Posts Tagged ‘Electroclash’

Ronika X Jamie Bull

By Mchl Kelly

SHAKE YER TITS, SHAKE YER DIX: RONIKA x JAMIE BULL

Ahead of our Shake Yer Dix Roisin Murphy special this Friday we asked guest DJ Ronika to pick her top five Roisin tracks – as well as grabbing five synth classics from HomoElectric’s Jamie Bull, who’s also on the decks this month alongside resident Mchl Kelly. Expect a high-protein diet of Roisin Murphy, noughties electroclash from Fischerspooner and Ladytron plus sick new synth from Simian Mobile Disco, Cut Copy and Vitalic this Friday down in the lazer pit… and don’t forget to pick up a copy of Roisin’s new album Hairless Toys, freshly out this week. We’ll definitely be blasting out some Exploitation and Jealousy.

>>>RONIKA<<<

…is a singer, producer and DJ hailing from Nottingham but now based in London. Her debut album Selectadic was named after Nottingham’s iconic independent record store which closed its doors for the final time in 2009. As if by browsing through the shelves themselves, it assimilates a crate-digger love of disco, hip-hop, house, R&B and electro-soul into Ronika’s effortless grasp of modern pop. We’re crazy hot for whatever electronica she’ll be digging out and you can be checkin’ on her at www.ronikamusic.com. Ahead of Friday we asked for her top five Roisin tracks…

Overpowered

One of my favourite tracks off an incredible album. Beautiful melancholy vocals with squelchy funky acid bass and lyrics inspired by neuroscience.

Let Me Know

Roisin schooling everyone in ’80s boogie disco… and that video that turned her into a disco goddess.

Crookers – Hold Up Your Hand ft. Roisin Murphy

Mindblowing track! Fidgety bassline and stuttered beats with Roisin giving a badass vocal – when I first heard it I was like WTF is this. Of course it was Roisin.

Sow Into You

Funky and experimental little piece of brilliance from her first album.

Sing It Back

I couldn’t not mention this Moloko disco-house classic with Roisin’s jazzy hooks…

>>>JAMIE ‘HOMOELECTRIC’ BULL<<<

You’ll probably know Jamie from his association with the now-legendary HomoElectric, a polysexual club night born in Manchester in the late 90s, and then a London version five years ago. Jamie’s sets take inspiration from vintage disco, 80s synth pop, and the early 90s house sound, and has DJ’d alongside Todd Terje, Robyn, Little Boots and Roisin Murphy to name but a few. Outside of his HomoElectric residency he regularly spins at Dalston Superstore, East Bloc and XOYO.
Here’s his top five Shake Yer Dix classics:

Simian Mobile Disco & Beth Ditto – Cruel Intentions

This song hasn’t left my record box since it came out. It’s a great ’emergency classic’ when the dancefloor needs a quick boost.

Tiga – Burning Down

Early Tiga anthem and still one of his best in my opinion.

Soulwax – Another Excuse (DFA Remix)

Definitely a poppers o’clock moment. Eight minutes of throbbing sweaty joy.

Ladyhawke – Paris Is Burning (Cut Copy Remix)

Cut Copy made a super pop song super dancey.

Human League – The Sound Of The Crowd

Over 30 years old and still sounds like the future. Amazing!

Join Ronika and Jamie Bull this Friday for Shake Yer Dix at Dalston Superstore from 9pm – 3am.

Matt Walsh

For this Good Friday late-night fun, Homodrop brings not only the legendary Ivan Smagghe to the Superstore basement, but also long-time local hero Matt Walsh! Since supporting Tiga at Shoreditch’s much-missed T-Bar in 2007, Matt has carved out a space within London’s ever-changing nightlife for himself, from the forefront of the electroclash movement, to becoming a resident at the seminal Bugged Out nights, to founding his own label Clouded Vision. Ahead of the party we posed a few questions to find out what we can expect…

If you had a time machine and could visit any dance floor from your own past, where would you go dancing and why?

