This Friday sees the first instalment of MEGALAST, our brand new extravaganza from J. Aria + Ni-Ku! Expect extreme bass, acidic explorations and alien club music. Headlining this experimental, abrasive, uncompromising and trip-inducing experience is LOFT (Astral Plane)!
Following their first release in 2016, the queer Mancunian producer has been quickly making waves. With their mixes encompassing rave birthed drum programming, experimental electronics and kylie edits, their style is renowned for its uniqueness. Having featured in both Crack Magazine and Mixmag, as well as an EP with the label Wisdom Teeth and contributions to the Astral Plane compilation, LOFT is trailblazing the experimental music scene. More recently, LOFT was given the ultimate seal of approval: Björk selected their track Funemployed alongside the most innovative artists in the game, including Arca and Kelela, in her Mixmag cover mix!
We caught up with the experimental producer to chat about their performative DJ sets, their experience of being visibly queer in the nightlife scene and what we can expect from Friday!
Oh hey LOFT, we are SO excited to have you at Dalston Superstore! If our readers aren’t acquainted, can you tell us a little bit about you?
Hello hi friends , I am Joeli and I do the LOFT thing. I’ve been doing it since I was about 14. I make stuff that has the privilege of Wisdom Teeth and Astral Plane Recordings’ love, support and distribution networks.
You’ve been making music since you were 14?! That is quite awhile! Do you have any highlights to your DJ career so far?
Playing in a pub in Lancaster for the drummer of my dad’s best friend’s new krautrock excursion ; playing at a club in Athens where people don’t show up until 2AM at the earliest ; playing in the home HQ safe haven that is The White Hotel on numerous occasions with only the best lineups.
You must have been introduced to some talented DJs, do you take inspiration from anyone?
I’m big into feedback loops , I like listening to Ariana acapella tracks , I’m honoured to be surrounded by people as talented as Anastassia Radtsenko IceBoy Violet, Acre, Forrest Lloyd ,Hesska MICHAELBRAILEY, Szare ; Manchester is fertile atm.
You’re known for having a really unique mixing style, how did you develop this and what is your process in choosing tracks and creating new pieces?
When I was 17 I was a vinyl purist , I’ve done a lot of live “ controllerist “ live sets . I hope I can offer something more dynamic than either of the above these days . Honestly I’m just scrambling for the next tune that will make any ( or no ) sense against the preceding track .
There seems to be almost a theatrical element about you at the decks. Did you intend to integrate performance into your sets?
I get drunk and write poems sometimes and occasionally I perform these to an audience . My main aspiration is to make people feel so included that tears roll from their little eyes .
Queer Femme producers are at the forefront of the Manchester electronic music scene at the moment, with Castles in the Sky seeming to be paving the way. Have you found solidarity and support through other queers at the top of the game?
Yes absolutely, I would argue that queerness requires no explicity and as such most of the people that have chosen to work with me over the last couple years are at least “ queer sympathisers “ . Love and support is strongest feeling I get from everyone I work with.
How have you experienced being visibly queer in the nightlife//club scene?
Y’no what ? it’s been alright , sure I experience some weird stereotyping and code switching ( I always find it funny when someone’s like “ Oh honneeeeyyyy “ and I’m ale drunk and respond in a fairly deep northern vernacular ) but within my surrounding club culture I feel pretty safe . The bad shit happens outside of that .
From your experience playing around the UK and abroad, how do you think queer nightlife can be improved?
More queer spaces in cities outside London . Manchester has a huge gay scene but , as I’m sure we all know , queer =/= gay . BOYGIRL we building it .
So, what would your queer-utopia look like?
Cop out answer : I couldn’t possibly comprehend . I’d make a comment about it requiring the pursuit of each individual’s ideals but that sounds a bit Randian now doesn’t it ?!
Finally, what can we expect from your premier DJ set at DSS?
Fun , tears , hugging each other , maybe a couple minutes white noise .Honestly I’m so honoured to have been invited.
Sweetie Darling! This Friday sees the ABSOLUTELY FABULOUS globe-trotting, multi-generational queer club experience, PATSY, return to the mothership! This time around they are passing their champagne flute to London’s rising DJ Star, Jaye Ward who will be playing whatever the hell she wants ALL NIGHT LONG! Having her roots set in Hackney, Jaye has been involved in music for the best part of the last 30 years, playing the Club Dog parties in the late 80s, through to working for record shops, to DJing and promoting since the 90s.
