Posts Tagged ‘Farr Festival’

Bottom Heavy

On Saturday, the Laurel and Hardy of Dalston and legendary DJ’s, Dan Beaumont & Wes Baggaley,  are joining forces to get you all bumping and thumping to some deep homosexual house with their brand new night: Bottom Heavy! Having both been prominent figures in London’s queer nightlife for over a decade and played some of the most infamous parties around the globe including The NYC Downlow, we are pretty sure that these two bottoms know how to throw a TOP party.

Despite their quite sickening resumés and having been pals for years, its actually the first time they’ve collaborated together! Don’t worry huns, this isn’t the only venture for the duo. Later in the year, Dan and Wes will be playing back-to-back at Farr festival alongside Prosumer, Tama Sumo and Lakuti! 

To get you lubed up and prepared for Bottom Heavy, Dan and Wes had a little chinwag amongst themselves! Read on to find out what these two legends think about the state of London’s LGBTQ+ Nightlife, their most played records and whats on the horizon for them both!

 Dan: Can you remember the point in your life that house music grabbed you?

Wes: I do actually. I was still at school and too young to go clubbing but I remember when Steve Silk Hurley’ ‘Jack Your Body’ and Raze ‘Break For Love’ were in the UK charts and on Top of the Pops. I remember the video for ‘Jack Your Body’ having a bucking bronco in it. Then there was the whole acid house /rave thing in the tabloids. I became mesmerised by it. I used to buy 7-inch singles every week with my pocket money from being really young and I remember buying ‘Jack Your Body’, ‘Love Can’t Turn Around’ and Inner City ‘Good Life’ on 7inch. The first house music 12 inch I bought was Lil Louis ‘French Kiss’ in 1989/90 which I still have and still play.

Dan: I remember all those weird cartoon videos they threw together for those Chicago house records that became hits. Also remember thinking ‘who is Steve Silk Hurley and why isn’t he in his video?’ Then I got totally obsessed with Betty Boo.  

Wes: What inspired you to open Dalston Superstore? 

Dan: I met Matt and other Dan (DSS co-owners) when they were running Trailer Trash, and I was doing a party called Disco Bloodbath. As promoters, we often had problems with venues, and talked a lot about starting our own. Eventually we began looking in earnest and around 2008 we found the site that became Superstore. It had been empty for a couple of years before we found it. We just wanted to create a space where the people who came to our parties would feel at home, where the music, drinks and food were all good and our friends could be themselves.

Dan: What sounds are you looking for when you go shopping for records to play out? What are you trying to communicate through DJing?

Wes: That’s a tough one. I like a really wide range of different music and play various styles but when I’m looking for sort of functional dancefloor records I tend to be drawn to quite energetic stuff with lots of percussion. I’m a massive fan of the old Cajual, Relief and Dance Mania Records and always tend to gravitate towards that type of jacking type sound. I also like disco and I’m a sucker for a disco sample but I don’t like playing the same sound all night. I just tend to play what feels right at the time, could be soulful, disco, acid, techno, hypnotic deep stuff, jazzy stuff, ravey breaks type stuff, broken beat, African percussion.

Wes: You’re partly responsible for some of the best LGBTQ+ parties around at the moment including my favourite, Chapter 10. What are your thoughts on LGBTQ+ clubbing in London at the moment, especially with a lot of venue closures in the last 5 years? 

Dan: I personally think that LGBTQ+ clubbing is very inspiring right now. Adonis, Discosodoma, Homodrop, PDA, Femmetopia, Gay Garage and loads of others are all pushing underground queer music and culture to new places. Unfortunately the gay scene is still affected by misogyny, internalised homophobia, body shaming, transphobia and masculine bullshit, but it seems like more interesting voices are starting to come through, which means more creativity and more talent steering queer clubbing. Also it’s exciting to see groups like Friends of the Joiners Arms, Resis’Dance, and London  LGBTQ+ Community Centre (all rooted in queer dancefloors) disrupting the status quo.

Chapter 10 Dan

Dan: What do you think are the positives and negatives of LGBTQ+ clubs right now?