I first started going out to house clubs at university, prior to that I was pretty much an indie kid, but the first few nights that I really loved were at The Bomb in Nottingham. I went every Saturday throughout my first year at university. Craig Richards and Lee Burridge used to do their Tyrant night there once a month.

What’s one Bugged Out moment you’ll treasure forever? 

Playing the last set and the last record at the last Bugged Out at The End. I was lucky enough to play there quite a few times and even now with lots of new London clubs opening, the main room can still not be beaten for sound quality and the reaction you got from being in the centre of the room.  This was my last track…

Okay predication time… seeing as you saw it all the first time round, and all things in life (especially fashion and music) tend to be cyclic… how long do you think we’ve got before a proper electroclash revival? 

I think there already has been one to some extent, with labels like Clouded Vision, Phantasy, Correspondant, Cómeme, DOBW etc doing so well. It’s just a shame that the fashion part of it hasn’t been revived. Clubbing is missing that element now and there is so much great music around, techno especially, but there is a distinct lack in people making an effort to look different when they go out.

What is one defunct night/nightclub you’d happily resurrect? 

There was so many great nights in the early Electroclash era, I had just moved to London and went out five nights a week – Trash on Mondays, White Heat on Tuesdays, Nag on Wednesdays, and Fabric, Our Disco, Sonic Mook, Flesh and Return to New York at the weekend….

The one nightclub that has a special place in my heart is T bar, for a number of reasons, as well as being my first real London gig when I moved to Shoreditch 10 years ago.

Who is someone in dance music you find really inspiring (and not just in a like-their-music kinda way) and what is it about them that makes them so inspiring to you? –

Michael Mayer – For his love and knowledge of music, ability to stay on point without really changing his style and for the best dance label of this generation.

Where did the name for your production alias and label, Clouded Vision, come from? 

It was Steve Cook, my production partner at the time, that came up with it while we were in the studio working on our early tracks.  He is making some great stuff alone now and has so many records about to come out.  This one was released last month on Tsuba…

What’s one thing that has surprised you about running your own label? 

No surprises to be honest, but I do find that most people are surprised when you tell them that you can’t make any money from doing it!

You’re no stranger to Dalston basements… why are you looking forward to playing ours? 

Playing alongside Ivan is always fun and inspiring.  He is one of the best out there and to play in a tiny basement together will mean we can push the boundaries a lot more than in a large club environment.

Finally, tell us a dance floor banger lurking in your record bag ready for Good Friday’s Homodrop party…

I cant get enough of Factory Floor’s remixes at the moment and Gabe from the band has just made a killer solo EP on Drone (Richard Fearless’s label). Both of these are killer…

Join Matt Walsh this Good Friday 3rd April for Homodrop at Dalston Superstore from 9pm – 4am.

Larry Tee

This Easter weekend, two original legends join us at Body Talk in the shape of Larry Tee (NYC) and Lindy Layton (Beats International). The former, currently known for his weekly party Super Electric Party Machine, helped launch Rupaul’s career in the ’90s, hosted Michael Alig’s infamous Disco 2000, was basically the face of electroclash in the early ’00s, and put simply, has a knack of being in the right place, at the right time, doing the right thing. We spoke to geuine dance music hero Larry Tee ahead of his set this Saturday…

You famously coined the term “electroclash”. What’s the origin behind this? 

Well, when I decided to do a festival in 2000 devoted to the emerging electro artists at the time, I needed a name. So I tried to come up with a word that described the collision of music and performance in all its rebellious aspects. It came down to “electrowave” or “electroclash”… I chose “electroclash”.

And what’s the most electroclash memory you have from the genre’s heydey?

At the first festival, ADULT, Chicks On Speed, Peaches and Fischerspooner all sang me ‘happy birthday’ as the festival fell on my birthday. I didn’t realize [at the time] it was the birth of my new life, post-addiction/house music DJ star.

What drew you to Atlanta in the ’80s?