More recently, she’s been playing a rolling schedule of clubs and festivals, including being a regular face at Superstore! PATSY resident Whitney Weiss caught up with Jaye to tap into her encyclopaedic music knowledge, to find out how she delights dancefloors around the world, summer plans at the first edition of Albanian Festival Kala and how to charm her with a mixtape!
Hello Jaye! Let’s bring it all back to the start. What’s the first album you ever bought? Where did you buy it and what was it like listening to it for the first time?
I think it was Chic – C’est Chic so that’s 1978, I think. From G&M records in Mare Street, Hackney. I LOVED that shop. I had been allowed to buy 7”s before then. Things I mainly heard on the radio (I mean, I was 10). Pop/disco was huge whenever we went on holiday, mainly holiday camps on the south coast. Obviously I got it for Le Freak. It was on the radio ALL the time. And I loved the photo of the band on the cover—they looked so smooth. I was obsessed by Alfa Anderson lying on the floor in the split skirt. Beige was HUGE back then. When I first listened to it, I remember being disappointed that there wasn’t anything else HUGE like Le Freak on it, but I soon got DEEP into those minor chord changes. It’s still maybe one of my all time favourite LPs for the reasons above and for one of my favourite tunes EVER, At Last I Am Free. I have all sorts of versions of the track… the sublime Robert Wyatt version still sends shivers!
Is there a record that reminds you of when you first started going out clubbing?
I was clubbing before acid house but once that happened all bets were off regarding iconic records as it was like someone had turned the taps on full! But even now 35+ years later, if I ever here GO BANG loud, preferably in a club setting, I’m transported back to warehouses full of dancers from all tribes of nightlife getting their dance on… now THAT’S an iconic record!
What songs do you have playing on repeat at the moment?
God, I’m listening to so much as usual but am currently obsessed with that Tommy Awards II record – both sides are psychedelic beauty. The new MC TALLA NAN CREAG thing that’s going to be coming out on Firecracker is immense too. Been going through loads more dance floor style stuff too for me taking over the basement of the mothership for Patsy and it’s been ace to rediscover (sort of) old records that I remember sounding great loud. Also this week I’ve had the first five Bad Seeds LPs on repeat too… I love Nick Cave. I’m doing a remix for MAN POWER at the moment and so far it’s got a swampy Bad Seeds type of vibration to it, so that’s fine by me.
Your taste in music is just so pleasantly well-rounded. What do you think is the most surprising or unexpected record in your collection?
That’s nice to say, thanks. I think that’s mainly because I’m so old! I’ve always liked joining the dots and happily I still seem to be able to put things together that sound like they wouldn’t go well but in reality connect beautifully. I could easily play the same sounding things for ten hours but I’d be bored out of my skull, let alone punters. I like it when a dance floor or room has that up, down and left to right kind of flow to the evening. It gives people a chance to breath and smile. I think there’s nothing that’s too surprising popping up in my collection seeing as I’ve always gone for the weirder end of things. I do have EVERYTHING done by Toyah though, does that count?
What’s the one record that never leaves your DJ bag because it is 100 percent guaranteed to delight a dance floor?
Ummmm there’s quite a few things that are regulars in my box and now permanently on my USB keys. Flim Flam by Yellow Sox on Nuphonic blew me away when it came out and still does EVERY SINGLE TIME. I reckon it’s one of the best house records EVER made. Fight me. Song for Annie by Erot is of its time but still makes people come and ask me what it is. An ace vocoder version on Chic’s At Last I Am Free is a permanent resident, too. Most of the time I try to vary what I play as much as possible. I guess that’s what has always, up to recently, made me either a hard booking in that I’m VERY balearicly minded even though I don’t really play that sort of thing that much or that I’m super flexible. Not sure. Ha!
Speaking of delighting a dance floor, what’s a record that brings you great joy?
The Chance by Reel Houze on Zoom Records. It’s like an edit of Go Bang with extra drums from Harvey. A lot of that mid 90s UK nu-disco stuff was and is amazing. The mid 90s was when the quality control suddenly shot up I reckon. It’s one of my fave records still and I’ll drop my lollipop headphone and go dance for 10 minutes or so if I put it on, it’s still immense. Hearing Glenn Underground, Danny Wang, Maurice Fulton or any of that super deep dub instrumental US house over an ace system WILL make me cry. Make It Last forever by Donna McGhee will definitely make me go sploosh too.
If someone fancied you and was making a mix tape (or CD, or Spotify playlist, or USB), what song they could choose that would really charm you?