Wes: I also think it’s a very good time for LGBTQ+ clubbing at the moment. In spite of a lot of the recent venue closures there are great nights popping up in non LGBTQ+ clubs. Seems to be a sort of creative DIY culture happening which is great. There same is happening in other cities like Manchester with great nights like Meat Free at the White Hotel and Kiss Me Again at the Soup Kitchen. There’s some great music events and brilliant cabaret stuff going on at the likes of The Glory and The RVT. As you mentioned, the internalised homophobia, transphobia and misogyny needs to be addressed. A lot of the fetish venues have closed down and some of the bigger LGBTQ+ fetish nights in London are struggling to get venues. I do think this is a vital part of the culture that is dwindling. I reckon we need a LGBTQ+ fetish rave with good music. 

Dan: Good point about all the amazing queer parties outside of London!

Wes: Can you tell me some of your favourite producers and record labels at the moment?

Dan: Labels: Lionoil, Let’s Go Swimming, Lobster Theramin, E-Beamz/Hothaus/UTTU, Not An Animal, Ransom Note, Sound Signature, Stillove4music, Dolly, The Corner, Work Them, Mistress. Producers: Telfort, Powder, Mr Tophat & Art Alfie, Jay Duncan, Midland, Jonny Rock, LB Dub Corp, Stephen Brown, Garrett David, Steffi, rRoxymore, Pariah, and everything Luke Solomon touches. Loads more that I’ve forgotten!

 

 Dan: I love it when you find a record that you know intimately from the first bar to the outro, and it does a really long stint in your bag. What are your most played records over the past couple of years?

Wes: I’ve got a few of them. I’d say my absolutely most played record is Braxton Holmes and Mark Grant –The Revival on Cajual, which has never left my bag in 20 years. I actually need to replace it because I’ve almost worn it out. Also the Maurice Fulton Syclops ones, Where’s Jason’s K, Jump Bugs and Sarah’s E With Extra P are go to tracks but luckily he’s just released another album of gems. The man’s a genius. There’s Kinshasa Anthem by Philou Lozolo on Lumberjacks in Hell that came out a couple of years ago that I’ve played a lot, and then there’s that Danny Tenaglia remix of Janet Jackson – The Pleasure Principle that I’ve owned for many years but didn’t know what it was until I heard you play it at Phonox haha

Dan: I’ve totally stolen The Revival off you. It’s pure magic.

Russia Wes

Wes: Tell us a bit about the idea behind Bottom Heavy. What can we expect?

Dan: The main idea is so we can play together all night and I can steel your tunes! Whenever I’ve heard you play, I can hear a sound in between all your records, a sort of energy that I’m always searching for myself. It’s hard to describe, but it exists in the space between that jacking Chicago sound, leftfield Detroit stuff and tribal New York tracks. Plus also jazz, afro, techno, electro and disco elements. As we mentioned earlier, here are loads of great gay nights popping off, but I think what’s missing is a really great HOUSE all-nighter that joins the dots between all those sounds. 

Wes: Haha! Well there’ll be a lot of tune stealing going on because I’ve been known to have a sneaky peek through your bag as well. 

 Dan: Back to your earlier point about Fetish nights. Why are they important to the gay scene? Are there any you remember particularly fondly? If you were to throw a fetish party, what would the vibe be?

Wes: With the fetish thing I thing it’s important to have those spaces where you can dress up and sort of act out your fantasies and do whatever you want within reason. I’m actually not massive into the sexual side of it myself believe it or not, but I do like the spectacle of the whole thing and the dressing up and the fact people are free to express themselves sexually at those nights without judgement. Sadly a lot of the fetish nights are also men only parties that go hand in hand with the whole gay misogyny thing. 

 A few years ago me and my friend Lucious Flajore put on a fetish night at The Hoist which is now closed. The night was open to everybody, gay, bi, trans, heterosexual men and women. The soundtrack was dark disco, slow brooding techno and weird electronics in one room where we also had alternative cabaret and showed art house horror movies and in the other lighter room we played disco and showed John Waters films. 