I grew up there after my parents moved me there from Washington when I was 5. What was lucky is that Rupaul, Michael Stipe of REM, and Lady Bunny, before they were famous, were all really close friends of mine at the time and that was such a creative explosion. We really made a scene down there out of boredom, and made music and home movies to keep ourselves from being too bored.

Where you surprised by the success of Supermodel (You Better Work)?

Yeah, totally. I had written the original version of Supermodel because RuPaul had been signed to hip hop label Tommy Boy and I thought it would be smart for me to do a major label project. But when I got it back from the producers I didn’t like it at all. I thought, “oh well, at least I tried,” thinking it wouldn’t be a hit. But then it stayed on the charts for the whole year, with MTV playing it on and off… it and wound up being the #1 dance record of 1992. 

Considering the breadth of artists you’ve worked with- who would you work again, who do you still want to work with and was anyone so hideous that you can’t tell us who but you can tell us what they did..!

Well, I would totally do another track with Portia Ferrari, the Versace model star of my new video Body Talk, and I would LOVE to work with Lana del Rey, Rufus Wainwright and Mykki Blanco. OMG, nightmare artists? Hmmm. Well, one of the biggest artists in music, their producer asked me to write her a song, and I did and she stole my intro idea and my song title and made a brand new song… the bitch. She could’ve afforded to pay me for my ideas. Whatevs… the karma police will pay her a visit.

What’s the best (true or untrue) thing you’ve ever read about yourself in print?

That I popularized Williamsburg and was the hipster before all hipsters according to the New York Times. Um, that was a bit of an over-reach. Haha. One year I was voted by a New York Press as the #4 most loathesome New Yorker for having launched electroclash, popularized transvestism and ruined Williamsburg. I was flattered.

You seem to have only lived in cities famous for particular scenes in a right time right place fashion… where do you/would you see yourself settling next, considering how expensive London is getting and as inaccessible it is becoming for young creatives? 

Well, London now is the Paris of the ’20s. It’s ALL about London everywhere else in the world too with the fashion and music coming from here. I wouldn’t be doing TZUJI clothing if I hadn’t moved here. But Berlin is heading for a big mainstreaming and has more reasonably priced real estate so it could be perfect for me. Or perhaps Downtown LA, which is being called the ‘new’ NEW YORK. But honestly, no city has a thing on London right now. They always used to say in NYC, “Larry Tee in the place to be”, and they were right about that…

Join Larry Tee at Body Talk at Dalston Superstore this Saturday 19th April from 9pm – 3am.

JoJo De Freq’s Electroclash Bangers

Easter Saturday brings a double whammy from Miss JoJo De Freq at SOS, who plays not one but TWO sets! She’ll be in the top bar playing retroclash specials AND down in the laser basement for future sounds! She’ll be joined upstairs by Scottee, K-Y-M (Kim Jakobsen) and IICARUS, and by SOS residents Jim Warboy, Joe Robots and Anton Douglas downstairs.

With JoJo’s prominent electroclash past as resident and co-founder of the legendary London clubnight Nag Nag Nag, and as a former resident of Bugged Out, we got her to dust off some of her favourite records from that era and share her electroclash bangers!

What track in your opinion really kick-started electroclash?

Miss Kittin & The Hacker – Frank Sinatra 

To me this was the song that kick-started electroclash. Originally released in 1998 on their Champaign EP, it stood out from anything else around at the time. It was dark and ’80s sounding but with a deadpan storyteller that brought in a new feminine dimension to techno. I actually first heard it that year on a Danny Tenaglia mix and had to hunt it down instantly.

What tracks do you absolutely KNOW will get everyone excited about electroclash all over again?

Peaches – Fuck the Pain Away

Off her album The Teaches of Peaches released in 2000. The lo-fi, sexed-up beats were old sounds done in a new ways, by a totally new kind of irrepressible and controversial artist. When I played it the crowd’s reaction was always explosive.