IF someone fancied me, especially lovely funky queer ladies who have a penchant for tiny women of a certain age, making me a mixtape containing old 80s post punk love songs (they do exist, trust), lo-fi jazzy experiments, deep spiritual jazz, weirdo stuff, dub, lovers’ rock, songs by Nick Cave or the goddess Lydia, old blues and any curve balls of their own would make me blush and then stalk them… y’know.
What’s a record that makes you think of one of your most iconic nights DJing? And if you don’t mind my asking, what was that night like?
God that is hard. Lots of lovely evenings out where certain records have had people singing along or psychically combining to actually change the atmosphere into something like I imagine The Loft would have been like. Mind Fair’s Secret All Night Carnival Version of Spike’s Fooling Around on Gold Channel has that Loft feeling. It’s SO beautiful. Upstairs at Patsy I’ve played it a number of times and people have sort of stopped drinking and swayed all together and danced in a jazzual way, which you can imagine is a bit of a feat there for hyped-up beautiful queers hell bent on a weekend of damnation.
I was in Cyprus playing records for the ace Whizzy Wig crew last month and everyone was dancing and it was very much ace! People screaming, etc. We were all playing lots of jazzy house, disco and Trax style funky acid classics. I played Loose Joints Is It All Over My Face? – the bloke version – and people lost their shit. That was a fun moment. That record nowadays seems to do that for everyone I think. I love that people into dance music of all kinds are now up to speed with how disco really was the source for everything we listen to. Books with huge chunks about David Mancuso, Nicky Siano and Larry Levan etc. have really opened people’s minds to how everything is connected. It’s ace!
What song have you always wanted to hear someone else play out so you could have a dance in public to it?
God there are so many. I play it, but I’d LOVE to here someone randomly play Vinceremos by Working Week. I’d loose my shit totally and sing along, arms waving aloft. Scoops in Columbia by Plaid would have me kicking my shoes off and running to the floor making sure my boob tube was still up—amazing record loud! Random plays by other people is my absolute fave thing.
If you had to choose one album to listen to all summer long, what album would it be?
Speaking of summer, what’s a record that you’re really excited to play at the first edition of the Albanian seaside festival Kala this summer?
Not sure yet. I’m taking a seriously wide range of things because they have me playing at various times and in various situations. I really want to get to play glacial electronic stuff alongside pretty songs when the sun goes down under the stars. Living in London I very rarely see stars and really want that scene to happen.
What’s one song that you wish you would have written? Do you write music ever?
I mess about making things. Edits for myself to play. Mainly extensions of things. I have zero musical chops apart from having a good ear for things I suppose. Musicians blow me away. My friend Margo is a producer and amazing musician. She talks about stuff to do with composition and I have to work hard to keep up. Totally in awe. I could easily list a hundred songs that make me go ‘Whoa! How?’ And easily a thousand dance records that I have no idea how they came up with what they came up with. People who do this are living, walking gods to me. In the Bad Seeds film 20,000 Days on Earth there are two moments within that one LP alone where he’s singing songs that they are still working on – Higgs Boson Blues and Give Us A Kiss – where my hair on my arms have sat bolt upright and I’ve started to cry. When he sings Jubilee Street at the Sydney Opera House. The words “I’m vibrating I’m transforming” make me eternally jealous. But to be honest, I’ve had 40 years of records making me feel this way.
What record makes you think of PATSY?
God, lots of records! But the first time I played records for PATSY and played I Need Somebody to Love Tonight by SYLVESTER, not only did people dance but a few started singing along and I thought YES!!!
Catch Jaye Ward at Patsy on Friday 20 April from 9pm-4am at Dalston Superstore!
This Saturday, we are thrilled to present the top floor debut of London house, disco and soul institution, Northern Soul Rave Patrol. Having played host to the likes of Andrew Weatherall, Sean Johnston and Doc Sleep over the past year, the Tusk crew have become synonymous with dark, deep, quality programming, and we can’t wait to see where they take us in 2018. Promoter and resident Ant C caught up with Chris Sweet and Will Nicol of Northern Soul Rave Patrol ahead of Saturday’s TUSK to chat London clubland, dream gigs, and record bag classics!
Hi guys! I hope you have been enjoying your Easter. Have you been out and about to any parties over the long weekend? What, where and who was playing?
