Posts Tagged ‘Glasgow’

Huntleys + Palmers

Ahead of their 2016 premiere, DISCOSÓDOMA sat down with their first guest of 2016, the Glasgow-based Huntleys + Palmers of the highly esteemed namesake label and excellently curated event series. They caught up to chat about the future, music and of course love!

Can you explain where the Huntleys + Palmers name comes from?
When I was looking into starting parties back in 2007, a name was the last thing I thought about. As the first one was getting closer, I read about the 50th anniversary of the Wolfenden Report, which famously decriminalised homosexuality. It explained that during the trial the court used the code names ‘Huntleys’ and ‘Palmers’ for homosexuals and prostitutes – to spare the blushes of the prim and proper administrators who were working on the case. So at the time, I liked the slightly sleazy connotations and went with that. What I didn’t realise until much later, is the code names came from the name of a popular biscuit brand at the time – they still exist now and I think many just assume I like biscuits!

You have built your reputation on a strong editorial focus on new sounds and emerging artists. How do you cut through the noise to discover new talent?
I’ve been obsessed with discovering new music for as long as I can remember, right back to taping radio shows in high school. I guess over time I’ve managed to refine what excites me in an artist / track and I know what I don’t like almost straight away. Unfortunately, there isn’t a simple way to cut through the noise, I still have to check everything to discover the nuggets.

What are the processes separating Huntleys + Palmers and Highlife? How do you select what goes where? 
Good question! This requires a bit of backstory – the Highlife parties were started as a side project to H+P, which would specialise in music from around the world. A year into running Highlife parties, we started the H+P label and then subsequently needed to start a sub-label to focus on edits, which is where the Highlife label was born. So both labels are intertwined, but there’s some nuances in there – Highlife has an international, dancefloor friendly sound / feel, whereas H+P is a bit more all encompassing. An easy way to categorise is between who would play at a Highlife party and who would play at a H+P one.

Have you already started seeing the emerging sounds for 2016?
This isn’t something I pay too much attention to nowadays, although I have a feeling it will be a good year for a bunch of artists connected to the label..
In the meantime, I’ve got a full schedule of music to release that’s getting me really excited, so enough to focus on. 

Glasgow, London, Berlin. Your current operations see you working in all three cities, with Glasgow being now your main residence. When did you decide to make the move and how this change has affected your work?
I’ve been back in Glasgow for about 18 months now. Despite living in other places over the years, I always had something or other going on in the city, so from that point of view, not much has changed. It’s great to be back though and nice to be involved in a community where people are looking out for each other.

Last year we saw the closure of the Arches in Glasgow gaining a great momentum in the news. How did the city react to this? In London lately, we see parties happening again in offbeat locations, from detached warehouses to temporary disco basements. Is there something similar happening up north?
There was a big outcry at the time of The Arches closing, but I’m not sure what effect it’s had on the city as a whole – there’s still a bunch of great venues of all sizes in the city and the recent expansion of SWG3 pretty much fills the void of The Arches. Likewise with offbeat party scene, it’s not something that’s really existed in the same way it does in London, probably connected to licensing / council. 

If you could snap a moment from your ideal party, what would this portray? 
Highlife just played at Optimo’s legendary NYE party in Glasgow which was a pretty big deal for me personally and a bunch of close friends came out. The further I’ve been involved in music, the less I see of them in that sort of environment, so that was really special and I was buzzing for ages afterwards. So I guess a mix of old and new friends would be a big factor.

Are there any exciting future projects for Huntleys + Palmers you could share with us?
Yeah, always! There’s a lot of great music on the way from Lena Willikens, CAIN, Auntie Flo, Wrong Steps and a bunch of new faces to introduce.

What shall we expect from your set at DISCOSODOMA?
It should be all over the place – in the best possible way. Brand new music alongside some older stuff I’ve dug out from the back of my brain. I’m really excited to play at Superstore! It was one of the first places I hung out in when I first moved to London, so looking forward to being back.