…AND

Adult – Hand to Phone 

Released in 2000 out of Detroit, this husband and wife electro-duo who went on to write a string of very underground hits and found the Ersatz Audio. They innovated and influenced the sound and style of the time massively. Cold, clinical, sexy, stylish artwork combined with – slightly gothic – mechanical motor city sounds and a story to be told in the most commanding fashion. There was definitely a dominatrix theme going on and it was ever so exciting.

What track makes you instantly transported back to Nag Nag Nag whenever you hear it?

Vitalic – Poney Part 1

Off the Pony EP released on International DJ Gigolos (the most prolific and influential label of the genre) in 2001, had me discovering a hedonistic-club-conquering new sound. Again, it was analogue but it introduced a driving almost rock sound that was the predecessor to all that noisy indie-dance (i.e. Justice, Boys Noize), though this was this was moodier, more melancholic, as well as anthemic and aggressive. It’s a classic and it destroyed the floor every time.

What track sums up the fun of electroclash for you?

Green Velvet – La La Land

Off his album Whatever released in 2001. This song perfectly represents the hedonism of the day and the punk-rock, techno-funk influences that prevailed. Again, a monotone narration over a driving electroclash anthem. Just try not to sing along.

What was your favourite track to end a set with?

Felix Da Housecat – Silver Screen Shower Screen (Jacques Lu Cont remix)

There was quite the creative team involved in this production; the inside story is that the lyrics were written by Tommie Sunshine and main vocals were performed by Miss Kittin. This remix by Stuart Price, under his ’80s influenced pop guise Jacques Lu Cont, was a mega anthem. He totally transformed it with his classy vintage production style. I used to love ending my sets with this as it trailed off with some gorgeous emotive synth strings worthy of holding-your-lighters-up to (not that we did that).

What’s your favourite electroclash remix?

Felix Da Housecat – What Dose it Feel Like? (Royksopp Return to the Sun remix)

This is one of my favorite remixes of the time, released in 2002 at the height of the mayhem and I think introduced a cleaner and housier sounds that was to follow all the clash and trash. This still sounds fresh today.

What track sums up electroclash here in London?

Fischerspooner – Emerge (Dave Clark remix)

In London especially, because of their infamous live shows, this was such an overly hyped band at the time. I’ve not added the original because I think it’s more electro-pop than clash. I did however, really love playing the Dave Clarke remix in my sets because it had a tougher edge and a more DJ friendly format. I know there will be a few people unable to stop themselves dancing like machines to this again.

What track is still dear to your heart?

Tiga and Zyntherious – Sunglasses at Night 

I had to include this. This was released in 2001 and was a genuine underground electro-clash hit. It reached #25 in the UK charts. I was very proud to have another fellow Canadian flying the electro flag, even the original song was by ’80s Canadian pop singer Corey Hart. Not sure if I want to play it again though!

And finally what track can you not wait to play out at Superstore?

Headman – It Rough (Chicken Lips remix)

This was out in 2003, so after the big super-club-crash in 2001,the UK dance industry was beginning pick-up again, and the sounds were evolving into something altogether more groove based and a little bit acid. I loved this sound and I think it went down best in the UK. It was much better received here. I can’t wait to play it at DSS!

Join JoJo De Freq next Saturday 30th March for SOS at Dalston Superstore from 9pm – 4:30am.

SOS

We’re extremely honoured to announce that Jim Warboy and his hugely influential night SOS will be joining us here at Dalston Superstore in its brand new monthly home. Ahead of the relaunch at the beginning of March, we caught up with Warboy to speak to him about his illustrious past shaping London’s clubland over the last decade and what’s in store for SOS’s future. And he’s even dropped this HOT HOT mix on us! To say we’re excited is not quite cutting it…

In your years of running amazing clubnights, how have you seen the east London scene evolve and what would you personally want to further alter?
 
The East End scene has exploded over the past 10 years. I know a lot of people moan about the East End and the ‘hipsters’ but I actually think it’s still a very exciting place to be. There’s a lot going on and if you look around there are so many great people to meet. Of course, I get irritated by the way it’s seen as a new territory or market by some businesses but as long as people continues to celebrate the diversity that made it special in the first place then there should still be something for everyone.