CS:Yes, it’s been a big bank holiday weekend. Started with Jill Brook at our weekly Thursday night party Record Box at The Eagle, which is a vinyl only night playing Torch Song disco, sleaze/ morning music and hi-NRG, influenced by classic clubs like The Saint, Paradise Garage and Heaven. Then Patterns in Brighton on Saturday where Horse Meat Disco have a residency and then back to The Eagle for the packed HMD bank holiday party with Heidi Lawden over from LA – so lots of fun and good music.
WN:Went to see Gilles Peterson at Dreamland in Margate on Friday at the newly refurbished Hall By The Sea. It’s an amazing venue – closest comparison would be the Box at Ministry but with a decent bar in the same space. Some great tunes and we really enjoyed ourselves. Saturday I was DJing at Cinque Ports, again in Margate, which was fun although Johnny Henfry (Synth System Sisters) got me into all sorts of trouble!
Where did the idea for NSRP come from and how would you define your sound?
CS:About eight years ago we formed NSRP to reflect the music we loved and the scenes we had been into from soul to disco and house. It’s me, Will and Sean Leonard. We realised we had been friends since the mid eighties mod and Northern Soul scene and 100 Club. Then all got turned on in 1988-89 with the acid house and rave scene, inspired by the madness of Nude night at The Hacienda, Quadrant Park and Will at Shelleys. Plus amazing parties like Boys Own, Sign of the Times and NY house clubs like Body&Soul, Sound Factory and The Shelter through Sabresonic and up to A Love From Outer Space and Horse Meat Disco. All those clubs have soundtracked our lives and influenced us – we love house music but with some heart and soul and a dash of disco.
If you could play any gig/party/venue anywhere in the world, past or present, where would it be and who would be on your ideal bill with you?
CS:Ha! That’s a hard one as if we had the nightclub time machine there are a lot of destinations we’d want to plug in… From Manchester’s Twisted Wheel or Wigan Casino or Blackpool Mecca for Northern Soul, to Chicago’s Warehouse to hear Frankie Knuckles or Ron Hardy, but probably the maestro Larry Levan at the Paradise Garage must be the place, to paraphrase Talking Heads.
London has seen a huge amount of change in clubs and clubbing over the past few years, with the closure of many venues. Is this all just part of a repeating cycle in line with current politics, or do you think London is really changing permanently this time?
WN:I think the whole UK club market has changed enormously in the last 15 years – I don’t think it’s just London. The massive growth in festivals and kids looking for the “big event” rather than a weekly club to call their own, has caused a huge shift. In London with the economics of gentrification this is multiplied. I think it’s a shame, but then I’m an old git!
CS:I think the relentless rise in house prices in London and redevelopment has led to the loss of so many clubs and music spaces, which squeezes the nightlife out of the city and prices people out. It seems a shame London is becoming a bit sanitised like New York, unlike Berlin. That’s why it is so important for key venues like Dalston Superstore and The Eagle that support quality music and are welcoming spaces.
WN: London is a versatile and ever changing city, so it will adapt or mutate and re-emerge like dance music culture has over the decades. As Kerri Chandler said, really you just need a red light, a basement and music with feeling – we know Dalston Superstore and TUSK tick all those boxes!
What is one track that never leaves your record bag, and one new one that excites you right now?
CS:A total classic would be The Night Writers – Let the Music Use You (Frankie Knuckles mix).
Lots of great recent music but two that I love and have that emotional content of electronic music with soul would be The Black Madonna – We Still Believe.
and Sophie Lloyd feat Dames Brown – Calling Out.
WN:Soul classic: Ann Sexton – You’ve Been Gone Too Long.
Modern: HiFi Sean & David McAlmont – Transparent. Sean’s a friend of both of us and he’s in a rich vein of form right now. This is a Record Store Day exclusive we’ll definitely be playing it at TUSK.
Catch Northern Soul Rave Patrol’s bar takeover at TUSK on Saturday 07 April from 9pm-3am at Dalston Superstore!
This Thursday, we are beyond thrilled to welcome local East London drag superstar, Lowstakes Festival curator and performance artist Ellis D for a crash course in drag makeup! Expect ‘Low Budget, Lower Concept Last Minute Glam’ from our resident superstar thrifty MUA. She’ll be running through top tips and tricks for executing a flawless face on a budget. Everyone is welcome, and it’ll only set you back a fiver! We caught up with her to chat witchcraft, performance platforms and sources of inspiration!