 The atmosphere was great but we had problems with the sound and there was no dancefloor to speak of then the venue closed. We also had a problem with heterosexual men complaining about gays (I know right? At the Hoist!). I am actually thinking about re-launching the party at a new venue and putting in a good sound system but making it more LGBTQ+ focused and making sure people know that women and trans people are more than welcome 

Dan: That sounds amazing. You need to make it happen!

Dan: OK last one from me. Who is your biggest DJ influence?

Wes: That’s really tough but I have to say Derrick Carter. I first heard him play in about 1995 and became obsessed. I loved the way he seemed to mix different styles with ease and mix the records for ages.

Dan: I used to go to his Classic residency at The End religiously, and would always try and describe tunes that Derrick played to people in record shops the following week. I never had any luck. I was probably trying to describe about three records being played at the same time.

Wes: And for my last one I’m going to fire that question back at you and also ask if you have any music coming out soon?

Dan: I’ve got a bunch of music nearly finished that I need to sort out. I’m going to lock myself away and do that. Arranging tracks does my nut in. 


 Catch Dan & Wes at Bottom Heavy Saturday 23rd June 9pm-3am at Dalston Superstore!

Rocky Vs Terry Farley

This Saturday two legends of house join us in the laser basement for a special Christmas edition of Body Talk in the shape of not only acid house hero Terry Farley but X-Press 2 legend Rocky! Ahead of the party, Rocky sent us this ace warm-up mix plus him and Terry sat down for a chat…

Terry interviews Rocky…

Terry: You worked for the Ministry Of Defence – ever thought of doing a WikiLeaks turnout?

Rocky: To be honest it was so long ago the kind of hardware we were knocking out would be like Dads Army stuff today. 

 …did you get to test cool James Bond style weaponry?

Sadly no. I was a progress chaser and looked after projects that made bits for armaments. 

What was your first DJ gig?

First ever would have been the Sixth Form end of term disco at my school. Our head took us to this deserted store room where they had one of those Citronic double deck suitcase things. It was covered in dust. We dragged it out and set it up. I was hooked. Band Aid was big that year.

Can you remember any records you played?

Deffo Band Aid got played. Also some of the Breakdance movie soundtrack. Aside from those, I have no idea. I think everyone brought in their own tunes. There were a couple of us who just went through the tracks and played them. We were a glorified jukebox.

Which DJ inspired you to take up this life?

In all seriousness, out of everyone, I think you and Andrew back in the day.

What’s been your ‘worst gig ever ‘ and why?

I think recently playing to a restaurant of around 20 diners was pretty poor.

And your best gig ever?

Any time that we’ve ever been to Japan has been amazing. This year, the opening of Pacha was quite special as well.

Is HOUSE a feeling or is it just Diesel’s real name ?

It’s just his name.

Rocky interviews Terry Farley

You’re playing Handsome at East Bloc early next year, a perfect fit – why did they wait so long to ask you?    

A question my Mrs has asked along with “Why have they booked you then?” and “You wont be in the club’s pictures”. I can only say it’s a honour to be playing East Bloc again and such a cool party. I will be visiting a spa before hand and sprucing myself up for the night.

Your fave party/club/one off of 2013? One only please. And what made it so special. 

I loved Farr, playing a three- the hard way- clash with Dan Beaumont and Ms Hannah Holland – I love Farr it’s exactly how I would do a ‘festival’, if I had the know-how and the spare bucks to pull it off.

What was your first DJ gig?

Myself and a mate Paul Mckee put on a night in 1981 and we both DJed (there’s a pic of me on that night that just turned  up all these years later on Facebook) – I played a Le Beat Route style set of ’70s funk and disco, some new electro and some leftfield stuff like Prince Charles and the City Beat Band’s seminal track In The Streets. 

Can you remember any records you played?

Prince Charles – In The Streets, Fatback Band – Wicky Wacky,  Roy Ayers – Running Away and Aurra – When I Come Home on Salsoul – I always played those tracks whenever I got to play in clubs or parties after that for ages. 

If you were ‘invited to the ball’, would you have done a Boys Own pod on the Eye?