One thing that gets on my tits is the amount of parties on offer being run by promoters who end up mimicking other nights that they consider successful or popular. I always encourage all budding promoters or partymakers I work with to stir things up more. Kick ideas around, throw different elements into the pot and then give a good shake. In my experience that’s what generates new and exciting ideas. Risks need to be taken at some point. It’s not always easy but it’s definitely worth it in the long run.

Which of your previous nights do you feel had the biggest cultural impact?
 
This is like asking a parent which one is their favourite child.
 
Over the past 9 years I’ve been lucky enough to work with some great people like Matthew Glamorre on Kash Point, K-tron on All You Can Eat, Leo Belicha on Caligula, Laurence Malice on Heroes, plus the team at SOS. These different partnerships have helped each night create some level of impact but probably in different ways.
 
It’s not an easy thing to measure but one under-estimated impact of all of club nights is that they’re often a place where people meet for the first time, forging out new friendships and working relationships, which often go on to influence culture in music, art and fashion for years to come. I’ve seen that happen time and time again.
 
Clubland has a lineage which is like a baton being passed on from one generation to the next. We are all part of an ongoing cultural impact, providing we keep developing and nurturing ideas that will be adopted, mutated and hopefully replaced by the next generation. 
 
Do you miss any of the defunct ones?
 
I miss all the nights I’ve been involved with, but I see each one as a part of my overall experience that I then carry forward to the next one so that tends to stop me getting too sentimental. 
 
What’s the most insane or elaborate outfit you’ve ever spotted whilst DJing?
 
I’ve seen such a plethora of outlandish outfits, but what’s more interesting is that almost every venue I’ve ever been in was more shocked by nudity than any whacky outfit. When I’ve had naked performers, or the occasional partygoer, I’ve had to intervene with security and management to stop somebody being thrown out or forced to get some clothes on simply because they’re starkers. One person naked in a room can create a stronger reaction than the wildest outfit. I just don’t get that. I mean we’re bloody born naked. What’s so outrageous about that!
 
Tell us a tale from the craziest SOS party you ever had…
 
Some of the earliest SOS parties at Old Rehearsal Studios in Kingsland Road were pretty trippy. We’d spend a couple of days setting it all up with a catwalk in the main railway arch for the Voguers,  a pop-up beach café, a Bedouin chillout with incense, candles and fresh fruit, plus a polysexual porn cinema and a very dark backroom. What happened in there shall remain a secret!
 
Why is it time to bring back electroclash?
 
Scottee and I had spoken a year ago about creating a retroclash party and the move to Superstore now seemed like the perfect opportunity to try it out. We want to shake things up a bit and create something uplifting in the upstairs bar but experiment with an alternative to the pop/commercial rooms at a lot of parties nowadays. Electroclash is definitely fun and it embraces the performance and DIY aesthetic we’ve always encouraged at SOS.
 
The plan is to kick the night off with some older electroclash faves and then mix it up with newer experimental dance music later on. Put Peaches next to Zebra Katz and there’s something that holds them together. Ultimately, we’re going to play around with it, aim to keep it exciting, and have some fun. For those that want a deeper, housier vibe we’ve always got the basement.
 
What’s a quintessential SOS track?
 
It’s hard to pick one out. Ima Read by Zebra Katz holds a special place after their performance at SOS last year. It’s one of those tracks that will work in the housey sets downstairs and the experimental sets upstairs.
 

 
Piepke, the artist behind your flyers, has done a brilliant job for this latest one. What’s the thought behind the design?
 
Working with Piepke is amazing. We seem to share a similar tongue-in-cheek humour and imagination. He’s such a talented artist and always manages to translate any brief whilst completely putting his own spin on it. I think this month’s design perfectly captures our excitement about going to Superstore. The gold bomber jacket is a nod to the addition of the Electroclash room at SOS. What we need now is somebody to actually make us that pimped up trolley so we can hotrod down Kingsland High Street haha.
 