Hello gorgeous! We can’t wait for your Drag Make-Up Demo this Thursday! You’ve been SLAYING the East London drag scene for years now, but how did it all start? Let’s hear your DRAG-HERSTORY babes.
I started doing drag in 2012(13?) because it seemed like an accessible stage, it’s amazingly easy to find yourself subjecting a packed club to utter trash only two weeks into your illustrious drag career. After a couple of solo ventures I ended up in the Yeast London Cabaret with Oozing Gloop and Rodent DeCay which is where I got most of my terrible librarian drag out my system. Back then it was lipsync or nothing, I was really inspired by performers like Dickie Beau and 2boys.tv. Recently I’ve fallen out of love with lipsync in favour of a semi-improvised, reactionary, ritual mode of performance (performance art – you know the gig). I’ve taken work in that style to performance festivals a few times now and I’m continually frustrated and inspired by it.
The Glory’s cult drag competition LIPSYNC 1000 has now become a phenomenon, and you were its very first winner! How have you developed as a drag artist since that experience?
I wouldn’t perform the act I won with now – it was a little slow and stationary which I do kind of love, my favourite thing is a queen who plants her feet – too many people panic on stage they try and lay claim to every inch by stamping a heel on it and that will always look awful. Be statuesque. But that said it just wasn’t considered enough, it needed a better structural cohesion & a stronger visual – it relied almost entirely on the lip sync precision – which was obviously flawless because I don’t enter competitions I don’t know I’ll win. I had a lot more self-confidence (read: delusion) back then.
As well as your own work, you’re quite the community queen! Last year, you were one of the curators of the Lowstakes performance festival, which provided a platform for upcoming performance artists! Can you give us the DL?
Lowstakes is a performance festival that I run along with Edythe Wooley and Malik Sharpe. The first iteration at New River Studios was a two-day affair with ?25 artists showing new and developing work. We followed that with a club night at VFD which returns this month on the 23rd. The first festival was done with no money at all and our approach was to programme as many people as we possibly could and work it out on the fly. I’m confident that we had the largest programme of new performance work anywhere in London. We want it to be as painless as possible to access and are always looking to take risks – sketch us a doodle and promise us a show and there’s a good chance we’ll programme it. The two day festival returns in June this year, with the open call to be announced imminently and this time we know what we’re doing.
From tarot card reading at TUSK to WITCHY performances down the road at VFD, Ritual seems to be the main theme of your recent performances. Can you tell us how this has become the subject of your work?
At first it was a practice of self-care, I found the meditation and goal visualisation of spellcraft helpful, and still do to an extent. I’m not as submerged in it all as I was a year or two ago, but I find the structures and beats of ritual are useful skeletons around which to build performance. The danger being you fall into the trap of spiritual display and exhibitionism which always makes for the most unbearable stomach- churning horrendous work. Mythology has always been what I return to when making new work – I’ve always been obsessed with Norse mythology and read a lot when I was younger, I’m interested in how fictions might inform future socio-political forms, a process called fictioning. Spellcraft is a fictioning, a story told to manifest change. I think performance can do the same.
We are absolutely GAGGED by the LEWKS you’ve been pulling, where do you get your inspiration?
I am continually inspired by a whole host of folks. As much as I enjoy makeup, I’ve never really studied it or put much effort into researching references and I am blissfully oblivious to any makeup greats but to name a couple of Instagram favourites: Imp Kid, Nico, Yuri Guaìí. I’m also always here for a Siouxsie Sioux graphic liner moment or a Nina Hagen blush. For the most part I just make it up as I go and trust I’m soaking in influence from somewhere.
Drag-Makeup tutorials are everywhere on YouTube, but they definitely aren’t the most accessible to queens who are new to the game! How will your tutorials help beginners in a rush and on a budget ?
Okay here’s the deal… I’m not Miss Fame, I’m broke as hell and I have very little patience for makeup. Expect tips & tricks, shortcuts and knock-off products. They’ll be as accessible as I can make them for beginners, I’m not giving myself three hours to tinker away – this is ‘just finished my shift and have two hours to be in face, dressed and out the door’ makeup. I want people just starting out to have a real shot at recreating the look straightaway. That said I can blend a base with the best of ‘em so they’ll be gorgeous no doubt.
2018? Give us a sneaky peak of what’s in store for Ellis D.
Alongside returning to and nurturing my performance practice and continuing to platform some of the best performers and friends I have the honour of knowing 2018 is all about becoming a much pricklier customer, oh and padding.
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?