Can you tell us a bit about your mix?
I think we can all agree that Valentines Day is a lot of shite. It can’t be denied that there is a great deal of music made about love, heartbreak and the rest. Consider this a selection of my favourite songs from around the world, which happen to feature or relate to love. So you can play it all year round – no matter your relationship status!

 

Catch Huntleys + Palmers at Discosodoma | The Lovers at Dalston Superstore on Saturday 13 February from 9pm-5am. 

Hot Mess

By Hot Mess

What does a Hot Mess look like? They come in all shapes and sizes, although it’s fair to say the majority are kinda scruffy with facial hair and a suspicious bulge in their pants. A more interesting question is: what does a Hot Mess feel like? At our parties we’re trying to make people feel the following…

In no particular order: elated, excited, aroused, disoriented, joyous, heartbroken, invincible, overstimulated, enchanted, aroused – did I say that already? You get the picture.

Optimo’s JD Twitch said this when he played at the club in April this year:

Apart from the fact it’s an honour to be asked to play at Hot Mess, I enjoy playing there because it is one of very few club nights in Glasgow that is doing something different and that has built a true sense of community around it. It isn’t about booking big names guests to pull people in, but through hard work and simply playing great music that Simon truly believes in, it has become one of the most important and vital club nights in Glasgow and has inspired others to follow suit.

And here are five “What Does A Hot Mess Look Like” tracks:

The Galleria – Calling Card

The Galleria is a collaboration between NYC producer Morgan Geist (the man behind Metro Area and Storm Queen) and singer Jessy Lanza. It’s cold as ice! Super-sharp electro-boogie.

Nancy Whang and Audiojack – Like An Eagle

Nancy Whang has sung with LCD Soundsystem and The Juan Maclean and she is great. This cover of a ’79 disco classic SOARS. God bless Nancy and her voice of glacial delight.

Christian S: The Power Of Now

 This is the definition of a solid banger. Arpeggios. Disco drums. Relentless. Kinda what it would have sounded like if Daft Punk had met Giorgio Moroder in 1993 rather than 2013.

Lena Willikens – Howlin Lupus

I wasn’t sure how this would go down when I played it, but it was welcomed on the dancefloor like an old friend. Dark, disorienting and deeply groovy. Last time I played it at Hot Mess it resulted in a total “taps aff” moment and much snogging.

Tom Rowlands – Through Me

Tom Rowlands is one half of the Chemical Brothers and Through Me is possibly my favourite 12” of the past five years. It’s so full of energy and demented glee! I usually accompany it with a strobe light overdose, which instantly lifts a hundred pairs of sweaty hands into the air.

Join Hot Mess on Friday 17th July for Shake Yer Dix at Dalston Superstore from 9pm – 3am.

Alex Smoke

Rising Glaswegian techno star Alex Smoke joins us in the laser pit this Saturday for a very special LIVE set for Homodrop! Having released techno and electronica records as early as 2002s on labels like Soma and more recently Optimo, Alex has since turned his hand to composing scores for television. Ahead of the party, Homodrop caught up with the Scottish producer to find out more about what we can expect this weekend…

By Homodrop

You come from Glasgow, where the club culture is intense, what do you think about the club culture in the UK these days?

Truthfully I have to be honest and say that I can no longer speak for people who are driving club culture as I don’t go clubbing nearly as much these days and play less too, but there are trends that I notice from a distance. The undergound is still there but the commercial pressures are huge, and the hype and front seem to matter as much as the music. Some of the innocence has been lost and that’s a shame. Having said that, there is more great music than ever, and younger and younger producers pushing their own sounds and that is great. The occasions when nights have that magic reminds you what club culture is all about, and that it is still there.

Could you explain why our Homodropers might be so excited to see you playing at  Dalston Superstore? 

I’ve always been popular with the deaf, so I imagine you have a large following who are hard of hearing. Ho ho. Seriously, if that is true, then that’s very nice to hear. Maybe because I tend to play the same few venues in London these days such as Fabric, which only caters to a certain cross-section of clubbers. I’m really happy to be playing in a small intimate venue though…. it suits me best.

Do you play often for gay scene? 