SOS at Dalston Superstore
 
What’s your fave track or hidden gem we can hear on your latest mix?
 
DollarInMaPocket by Donewrong is fantastic. It’s about to come out on Hannah Holland and Deboa’s Native City label and is already getting a great response when I play it out.
 
 
 
And finally, what can we expect from the first few SOS parties here at Dalston Superstore?
 
Save Our Souls record label is about to launch in April so we’ll definitely be incorporating those fresh-off-the-press artists with performances, and DJ sets etc.  Overall, you can expect a diverse crowd, fresh ideas, and some seriously good new music played by the freshest newbies on the block and veteran old dogs, like me. 

Join Jim for the very first SOS here at Dalston Superstore on Saturday 2nd March from 9pm – 4:30am.

No Bra

This Saturday sees Susanne Oberbeck, founder of one-woman industrial band No Bra, grace the Superstore basement for a special DJ set at Club Lesley. Having been a staple on the East London club scene, Susanne has since made the move to New York where she continues to perform live and DJ, including for controversial gay pornographer Bruce LaBruce’s live shows. 

We caught up with her to chat art, the avant-garde, mustaches, books, tits and more ahead of Saturday’s set!

Why did you decide to move from London to New York?

I was drawn by its energy. 

What book(s) are you currently reading?

These are the books currently on my bed: collected poems of Langston Hughes, Hot And Cold by Richard Hell, Our Lady Of The Flowers by Jean Genet, The Job: Interviews With William Burroughs, Kafka Toward A Minor Literature by Deleuze and Guattari, The Women by Hilton Als, M by John Cage, Sister Outsider by Audrey Lorde and the I Ching. They are all worth reading!!

You’re known for having a pretty eclectic taste in music. What can we expect from your DJ set here at Dalston Superstore?

Am I? I will be playing a lot of new music coming out of New York, I don’t think it’s overly eclectic, a lot of the music I play at my own club there, and it’ll be very danceable.

Why is there such a strong relationship between club culture and the avant-garde?

Because it’s instant and up to the minute and doesn’t cost much… you can experiment and you don’t need someone more conservative to give you money to do it. People coming together in this way generates energy and new ideas.   

However I find using the term “avant-garde” today a bit dubious because it could be read as just another marketing cliché intended to keep the “avant-garde” in a safe place where it won’t lead to any genuine change.

What made you make the move from film-making to music?

I thought I would be better at it and I was desperate to perform! It’s more fun, you have more freedom to be inventive, it’s considerably cheaper and you don’t depend on other people to make it happen. But I do want to get back into making narrative films and more music videos in the future… I think it’s easier when people know who you are and you don’t have to struggle to be respected. [Especially] If your ideas are perceived as slightly unorthodox.

Where do you feel has had the biggest influence on you- your hometown in your native Germany, your adopted albeit temporary home of London or your current home of New York?

Probably London. Also I am not from a town but a village!

You’ve spoken previously about the need to balance getting your tits out with wearing a moustache. Is this something that still informs your performances and if not what does now?

Where is this quote from? It sounds like it was meant to be a joke. I guess using gimmicks like that has shock value and it looks extreme and serves as a short hand for something maybe more subtle I might have feared people would not get. Really it was just kind of a satire on double standards surrounding ideas about speaking and performance, subject and object, male and female, active and passive etc. Plus I felt comfortable in half-drag. Anyway now that I have grown as a musician, if I may say so, I’m more interested in just being myself on stage and let the songs speak for themselves, because it’s actually more powerful, [to] create something new rather than make music that is partially rooted in satire, or holding a mirror at the audience like in the Leonard Cohen song.

How did you come to DJ for Bruce LaBruce?

We have been friends for a while. He asked me to do it.

Bruce LaBruce's show

How do you go about picking music to soundtrack “gay zombie soldiers”?