For our love-soaked February edition of PATSY, we’re welcoming back international dreamboats Protopapa and Whitney Weiss. To build your anticipation, we’ve asked them to make you a sensual mixtape and talk to us about music for romantic occasions. Read on to get yourself in the mood.
Hi Protopapa! Hi Whitney! How are you both doing?
Protopapa:Hey CIAO! I’m feeling great, answering you from my second home, NYC.
Whitney Weiss:I’m good, I’m in Paris getting ready to DJ with Kiddy Smile later tonight!
Okay so I’m gonna ask you about some songs so we can build a sensual PATSY Valentine’s Day mixtape together. What’s the song you want played for the first dance at your wedding, if you’re into subverting traditional marriage?
P:Marcel Vogel – Body to Body (rework of Shades of Love – Keep in Touch) to set the right sensual mood. Even my 70 year old auntie could feel the sex vibes.
WW: Without taking into consideration the musical tastes of the person I’d be marrying, Sade’s The Sweetest Taboo or The Boss by Diana Ross.
Hey Protopapa, what is a song that you put on in Italy that consistently makes people on the dance floor hook up with each other?
Matia Bazar’s Ti Sento. They sing and dance and make out to it, it’s like an orgy of mouths and tongues.
Whitney, you’re really into the song Horny. Can you tell us a little bit about how it makes you feel and what version you prefer?
It makes me feel joyful and unashamed. On special occasions, I like to take people by surprise with the extended mix, which has like 2 and a half minutes of the popping bubbles noise before you figure out what’s going on.
Patsy thinks that nothing is sexier than Prince. What is your favorite Prince song?
We can’t wait for notorious rave institution DISCOSODOMA to return to the mothership with an almighty bang this February, as they welcome Iranian-born San Franciscan party maestro Mozhgan to the lazer basement! As the DJ and promoter behind We Are Monsters, she has seen a meteoric rise to success, with sets at Honey Soundsystem and Sunset Sound System catapulting her to play at Berlin’s Panorama Bar, NYC’s Output, Burning Man’s Disco Knights and beyond. The Discosodoma crew caught up to quiz her on her top tips for successful raving ahead of Saturday’s Discosodoma Loves We Are Monsters.
1. Drink water! Hydration is key.
2. Wear comfortable shoes.
3. Pace yourself. Slow and steady wins the race…
4. Deodorant, chap-stick, mints or toothbrush and toothpaste can rejuvenate you when you’re feeling not so fresh.
6. No parking on the dance floor
7. Put your phone away
8. Sharing is caring
9. Sunglasses – you never know what time you’re going to leave the party, these can be essential when facing the outside world.
10. Have a good rave buddy – someone that will have your back in case things get a little bit too wild…
Catch Mozhgan at Discosodoma this Saturday 10 February from 9pm-4am at Dalston Superstore!
With his music soaked in tropical sounds and releases on labels such as Balearic dream curators Distant Hawaii, Sonikku and SWEAT look like a match made in heaven. Headlining this takeaway edition alongside Al Zanders, the Lobster Theremin affiliate talks pop music classics, video game soundtracks and time travel!
Hey Tony, we can’t wait to have you back! You’ve played at Dalston Superstore several times and also at Chapter 10. For those who might not know you, could you tell us a bit about yourself and your Sonikku moniker?
SONIKKU is a musical hybrid of Sonic the Hedgehog and Madonna.
Listening to your tracks (in particular Dilemma), it’s obvious your music is widely influenced by pop music. Could you give us a few examples of the perfect pop album according to you?
At the heart of winter, the SWEAT crew is bringing the heat to Dalston Superstore with a sun-drenched double bill! Headlining this takeaway edition alongside Sonikku, the Wolf Music and Phonica Records affiliate, Al Zanders, will be serving disco and trippy house in the laser basement. Sweat head honcho Pavliné caught up with him for a tequila sunrise, and to find out what to expect from him at his Superstore debut!
Hey Alex! First of all and for those who might not know you, could you tell us a bit about yourself and your DJ career?
I’m no salesman, but I make funky, deep and sometimes ethereal house music, as well as edits, all designed to be enjoyable on a dance floor. I tend to DJ a variety and don’t like to stick to one genre or style, so you might hear anything from techno to broken beat.
You’ve recently moved from Sheffield to London. How is the music scene there compared to here in London?
I’ve actually been living here 18 months already. I’d say Sheffield is more communal because of its size – everyone knows everyone. London is a very different kettle of fish.