Was there money involved ? If “yes” and if “a proper drink”, then maybe, (I know Andrew would have laughed down the phone at me if I had rung him up) as it’s what I do for a living. For free? Fuck that, I thought it was a naff idea (I fully appreciated Red Bull’s contribution to house music over the years) and I’ve been on the Eye twice and never liked it much anyway.

Who was the best dresser of the Slough Soul Boys?

Gary Haisman – who went on to be banned from Radio 1 for his ACCCIIIEDD record with D Mob in 1988. He was skinny and lanky and could pull off red peg trousers from SEX and mohair jumpers while I think sadly I always looked a bit like a young Del Boy.

Define HOUSE in 12 words. 

LIFE LIFE LIFE LIFE LIFE LIFE LIFE LIFE LIFE LIFE LIFE.

Will you ever go back on the gas? 

I have dreams (nightmares) of being back pipe fitting, and in those dreams I’m always so slow and fucking rubbish at it. So NO thats never gonna happen, and for safety’s sake thank god.

Are you still a gay black man struggling to escape a white gas fitter’s body?

People still quote that line – in fact loads have stolen it… it was honestly how I felt during the early ’90s and being so into the NY gay culture that surrounded the music we were making, the DJs who were playing it and the Sound Factory, a place I adored. My bluff, however, was called one morning just around the corner from the Sound Factory and I failed the ‘ lad fag’ ( Luke Howard’s term for us lot back then) test badly… bottled it haha.

Join Rocky and Terry Farley this Saturday 21st December for Body Talk at Dalston Superstore from 9pm – 3am. 

Terry Farley’s Acid Rain Launch Party

Tomorrow night sees Terry Farley join us once more both for Society’s Farr Festival Warm Up and for the launch of his new Acid Rain compilation! And ahead of the party we’re giving away a pair of tickets to Farr Festival, which takes place just outside of London in Hertfordshire over the weekend 19-21st July, AND a copy of Terry’s new release!

“It was 25 years ago in 1988 when the Acid House sound created a musical revolution in the UK following the success of London’s Shoom and Hedonism, whilst, at the same time, Manchester was kick starting the movement in the North of England with the Hacienda’s Hot and Nude nights. Acid House continued its corrosive effect on the late 80’s party crowd with new clubs opening up almost every month throughout 1988 – R.I.P., Spectrum, Zoo, The Trip, Apocalypse Now, Legends, the State, Rage, Sunrise to name a few.

By the summer of 1988 aka ‘the second summer of love’, Acid House was something of a national sensation in the UK with the political establishment seeing the movement as a threat to law and order and the tabloid press vilifying the movement and its main symbol, the smiley face.

But what exactly was Acid House?

Internationally renowned DJ and House expert, Terry Farley has painstakingly compiled 5 CD’s which trace the movement’s beginnings and the incredible 6 years when this underground music from Chicago dominated the UK dance floors and spread throughout the world. To accompany this furious aural assault is a 32 page booklet written and curated by Miles Simpson, founder of the influential House Music blog, ‘Beyond the Stars’, interrogator of legendary DJ’s and all-round House expert. Plus, of course, pages of scans, flyers and key photos from the period from the Terry Farley archives.”

Terry Farley Presents: Acid Rain

For your chance to win a copy of the 5-CD compilation Terry Farley Presents: Acid Rain and a pair of tickets to Farr Festival just email the correct answer to hello@dalstonsuperstore.com by 10am Thursday 27th June with the email subject “ACID RAIN/FARR FESTIVAL COMPETITION”.

*Only the winning entrant will be contacted.

What was the summer of 1988 also known as?

a. The second summer of love

b. Another summer of rain

c. The winter of discontent

Terry joins Society’s extra special resident and all-round genuine legend Robert Owens, Thunder’s Miles Simpson, Damon Martin, Jake Manders, Josh Caffe and the Society DJs here at Dalston Superstore for Society’s Farr Festival Warm-Up tomorrow night from 9pm.