Not really to be honest. I am very homophobic. Just kidding of course! I have played many gay nights over the years but less so recently.

What can we expect from your live set?  

I’ll be playing extra well. That’s the main thing. I like to keep it very dancefloor focused but also interesting and varied. Sets which don’t move in style or emotion become boring unless you’re out of your banger, so I’ll be catering to the full range of intoxication. Technically, it’s melodic techno and rave-wonk on a laptop, pieced together as I go along and accompanied with a drum machine and possibly some singing…..

You recently released the score for the BBC’s Order & Disorder series under your real name Alex Menzies, how come? 

In recent years I’ve been working more on scoring and composition as that is probably where I’m headed, and I got the chance to score this physics series. It’s such a different outlook from club music, but it’s what I enjoy most. It got picked up by Kathexis for release on vinyl and I’m really glad actually as otherwise it’s restricted to the tv and I think it stands alone as music too.

Any new projects? 

Yup, some more Wraetlic material (weird vocal songs) later in the year on Huntleys + Palmers, another BBC score release on Kathexis, a possible Alex Smoke album this year and a large scale psycho-acoustic installation in Glasgow Cathedral in November designed to melt brains.

Join Alex Smoke this Saturday 6th June for Homodrop at Dalston Superstore from 9pm – 3am.

Scott Fraser

Ahead of this Saturday’s acid-infused Tusk party, we sat down with Crimes Of The Future’s Scott Fraser to have a little dig through his record bag and find out a little bit more behind this enigmatic DJ and producer’s eclectic music taste…

A record that inspired you to make music…

This label and this record is why.

A record that sums up the ethos and sound of Crimes Of The Future…

A record we both find the same quality in, and the definition of the funk.

A record that is the ultimate soundtrack moment in a film…

The smash of the glass, the swipe of the razor…

A record that never leaves your bag…

Edwards and Ron, a breath of fresh air in a world of dance music beige.

A record too sad to listen to…

Utter utter genius, not a dry eye in the house.

A record that makes the crowd go mental when you play it at Bodyhammer…

The definition of jacking…

A record that defines your relationship with your label co-founder Timothy J Fairplay…

Spend all our time down a hole in the ground.

A record that evokes Glasgow for you…

Arguably the most important and fuck off band of my generation and proof if ever there is more to the place of my birth than Lorraine Kelly…

A record you can’t wait to play in the Superstore basement…

Drop needle, let build for 3 minutes, watch room burn up…

Join Scott Fraser this Saturday 28th March for Tusk at Dalston Superstore from 9pm – 4am.

Dixon Avenue Basement Jams

By Elles Pinfold

This Saturday Paris’ Acid Ball welcome two glittering jewels in Glasgow’s impressive House crown- Dan Monox and Kenny ‘The Wasp’ Grieve, aka the ineffable Dixon Avenue Basement Jams. Noted aficionados of the raw sweat and grit sounds that make for earth-shattering club experiences, we picked their brains on Independence, emotional scenes, guilty pleasures and dancefloor filth. 

If Glasgow could teach London three things what would it be?

Dan: Hmmmm…. hard question… I guess Glasgow has a reputation for being a wilder party place than London, but that probably has something to do with the fact our licensing laws are tighter, so people tend to get “on it” a bit earlier. Having said all that, it’s not really relevant because the last few times we have played London the crowds have always been well up for it. So that’s 1 irrelevant thing, 2. be smaller, 3. be a bit colder.

Kenny: Yup, London seems to be catching up on the party vibe stakes, so…..
1. Boris is a stroker
2. Boris is a stroker
3. Boris is a stroker  

If you had a time machine and could go back to any dancefloor anywhere/anywhen, where would you set the dials to?

Dan: For me it would have to be the Muzic Box…

Kenny: If Dan’s going for Muzic Box, I’ll go for the Warehouse.  

Your sound has a raw energy reminiscent of the early Chicago, New York and Detroit house sounds- the kind of music that reportedly moved people to near-spiritual experiences- tears of joy on the dancefloor vibe. Ever lost your shit to a record in a club this way?