We are a huge fan of disco edits at SWEAT and your edit of Tangerue ‘Doin Your Own Thing’ is truly amazing. You released it under the Lodger moniker, can you tell us a bit more about that?
Thanks! I personally don’t take a lot of pride in edits, they’re just for me to DJ with. Lodger was the first alias I ever made years ago – and I’m probably not going to release under that moniker again, as I’m too focused on my own productions as AZ.
Your latest EP on Phonica Records had an impressive reception upon it’s release. What was the idea behind the tracks?
Thank you – they were inspired by DJ Shadow, the way he layers samples together from vastly different areas of music into one song, creating an interesting blend. Like that beef custard Joey eats in Friends – wrong but somehow still works…
What does 2018 have in store for you musically??
An EP with one of my biggest musical heroes, the first release on his label in 16 years, plus some fun edits and a track I’m working on with a singer that I’m very excited about. So a lot!
What can we expect from your set at Superstore?
Depends what you guys seem to like, but I’ve been enjoying a lot of trippy techno recently so maybe some of that mixed in with my usual flavours.
Can you think of a track that you might slide into your set to fit the tropical and hedonistic aesthetic of SWEAT?
Finally, our classic Dalston Superstore question: if we had a time machine ready to take you to any dance floor, past present or future, where would you like to go and why? I’d maybe go to see the Co-Op guys at Plastic People, but they seem to be making a comeback now – so no need for the time machine!
Catch Al Zanders alongside Sonikku at SWEAT on Friday 5 January from 9pm-3am at Dalston Superstore!
We are so psyched to welcome mischievous house and techno don Spencer Parker as our guest of honour at the Superstore Christmas Bash! When he’s not travelling the world gracing the stages of some of our favourite clubs and festivals, Spencer is a regular guest at Berghain, be it playing house and disco upstairs in Panorama Bar or filthy techno on the club’s main floor. We’ve been hearing whispers since September that his set at Field Maneuvers was many people’s festival highlight of the year, so we can’t wait to hear what he unleashes on the lazer basement! We caught up for a Baileys and a chat about his 2017…
I quite like my eyes… but I have a beautiful smile too – tough to pick just one if i’m being brutally honest…
Favourite release of the year?
Mella Dee – Techno Disco Tool on Warehouse Music
Playing Hi Tech Jazz on a roof this summer, as the sun came up over beautiful Monopoli, southern Italy, for the amazing Apart party gang.
I love a Baileys! (Shout out to Terry’s Chocolate Orange too though!)
Complete, utter, devastating and total heartbreak.
It was that “breakfast” at Glasgow airport a couple weeks back. I know, I know… It’s my own fault…
Best tour destination?
I think that it has to be, and shall always remain, TOKYO! (But after travelling there a little recently, I’m also beginning to fall in love with LA, I have to say.)
Best rave moment?
Charles Jeffrey (and accompanying outfit) dancing on a speaker to Hannah Holland playing classic Tenaglia featuring Liz Torres on vocals while standing next to our beloved Dan Beaumont in his safe space™ at Chapter 10.
Our favourite Grecian power rave returns this Saturday 2 December for their final party of the year, and they’re pulling out all the stops to make sure it’s a special one! Their guests of honour are fellow Athenian tastemakers, previous guests and ‘sodoma soul sisters Amateurboyz! Having raved a long summer’s day away with the Discosodoma crew as well as rave royalty Discodromo at their A THREESOME ON ACID party during Athens Pride earlier this year, they are well-placed to provide us with their expert top tips for successful raving ahead of Saturday!
1. Cubicles that take six people x2
2. Never ending booze
3. A disco nap area / special K discovery room
4. A lock in
5. An after party
6. Glory holes
8. Vegan bumps ( or Organic Chanel)
9. Fag hags
10. Smoking wherever you like
11. And bonus: No lights!
Catch Amateurboyz at Discosodoma this Saturday 2 December from 9pm-4am at Dalston Superstore
Our monthly Thursday night queer rave happening Happy Endings has quickly gained cult status for their notorious toilet rave, abstract dress up themes and genre-defying bookings, and the latest edition Movembra is sure to be no exception. They have invited South London front-running female sound engineers, DJs and producers Omnii as their special guests. The collective run a range of initiative to encourage female and non-binary people into the music industry, as well as curating an interview series on Medium featuring female and non-binary audio pioneers. We caught up with them to chat challenging stereotypes, fighting misogyny and the future of a more equal electronic music scene! Hi Omnii! We can’t wait to welcome you soon for your Dalston Superstore debut at Happy Endings! Can you tell us a bit about yourselves for those who might not know you?
