he did that Watch The Ride compilation and I did the launch party for that, which went really well. Then Nathan Gregory Wilkins became involved in The Drop. He said, “I’m starting this new club, The Drop, I’m programming it- do you wanna do something?” So I mentioned it to Andrew and he said, “Yeah let’s do it, let’s do this thing.” Which is how A Love From Outer Space came about.

There was no masterplan to slow things down, it was just that Andrew and I had been listening to the same type of music and we thought, okay 80 people in basement, we’ll give it a go and see how it works out.

THE MUSIC OF A LOVE FROM OUTER SPACE

Trying to describe the music that constitutes A Love From Outer Space is a pretty difficult thing to do. Funnily enough we’ve started it in Glasgow too, we have a residency there and I was standing outside The Barclay Suite where we do the night, and a lad came up to me and said “Sean, the thing about this music that you play is that you’ve got to have been through the whole thing to understand it.” And I think that crystallised for me what it was really about. The kind of music that we play is very similar in attitude to the Balearic stuff that Andrew was playing 20 years ago but it’s informed by all the progressive house and techno of the ‘90s, disco, psychedelic music, kraut-rock; kind of a distillation of 25 years of listening to music. That’s essentially what it is.

THREE RECORDS REPRESENTATIVE OF ALFOS

The first thing I’d pick is a Scott Fraser production that came out on Relish, which is Headman’s label. It’s a track called Paraphrase Mine. In this instance it’s in the form of Robi/Headman’s remix. It’s 110 BPM. It’s analogue. It’s wonky. And it’s got a massive bassline. It’s primetime ALFOS material.

Scott Fraser – Paraphrase Mine (Robi Insinna // Headman Rework) [Relish] 

This is an edit by Haules Baules, otherwise known as Logan Fisher of the parish of Edinburgh. It’s called Creeper but it is in fact a masterful re-edit of The Scat Brothers – Walk The Night. Logan made it about two years ago and gave me a wav of. It hasn’t come out so it’s pretty much an exclusive secret weapon but every time I play it at ALFOS people go absolutely spastic.

Haules Baules – Creeper

Finally, this is one from my partner in crime, it’s Kölsch – Der Alte and it came out on Kompakt earlier this year. It’s a piano house record and it sounds like it could have been made anytime, from yesterday to 25 years ago.

Kölsch – Der Alte

THE HARDWAY BROS

The Hardway Bros is a production project that I’ve been working on for about five or six years. Initially it was a project that I worked on with Jake Davies, an old friend of mine who lives in Los Angeles. We made music together in the ‘90s as Flash Faction. He’s a professional engineer; he went to L.A. to work for Madonna and never came back. He’s worked with people like William Orbit, Mark Stent; working at the highest levels of the music industry as a top level engineer and pretty much the person that I learnt what modicum of engineering skills I got from.

So, we started it together, but trying to run a project across that distance, even with the advent of things like YouSendIt, proved to be pretty difficult. In the end it just boiled down to being me.

HARDWAY BROS TRACK I’M MOST PROUD OF

Production for me is an evolving process. So the track I’m most proud of is always the last one I made. So in this particular instant the two most recent things I’ve finished that I’m really happy with is: I’ve done a remix for Max Essa of his track Burning Palms which will come out on Is It Balearic. The original of it is a fairly low-key, percussion driven, acoustic bass track which I’ve made into a throbbing analogue dancefloor monster. I hope Max will forgive me for tampering with his work in such a way.

Then the last thing that I’ve worked on, which I’m really really excited about is from my good friend Scott Fraser and the aforementioned Robi Headman. They’ve done a project with Douglas McCarthy, the vocalist from Nitzer Ebb. Going back to my music of the ‘80s, Nitzer Ebb were a really influential act for me. The last thing I did was a remix of a Scott/Robi/Douglas track and basically I’ve made a modern Nitzer Ebb record which I’m really happy about.

Sean Johnston brings his night A Love From Outer Space with Andrew Weatherall to Dalston Superstore this Friday 21st September from 9pm – 4am.

Sean Johnston Mix

A Love From Outer Space takeover Dalston Superstore on September 21st. Here’s a very special mix from co-pilot Sean Johnston (aka Hardway Bros) featuring an epic selection of  their patented sleazed-out space chug sound. Sean is keeping the tracklist close to his chest for the moment but has promised to give us some clues nearer the party. In the meantime enjoy this rather unique sonic journey…

A Love From Outer Space September Edition

 

Andrew Weatherall Mix

We were lucky enough to host a visit from Andrew Weatherall recently when he played our basement ahead of his appearance at Lovebox in the notorious NYC Downlow. In an uncharacteristic display of forward thinking we actually managed to record Mr. Weatherall’s amazing set – and you can listen to it right here… 

For more information on the Lovebox festival go here  

There’s a fantastic interview with Andrew courtesy of the brilliant Faith fanzine here

Have a great weekend!