Thunder

If you’ve been frequenting dark basements round these parts lately you may have noticed the unmistakable sounds of Thunder. A quarterly party with an extremely selective music policy, Thunder has so far welcomed Sven Weisemann, Patrice Scott and Neville Watson into the fold for their dedicated crowd. A collaboration between a trio of seasoned London music heads Miles Simpson, Rick Hopkins and Joseph Apted, the next party is happening this Friday up the road at the Waiting Room. We spoke to them about things that go bump in the night…  

Tell us about your introduction to house music – what clubs and records got you hooked?

Rick: Me personally, I got sucked in by the sounds of Chicago and early Detroit in ‘89. Wasn’t a club but a local DJ named Doug Osbourne, who was a Shoomer, a few years older than me, and listening to him force feeding music to us like any good DJ would, I succumbed to the House Sound. Pre 1989 I was really into my hip hop and you’d often hear early Trax records like Adonis – No Way Back or Raze’s – Jack The Groove interspersed in the early sound-system nights out and these records always stood out with the distinctive 808 drum machines and basic looped bassline that drew you in. Another one was Nitro Deluxe but too me that seemed like a combination of early freestyle and even earlier house productions. Club wise, we’d go to Dingwalls and hear Colin Favor spin rap along with house too, so Mr. Favor had a very strong influence on why and how the house and techno sound became so prevalent in my late teens and early 20’s. Where I live in the suburbs, we were only a stone’s throw from the smoke, so London’s influence was drip fed to us and by then you were looking at so called raving like an epidemic. Most, if not all, my friends were going out to big raves or clubs in town. We had a local boozer on a Thursday night that Doug Osbourne did and it was mayhem, and there was not much drinking which never pleased Peter the landlord, bless him, meaning we were pretty much going out Thursdays, Friday, a big do in Cambridge or in London on a Saturday then back down the pub on the Sunday with everyone proclaiming they were coming back up, those were indeed the days.

Miles: I can remember hearing house on the radio in the late ‘80s, things like Nitro Deluxe – Let’s Get Brutal, Sterling Void – It’s Alright, Kym Mazelle – Useless and then Inner City – Big Fun on Pete Tong’s Friday night show on Capital, but not even really being aware that some of it was house rather than just dance music, especially the more soulful stuff. I didn’t really catch the house bug properly until I went to my first acid house party at the end of 1988 in The Dome in Tufnell Park. The party was called Space, there was lots of smoke, a strobe and even some lazers – all of which are still dear to my heart! I started work in a shop on the Goldhawk Road in Shepherds Bush literally a day or two later, and that was opposite Discount Records, which sounds crap but was one of the best record shop in west London! So as I immersed myself in the north London rave scene of 1989, at places like Silver City, Labyrinth and Camden Place on a Monday, and the supporting pirate radio stations, like Centreforce, Sunrise and Dance, I could pop over the road and hum the tunes to them and then buy them. 1989 was such an amazing year for year of records, as it felt like the world was changing around us …

Joe: I’m a bit younger than Miles and Rick and grew up in rural Angus – Scotland, so it’s safe to say I didn’t have the same influences. I lived a fairly sheltered life until the age of 15/16 at which point various clubs and parties just seemed to explode in our area. It was the summer of 1992 and the little town that I went to school, Forfar, suddenly had a regular Friday night club and was bringing up DJ’s like Steve Bicknell, Evil Eddie Richards, and Michael Kilkie every week. It became really popular, really quickly, and at one point had buses coming through from Edinburgh, Aberdeen, etc, all to go this mental little club in this little town they’d probably never heard of. To say it was an eye-opener was putting it mildly, I was 15 sneaking into an over 18’s night and it literally was a case of one week I was going to a youth club, drinking cheap cider and trying (failing) to pull girls, and the next week I was dancing around in dry-ice to Chimo Bayo, having the time of my life and wondering how I could afford a Destroy jacket. That summer was my introduction to that scene and I absolutely loved it, it was a whole genre of music that I hadn’t been exposed to, clothes and fashion I hadn’t seen before and the fact that most people were much older just made it ridiculously exciting. Music wise, I’m not going to get into revisionism and pretend I was dancing about to Underground Resistance records aged 15 as that wasn’t the case. The tunes that stick out are things like the afore-mentioned Chimo Bayo – Asi Me Gusta Mi which just sounded like nothing I’d ever heard before….it hasn’t aged well and sounds very euro-cheesy, but to me, at the time,  it sounded sleazy and exotic. The other tune that’s ingrained in my brain was Age of Love – Age of love, which again sounded so exciting and different to what I’d been exposed to previously. The next year, 1993, a local guy called Shawn Moir started a night called Aphrodisia in another nearby town called Kirriemuir, it was in a completely lawless, anything-goes little venue called The Og. It had zero security, was filled with smoke, had a wild crowd and was extremely debauched. That was our ‘clubbing home’ for the next few years and was probably the most fun I’ve ever had.