Bruce named one song (For What It’s Worth by Buffalo Springfield) that he thought would be good and so I think I got the idea of what he was after… [and] er maybe mixing in my own feelings about the topic at hand. We were at this strip club called Macho Mondays and there were better things to do than discuss a DJ set. I didn’t really prepare it, it’s always best to improvise on the spot because then the audience becomes part of it.

And finally, what was the last piece of art you came across that genuinely moved you?

As in sending shivers down my spine? It was actually a fashion show but I’m not gonna tell you which one! Is that considered art?

No Bra plays Club Lesley this Saturday 22nd September from 9pm – 3am with The Lovely Jonjo, Michelle Manetti and MDMX and you can catch her performing live at the Twat Boutique warehouse party on Friday 5th October.

Photo credit: Bruce LaBruce via Vice.com

The Cock

The Cock is one of those clubs that changed everything. Bravely coming to the rescue of the queer underground and helping to spawn something they called electroclash; The Cock (along with other discos like Nag Nag Nag, 21st Century Bodyrockers and Trash) shook up our perceptions of what we should be dancing to in the small hours with a heady mix of ‘80s synth noise, punk-funk out of New York City and new alien-sounding electronic music coming from Europe. Bringing a much needed rock ‘n’ roll aesthetic back to clubland, The Cock paved the way for much of what we now take for granted on East End dancefloors. For one night only she’s stepping out of cryogenic suspension down the road at XOYO so we spoke to founder Jim Stanton (now Horse Meat Disco megastar) about all things Cock!

The Cock by Kenny Campbell

What prompted you to start The Cock?

Wayne Shires*!!! I met him at Crash when I was working for Sleazenation and Jockey Slut magazines and he asked me to jump on board with Crash as it was expanding. We released compilation CDs and got lots of top guests at the club, Tenaglia, Yoko Ono, Derrick May etc etc! TOP CLUB! Our friend (now sadly departed) Simon Hobart** asked if we could fill the Friday night at the (also now gone) Ghetto club at Falconberg Court***. The rest was history – we robbed the name and all the references from our favourite New York dive bars and clubs. It was an upfront boys-y kind of raucous Friday night out. Musically we were both synth-loving kids, and I was working at Sleazenation at the time… those sorts of things were all the rage in 2002! 

* Cock co-promoter, former founder of Crash, now owner of East Bloc

** The creator of seminal queer indie club Popstarz

*** Also home to the legendary Nag Nag Nag

How did you choose your original residents?

Easy. We picked Princess Julia and Tasty Tim because it was what they had been looking for – a way out of all the bland tech house going on at the time. They were playing for Wayne at Crash as well as other gay clubs around London at the time but The Cock offered them a chance to really indulge their real passions born from the days of the eighties at clubs like Taboo and Kinky Gerlinky. 

The Cock by Kenny Campbell

What were your favourite live performances?

Too many to mention YR MUM YR DAD, Scissor Sisters, Hot Chip… So many!

The Cock by Kenny Campbell

Which London parties do you think are following in the footsteps of The Cock?

It was definitely a DIY aesthetic we had going on and it was very carefree. I think it really gave birth to TrailerTrash.

What are your craziest memories from The Cock?

I can’t remember anything at all! Bjork hiding in the coats in the cloakroom? I do remember it was very celeb-y but not in a wanky way – nobody gave a damn, it was just somewhere people went to throw down after a long week. Very special. 

JIM’S TOP 5 COCK ANTHEMS

Seeleenluft – Manilla (Ewan Pearson mix) 

Freeform Five – Perspex Sex (Ewan’s H-N-RG Mix) 

Le Tigre – Deceptacon (DFA Mix) 

 LCD Soundsystem – Losing My Edge 

Felix Da Housecat – Madame Hollywood (Tiga RMX) 

The Cock’s 10 Year Anniversary Party takes place this Saturday 21st July at XOYO with Mark Moore, Princess Julia, DJ Rokk and Jim Stanton.

Photo credit: Kenny Campbell. For more of Kenny’s work visit kctv.co.uk