Dan: Yup, we played Your Love at Panorama Bar a few months back, and the shutters came up, and we were both having to hide our faces from the dance-floor while it played, I think there was a few of the dancers in the same boat. One of the highlights of our sets over the past few months has been the forthcoming Denis Sulta – A.A.S [Nite & Day Mix], it always destroys, and gets the place going wild. Last weekend we played with Denis together for the first time in La Cheetah, Glasgow, and seeing his face when he caught the reaction of the crowd whilst playing that track was pretty emotional too!  


Kenny: Totally agree with Dan for the above, we must be getting old and fragile. There’s also a low growling acid track with a haunting vocal From Tom Demac and Will Samson called It Grows Again. On the right dancefloor it tugs at the old heart strings a belter.

If the ‘Yes’ vote in Scotland had been successful and you were in charge of the new independent country- what’s the first thing you’d change?

Dan: The daft party animal side of us would say 24 hour club licenses (or at least 5am/6am close)…

Kenny: Yeah and Mondays would be a public holiday.
 
Tell us about the club you made in the basement of the flat on Dixon Avenue…

Dan: It was a flat with 2 floors, my bedroom was in the basement and then there was another unused room, with black painted walls, tiled floor, DJ booth, PA system, lights, smoke machine etc, which basically turned into THE after party venue in the southside of Glasgow. We had some pretty messy nights / weekends down there, and needless to say it “smelled” like a club come Monday too. Another guy moved in, and that turned into his bedroom, it had to be the grimmest bedroom in Glasgow!

Like a lot of small labels there’s a strong family vibe to DABJ’s whole output- which of yous is the mum and who’s the dad? 
 
Dan: Kenny’s the mum AND dad and I’m the daft kid…. or Kenny’s the dad and I’m the mum (suck mummies cock).
 
Who would be a dream DABJ signing?
 
The Horrorist & Frankie Knuckles supergroup.
 

What’s your guiltiest (musical) pleasure?
 
Kenny: Erasure.
 
Dan: Dire Straits (love em, not even guilty about it).

‘Rawness’ and ‘freaky’ are a couple of words that’s have been associated with the DABJ sound- whats the rawest or freakiest thing you’ve seen in a club while you were playing?

Hmmmm… hard question! too many to mention… we have both been to Berghain many times, but the last time we were there we were both stone cold sober (for the first 30 mins anyway…), so we noticed a LOT more than we would have done usually.
 
Which record never leaves your bag?

Kenny: Floorplan – Sanctify His Name / Rachel Wallace – Tell Me Why 

 
 
Dan: Butch – No Worries / loads of Lory D shit (one extreme to the other!)

Join Dixon Avenue Basement Jams at Paris’ Acid Ball this Saturday 1st November at Dalston Superstore from 9pm – 3am.

Den Haan

By Whitney Weiss

Glasgow duo Den Haan are direct descendants of the Giorgio Moroder/Amanda Lear/Bobby O/Patrick Cowley school of sexy sleazy disco. Their record Gods From Outer Space is packed with tried-and-true dancefloor fillers, and they accidentally named themselves “The Cock” after flipping through a Dutch phone book. So naturally, they’re perfect to DJ for the first birthday of BENDER. Ahead of their Dalston Superstore debut, we asked them about their favorite records, hometown, and what an ideal Den Haan party would look like. 

You make some truly magical poppers-and-smoke-machine macho disco/NRG. However did you discover this type of music, and what made you decide it was a sound you wanted to expand upon? 

We both met while playing records at a friend’s party and bonded over a love for music created in the ’70s and ’80s, when producers and artists were breaking ground in new forms of disco. At the same time, we were both equally disillusioned with the majority of contemporary dance music. So we decided to put our money where our mouths were and create something that captured a similar energy and character as all those fabulous old recordings.

What does the name “Den Haan” mean? Is it really Dutch for “The Cock?” 