Why do old house records sound more relevant than ever?

Rick: They don’ t sound any more relevant now than they did back then it’s just they were records produced by people who loved what they did and were affected by the clubs they were going to and I guess tried to recreate sounds that they the music makers were hearing.  A good record will always last the test of time. Producers will always try and hark back to the vintage sound of early Chicago records because essentially the productions were so raw with a sound quality that matched, certain labels vinyl presses had that earthy sound because it was old vinyl melted down and reused for newer wax. All this combined just sounded, without being too clichéd, totally mind-blowing, hence the massive influx of younger producers trying to recreate ‘that’ sound with tape recordings, analogue equipment, etc. But, house music isn’t just about a 707, 303, 727 or 101, in my humble opinion. It’s whatever feels right at the time so long as it’s good and the dancers react.

Miles: House records have always been relevant to me but I guess the cyclical nature of music means they haven’t necessarily to most others. If you listen to one thing for too long it can become tired. And whilst house has always been evolving in one way or another, I think a lot of younger people switched off to it after the mainstream boom in the ‘90s. And why wouldn’t they? Mainstream house became the sound of Mecca discos in the suburbs, girls dancing round handbag, blokes in shiny shirts on the pull and shit pop remixes.  All the sort of stuff any teenager with an ounce of sense would run a mile from. But now that’s been forgotten, things have moved on and young people are engaging with it again, because as Rick says, good music stands the test of time, and there are literally thousands and thousands of amazing house records people under the age of 30 will have never heard. And with that new blood comes fresh ideas and suddenly people are rehashing, reinterpreting and reinventing, but in an exciting way. There’s a nod to the past but it’s not derivative blandness, so you can play a 2012 Joy Orbison tune next to a 1995 Prescription record next to a 1990 Nu-Groove record and it works. It’s great, because as a DJ that’s been buying house for years, it gives you such a broad palette to draw from.

Joe: I agree with what Miles and Rick both say, I think back then people were trying to be innovative and original and that comes across in the records even now. Since then people have tried to copy and regurgitate that style as it’s drifted in and out of vogue but it never sounds as fresh so people keep returning to the original tracks. That’s not to say we should all be playing old music, but new music should offer something new, rather than just trying to sound like vintage Chicago house, in my humble opinion.

What are your current favourite labels?

Rick: Aesthetic Audio, Sistrum, Curle Records, Clone and all the little offshoot labels, RushHour, Fit Records, FXHE,  Delsin Records, Pampa Records, Smallville, 7th Sign, Sushitech, MikroDisko, M>O>S, Workshop, Dekmental, Ferris Park, Uzuri, Sound Signature – the list is endless.

Miles: I try not to get too hung up on labels but I’m generally a miserable failure on that front, because I get hooked too easily, especially if the artwork is cool, or they’ve got those little cloth swatches that Mojuba use or they’re nicely hand-stamped like Workshop!

Joe: Boring answer, but I don’t have allegiances to any labels – I couldn’t name a single label where I like EVERYTHING off it, or even 50% of it, so my collection is a magpie-like selection of bits and bobs from the labels mentioned already and others.

Where do you buy your wax?

Rick: Mainly online from Juno, Vinyl Underground in Northampton, Interstellar Sounds from Leicester, Delsin shop in Amsterdam, Rub A Dub up in Glasgow and Phonica, as opposed to a few years back when I was in Soho constantly every other weekend circumnavigating the shops from the pre house days in Groove Records, Hitman Records, Red Records in the magic Soho square mile and Spin Offs over in Hammersmith. House wise I was purchasing vinyl from shops like Luton’s Soul Sense Records, Hardcore Records in Stevenage and in town Fat Cat Records, Atlas, Eukatech, Rough Trade below Slam City Skates, etc. The odd occasion I can get into town on a Friday or Saturday afternoon I have a rummage through the racks of Phonica and Sounds of The Universe and always manage to find something decent.