We are a group that aim to encourage women and non-binary sound-enthusiasts into technical areas of music including production, live and studio engineering.
We run workshops teaching technical skills to improve people’s confidence in a highly male dominated area substantially lacking in female role models. Other than supplementing technical knowledge, our workshops help to build a community of like-minded individuals. We also have an ongoing feature series interviewing female producers and engineers about their work. These interviews have a strong technical focus, centered around music gear and recording processes. Also, we are now expanding our output to include gigs, events and as two of us also DJ, we’ve started doing this under the Omnii name as well.
How did you initially meet, and what inspired you to start the collective?
Omnii just turned one! Naomi and Fran met at university, but decided to start the collective when they were both working as live sound technicians at the Student’s Union. Fran was also doing a lot of studio work alongside this. We noticed very quickly that we weren’t seeing a lot of other women or non-binary people working in tech, and having had to teach ourselves a lot of it in the first place, we decided we wanted to build a community of encouragement to change that. Joy was also working at the SU in events at the time, and started doing live sound too. It’s been the three of us since September.
How do you work to network and foster community with other female and non binary DJs, producers and sound engineers?
The interview series has been really great for this, as it allows us to reach out to people we wouldn’t normally run into in person. Also recently, we have been really fortunate to be invited to talk at various events, such as Girls On Film and WITCiH (Women In Technology Creative Industries Hub), where we’ve met some incredible people and built connections that way. We’ve also run workshops for Red Bull Studios, and because they have a big pull in the industry and a huge network, we were really fortunate to meet lots of like-minded people and awesome producers, engineers and DJs there. Other than that, we’ve been getting an increasing amount of emails from really cool individuals in varying practices reaching out for contacts and meet-ups, so that’s really helped!
Yeah! So we run interviews with a variety of women and non-binary producers, with the main focus being on their gear and production. We felt like so many interviews (particularly with women) are focussed around their songwriting and personal experiences, and very few focus on how they make music. This adds to the perception that women don’t know as much as men about the technical side. We’ve also run longer features with studio engineers, such as Steph Marziano, which have proved to be really interesting and offer great perspective and advice to people aspiring to get into the industry.
There are some incredible female and non-binary DJ collectives really changing the face of electronic music at the moment – have you experienced a shift in attitude from the wider music community since you got started?
Yes and no. We get a lot more people reaching out to us for collaborations and recommendations now, and we think people are becoming more aware of female groups working towards changing the demographic of the industries. The DJ collectives are amazing and we’ve been lucky to be on panels with collectives like Girls Can’t DJ. It does feel like a change in London and we’re getting there step by step but there are still a lot of perceptions that need changing.
There seems to be a real sea change occurring in the DJ world – moving from cis men ruling the roost and guarding their knowledge closely to diverse collectives who aim to encourage marginalised groups to get involved! What are your final goals for changing the face of the electronic music scene?
There is still a lot of work to do, but it shouldn’t have to only come from collectives like ours pushing to get talented women on DJ and festival line ups; it’s the promoters, labels and venues that need to recognise us and create a safe space. It’s easy living in London surrounded by a supportive scene of so many women and non-binary people in music and feel like cis men aren’t controlling the knowledge, but in reality they often do. We want to encourage marginalised groups to learn to be confident in the technical aspects of music when we are so often made to feel intimidated. Engineering and production can be very technical and hands-on in terms of hardware, and it would be great for this to more accessible. Something that would help is moving away from stereotypes in education from a young age. A huge general goal is to eventually have every aspect of the industry from the bottom up having equal representation. That is when we will see real change.
Who are some of your favourite DJs and producers right now?
It’s so hard to choose but Alkahaf by Fatima Al Qadiri is a great tune.
What does 2018 hold for Omnii?
We’re looking to expand into more events, and have some exciting collaborations coming up so stay tuned! We also want to expand the interview series to include videos of performances and rig breakdowns with women and non-binary producers – hopefully to include gear tutorials (there’s only so many men talking about gear you can sit through on YouTube, to be honest!)
And finally, what are you planning to unleash at Happy Endings?
We try and play at least 50% by female / non-binary producers and DJs. We’ll be bringing some fierce techno to the dancefloor.
Catch Omnii at Happy Endings this Thursday 16 November from 9pm-2:30am at Dalston Superstore!