Yes, it means “The Cock” – however we didn’t realise this when choosing, we just liked the sound of it. We both thought Den Haan had a certain attitude and liked the foreign flavour of it as a surname (we were using a Dutch phone book at the time). It was only when trying to communicate with someone over the internet and having to try to translate everything, when the person asked if we were actually Dutch. After coming clean, we were then made aware of its true meaning. As you can imagine, there was much hilarity as the name scaled new heights of appreciation.

Is the sort of music you’re playing during your DJ sets also very four-on-the-floor heavy disco and NRG (like your originals) or should we be expecting some surprises/different genres at Bender?

Anything goes really, but there’s usually a build to some fairly heavy disco so yes, you should expect some surprises and different genres as well. 

If you could choose anyone to remix a song from “Gods of Outer Space,” who would it be (and which song would you want them to do?) 

I like the idea of Paul Sabu doing Universal Energy or Amanda Lear/Anthony Monn doing Russian Boat Commander – both (circa 1979 of course).

In your opinion, what’s the ideal moment for a DJ to throw on Release the Beast or Night Shift for maximum results?

When there’s only one loonball on the dance floor and you need special powers to draw the masses to their feet.

How would you describe the party scene in Glasgow? Any particular spots/parties you recommend for an unforgettable evening? 

Bloated would be an adjective that springs to mind – a walk down West Princes Street (known for years and years as “Party Street” but more latterly referred to as “Little Bosnia”) any time of the day or night will usually provide you with a variety of before and after-hour nonsense: simply walk in the direction of the music. Distill in our West End (formally The Ivy but forced to change its name by the London establishment) host a most enjoyable evening thanks to the wonderful staff and crème de la crème of Glasgow record players. I’m enjoying the newly restored Vic up at the Art School – Not as dark and seedy as before the face lift, but the sound system upstairs is amazing! Unforgettable evenings are a plenty in Glasgow—the best ones are usually spontaneous—though not all of them are entirely enjoyable……

What’s one record you’re always sure to pack when you’re DJing? 

Tryouts For The Human Race 12″ (long version) has served us well over the years.

(Whitney’s note: THAT IS THE BEST SONG)

Are you working on any new music, and if yes, when can we expect to hear it? 

We began work on our next album, Luftfunkspunktion, but are currently taking a hiatus. We will return when things outside of Den Haan settle down.

What would an ideal Den Haan party look like? What kind of people would be there, what activities would prevail, what would the music be like?

Dry ice, fluorescent tubes (orange, red, turquoise, lime green), the interior of a Giger spacehip meets Space 1999, a dance floor like the spiky one Brian Blessed uses as a fight-pit in Flash Gordon, giant cardboard cut-outs of lieutenant Wilma Dearing in full spandex glory, ultra-buffé, quantum-lager, corner to corner filled with galactic lowlifes, burnt out party-droids, interstellar space queens and jungle ladies, laser limbo universal championship final will be held, music to be performed by Andromeda, records: Casco-bot.

If you had a time machine and could visit any dancefloor past, present or future, where would you be going?

25th century, any event promoted by Mangros to be held on the space station Musicworld.

Join Den Haan at Bender’s 1st Birthday on Saturday 26th July at Dalston Superstore from 9pm – 4am.

Kevin McKay

By Sigmund K

On the 5th of July, Ubermax returns to the lazer basement with Glasgow Underground’s boss Kevin McKay, a man who has been in the industry since the ’90s and who has, amongst other many achievements, discovered Mylo, and released steadily throughout the decade on his own label. In the ’00s, Kevin spent most of his time managing the career of his artists, releasing only a few records on GU, until a couple of years ago when he decided to re-launch the label and do what is the most important for us; release amazing music. We asked him a few questions ahead of Ubermax…

Kevin, you decided a couple of years ago to re-launch Glasgow Underground (GU), which looks like a brilliant decision when we look at the quality of all the new releases. It seems that your whole career has been fed by the need of picking up new challenges, was reviving GU a new challenge or did you feel that people were getting back to the older house sound?