Miles: I use online shops a bit but as I live and work in London, I try and get along to physical records shops most weeks. I can walk to Phonica in about 20 minutes after work, so I’m in there a lot. The staff are cool and Nick in particular always seems to be able to pick out at least one record I love and that I would have never thought to listen to otherwise. Whilst in Soho I try to check out Blackmarket too and always pop into Sounds of the Universe, to see what’s on offer there, and have a chat to James, another massively knowledgeable chap. Kristina in Dalston is bloody great too, fantastic records and the guys in there know their shit, so their second hand stuff is HOT. We also did a pre-Thunder in-store party with them and Patrice Scott, which was cracking and they were great to work with. Hopefully it won’t be the last one either.

Joe: If online I use Hardwax, Rub-a-Dub, Juno etc, and if I’m lucky enough to escape suburbia and actually make it into London, then I love an afternoon mooching around Phonica and second hand places.

Why did you decide to throw Thunder parties in this neck of the woods?

Miles: When we were originally looking for a venue I was convinced we needed to be in the Dalston area. It’s just buzzing, maybe like Shoreditch was 15 years ago, but with added genuine local community, which will hopefully act as a bit of a safety valve and stop the area being taken over by dick heads. I remember first visiting the Superstore and being blown away not just by the venue but the crowd, and the feel of the area. And since Superstore blazed that trail, that buzz has spread to other local venues. But it’s still got that rough edge. I love it, on a summer’s evening, at the weekend, the atmosphere is electric. I don’t think there is anywhere in London like it right now, not Hackney Wick, not Peckham, it’s just right and it’s basically the place to be if you want to throw a good party and have people who live for good parties turn up. That’s why we’re there.

What is the combined age of Thunder?

Miles: You should know a lady never tells… but we are actually all in our teens, we’ve just, erm, had hard lives.

Your guests have been pretty special – what do you look for in a headliner?

Rick: Someone we all admire musically whilst trying to bring in folk who you may never get to hear in such intimate surroundings.

Miles: Like Rick says, someone we are really into and admire, not just as a producer but as a DJ too. Neville Watson, John Heckle, Patrice Scott, Sven Weisemann and our next guest, Domenic Cappello, are all very accomplished producers, but you know what? They are all at least as good, if not better, behind the turntables as they are in the studio. That is important to us, because there are plenty of ‘hot’ DJs out there, whose hotness is based primarily on cobbling a couple of tune together on a laptop. We are after greater authenticity, because that’s what Thunder is about – real people doing stuff they love for the love of it.

Joe: I’d say the primary thing is, can they properly rock a party, as opposed to just turning up and playing a few tunes. The other thing is someone who takes a bit of pride in their craft who has gone to some effort to look out a really exciting, unpredictable selection of underground house. Every guest so far has played pure vinyl, so it couldn’t be further removed from the laptop DJ playing the latest Beatport anthems… there has to be a bit of love and care about what they do.

What is your fantasy Thunder line-up?

Rick: Personally love to get Derrick May down for an evening. That would be special.

Miles: Blimey. If I had a time machine, then it would have to be two rooms – the first would have London club legend Breeze warming up for 1990-93 vintage Tony Humphries and then the Junior Vasquez of 1991-92 see us through to lunchtime. Room Two would have Walter Gibbons, Tee Scott and Jim Burgess, who are basically my disco heroes.

But in the absence of a time machine, maybe Chez Damier and DJ Nature? Or Joy Orbison and Sven Weisemann back to back – that would be nuts. Actually, Derrick May is a great shout. With Theo Parrish and Kenny Dixon Junior warming up… in the original Sound Factory, with the Milk Bar bolted on as a second room and the roof terrace from Pacha stuck on top. Although I’d settle for DJ Nature or Joy Orbison though in our little basement though.

Joe: I’d borrow Miles’ time machine and have a two room club as well; Larry Levan playing a happy hardcore set in one room with, DJ Rush & DJ Funk playing back-2-back in the chill-out room. I’d also have “Blocko and Peasy” doing the cloakroom just for the jolly japes they’d get up to – bloody nutters.

Miles: Right, let’s bin the time machine plan then…

What does the future hold for Thunder?

Miles: Well in the immediate future, we have a party on 20th July with Glasgow house superstar, Domenic Cappello. Then the weekend after we’re playing at the FARR Festival in Hertfordshire, with loads of other great DJs, like you (Dan), Hannah Holland, JD Twitch, Bicep, Terry Farley and Trevor Fung and two days before that on Thursday 26th, we’re playing a FARR warm up party at the Dalston Superstore. All very exciting! Beyond that we want to continue to build on the parties we’ve had so far and throw more great parties continue to play music we love and that hopefully other people like too, work with a diverse range of DJs that we admire, and most importantly, have lots of fun we people like. It’s not much of a master plan but it seems to have worked out okay so far!

THUNDER with Domenic Cappello

Rick: That we all remain sane and continue to move and grow in the right direction that we want. Think we’ve achieved that thus far so we’ll continue moving forward, onwards & upwards as they say.

Joe: I won’t be happy until we’re as big as Swedish House Mafia. Only when we’re playing to 70,000 people at Milton Keynes Bowl with Rick banging out loads of old Relief records will I think we’ve achieved our goals…

Miles, Rick and Joe play Society’s warm-up party for Farr Festival on Thursday 26th July at Dalston Superstore from 9pm – 3am and on the R$N Vs Society stage at Farr Festival on Saturday 28th July.

Win Tickets to Farr Festival

Our friends at the Ransom Note have teamed up with our monthly acid house night Society to host one almighty stage at this month’s Farr Festival and we’ve got a pair of tickets to give away to one lucky winner. The stunning line-up includes some of our favourite people, and, of course, own very own Superstore boss Dan Beaumont!

With sets from Bicep, Miss Hannah Holland, J D Twitch from Optimo, Terry Farley and Trevor Fung playing a Balearic sunset set; you can see why we think this is one NOT to be missed!

Farr Festival takes place just outside London in Newnham, Hertfordshire in a deserted wood on the  27th and 28th July with other stages from Bristol based night Just Jack and London’s Sancho Panza. Acts over the weekend include Eats Everything, George FitzGerald, Jozif, Miguel Campbell and Waifs & Strays.

To be with a chance to win, tell us in the comments your best festival story! We’ll decide the winner by 2pm Thursday 12th July.

In the meantime, get your ears round this brand new mix from the boys at Bicep!

Bicep join J D Twitch (Optimo) Hannah Holland, Dan Beaumont, Terry Tarley and Trevor Fung on the R$N Vs Society stage at Farr Festival on Saturday 28th July. You can buy tickets for the festival over at The Ransom Note.

Farr Festival

This summer sees our favourite Thursday night acid house party Society team up with one of favourite websites The Ransom Note to host a stage at Hertfordshire’s Farr Festival. They’re in good company as they’re joined by Bristol based night Just Jack, long-running north London party Sancho Panza and Leeds night Flux.

The line-up boasts Miguel Campbell, Eats Everything, George FitzGerald, Waifs & Strays, Huxley and Jozif, whilst over on the Ransom Note Vs Society stage they’ll be bringing you the sounds of:

JD Twitch from Optimo
Hannah Holland
Terry Farley
our very own Dan Beaumont
Trevor Fung (who’ll be playing a special sunset set)
the Thunder DJs 
and more

Check out this amazing Balearic mix from Optimo to get you in the mood!

Farr Festival takes place 27th-28th July and tickets are only £35 direct from The Ransom Note. If you can’t wait that long for a spot of acid house, pop down to see Trevor Fung play Society’s monthly party with Robert Owens in the Superstore lazer basement on Thursday 26th April 9pm – 3am.

For more info on Farr Festival and the full line-up visit their official website: farrfestival.co.uk