I think that’s part of the joy of working in music. You’re never allowed to rest on your laurels for too long: the scene changes too quickly. There is a real change-or-die mentality that runs through the music business. Obviously you see that everywhere to some extent, but in music I think it is all the more evident. Luckily I get bored quite easily so I’m always looking for new things. I signed Mylo and set up Breastfed partly as a reaction to how serious house music had become. This time round it’s a bit different. I had spent the last four or five years doing too much of the business side of running a label and wanted to get back into the creative side. Glasgow Underground had put out the odd release since 2002 but I hadn’t really done anything with it due to my commitments to Mylo and Grum. I was also really enjoying where house/dance music had ended up post minimal and electro and so when I started making tracks again, it seemed like the perfect home for them.

GU has recently launched a series of compilations, with the first edition mixed by JD Twitch from Optimo. Can you tell us a bit more about this project, and can give us some hints about the rest of the series?

I love compilations but there are so many fantastic ones that people can get for free these days from the likes of RA, Fact and Data Transmission that the idea of putting up something for sale just because it’s a great selection of music seems a little out of date. As well as this, dance music is now a truly global phenomenon. As a DJ in the ’80s and ’90s you might come across the odd record from outside of the main dance music strongholds; the UK, the US and mainland Europe, but it was rare. Nowadays there are thriving dance scenes from Melbourne to Mexico City with their own collectives of DJs and producers. I wanted to create a compilation series that reflected this and gave the listener a kind of audio rough guide to a city’s underground scene. I started with Glasgow as it’s probably the city I know best. Keith/Twitch is a brilliant DJ, has great taste in music and was using Ableton at Optimo when a lot of laptop DJs were still at school. He also stands above the cliquishness that often permeates through Glasgow’s club scene. Those reasons meant he was the best person to give an eclectic, inclusive snapshot of the homegrown Glasgow club scene in 2013. 

In terms of future editions, there are loads that I want to do but I also want to make sure that I get the right people to do them and if that means waiting for DJs/producers other commitments to finish before I get to do a certain city, so be it. Hopefully I’ll be able to announce the next volume soon.

The Glasgow scene looks like it is exploding, and exporting more and more young talents. We are big fans of that scene at Ubermax as our past guests include Ooft! and Sei A. What do you think is Glasgow’s role in the global dance scene?

I hear a lot of DJs cite nights in Glasgow as some of the best DJing experiences they’ve ever had, so I guess on one level, Glasgow provides the kind of hedonistic underground scene that delivers world-class DJ experiences. Not that I’m gloating about Glasgow, its just that in a city that doesn’t boast the riches of London or New York, where it seems to rain for 11 and a half months of the year and where the population apparently have the highest rate of heart disease in the world, there has to be one good reason to live there.

If there’s anything that I’ve learned from starting out as a DJ and producer in Glasgow it’s how important it is too keep your feet on the ground. There’s a healthy you’re-only-making-dance-music-son-it’s-not-a-cure-for-cancer style reality checkpoint awaiting anyone who starts putting on too many airs and graces. It is also a common Scottish trait not to praise people for fear that “they will get too big for their own boots” and so when you do get props, you know it’s truly well deserved. And while I don’t think a lack of praise is the best way to encourage new talent, I do think that people that come through the Glasgow scene retain a down-to-earth-ness that can be lacking in well-known producers from other places. 

Over the years you’ve been an excellent spotter of new talent. Are there some young artists that you really like at the moment? Or that will appear on GU and that we haven’t yet heard of?

Cheers! I really enjoy the A&R process. There are a few producers from Glasgow that I really like right now. Some (and hopefully all) of these will appear on Glasgow Underground in the future; Barrientos, ThoseBeats, Mermaids. Outside of Glasgow we have a single due from London/Bristol based Bxentric that Cosmic Kids, Phil Kelsey and I have remixed and there’s a new producer from London called Lumino who’s also recording for Danse Club and has an EP due on GU. As well as that, there are loads of people not on the label that I’m into. I do a monthly radio show on www.sceen.fm that archives on the Glasgow Underground Soundcloud and you’ll find loads of new music and producers on that.

Let’s talk about London now… What is you experience of London as a DJ? Can you tell us your best and worse London gig memories? 

I haven’t DJed in London for a while so I’m really looking forward to it and in terms of experiences, I’ve never had a bad one in London, I guess I’ve just been lucky. My favourite place to play in the past was a straight tie between Kenny Hawkes and Luke Solomon’s Space @ Bar Rhumba and Harri’s night at Plastic People (when it was on Oxford Street). 

What are your next challenges for the future?

Keeping working in music and having as much fun as I can doing so!

Join Kevin McKay this Friday 5th July at Dalston Superstore for Ubermax from 9pm – 3am.

Timothy J Fairplay

Tonight sees Timothy J Fairplay join Say Yes residents Nadia Ksaiba and Thomas Whitehead for a wild and wonderful celebration of genres from disco, post punk, early house and beyond. Currently collaborating with Andrew Weatherall under The Asphodells moniker, Timothy J Fairplay has also been pumping out hot production jams. His productions and DJ sets vary between Krautrock, sparse Chicago Jams and atmospheric ’80s gang movie soundtracks. We decided to find out more.

Why have you made “The Lonely City” your home?

It’s partly me trying to be vaguely mysterious, I quite like people not knowing quite where I am based, but it’s also an illusion to some fictional dystopian city, I make references to ‘The Lonely City’ in my music quite a lot.     

You also run a night in Glasgow with Scott Fraser called Crimes Of The Future. Where does the name come from?

Crimes of the Future is a really early David Cronenberg short film set around a dermatological clinic called The House of Skin. The clinics head scientist Antoine Rouge has caused a deadly plague with cosmetic products. It’s a very odd film – even by Cronenberg standards, and with a very odd atmosphere… perfect for naming a techno night after.

What informs your eclectic taste?

I have always been into all sorts of music really, there are too many cool sounds out there to only be into a couple of genres. I hate politeness in music and tend to like disorder. I worked in a record shop for years, that always tends to make your tastes very broad. 

If you stumbled across a time machine, what era would you be dialling back to visit?

Probably Germany in the mid/late ’70s/ early ’80s, see some of those krautrock acts at their height. Might wanna pop over to Italy too… I dunno, tough question, I’m actually quite happy in the here and now really with a romantic imagined view of the past.  

What’s next for your side project with Andrew Weatherall, The Asphodells?

Our album Ruled By Passion, Destroyed By Lust is out at the start of February, doing promotion for that and then I think starting on a follow up. 

A lot of your music ends up as vinyl only or limited edition vinyl- is this a conscious choice and if so why is vinyl particularly important to you?

Naa not really, I think some of it is gonna start to creep out now digitally. I don’t have a big thing about vinyl only, though it’s always nice to put out a physical release. 

What is your favourite film soundtrack?

That’s pretty tough, though its probably John Carpenter’s The Fog, though Fabio Frizzi’s Zombie Flesh Eaters soundtrack runs a pretty close second and Marcello Giombini’s Anthropophagus: The Beast bringing up the rear. 

What was the last thing you saw/read/heard that truly moved you? 

Favorite recent album is probably Tracks From The Trailer by Unit Black Flight, really enjoyed the film Holy Motors, and recently re-read Super Sad True Love Story, a properly terrifying book.  

How does your sound fit into Say Yes?

I have a love for Italo, electro disco and synth pop and I’ve been trawling the shelves for a few camp classics I have not played in a while. There’s quite a big Italo influence in my own music though I tend not to always shout about it.    

Join Timothy J Fairplay at Say Yes tonight with Nadia Ksaiba and Thomas Whitehead at Dalston Superstore from 9pm – 3am.

Miaoux Miaoux

Next week sees indie dance pop producer Miaoux Miaoux join us for our weekly Wednesday night of fun, White Leather Viper Club. Known to his mum as Julian, the young producer lives in that far north music mecca of Glasgow, home of our good pals Optimo and the legendary Sub Club. He’s remixed the likes of Lindstrøm and even had his work used by Xbox. We decided to find out more about Miaoux Miaoux…

First things first, when did you become involved with music? 

I’ve always been doing something musical in one way or another, my older brother and dad are both great musicians so they started me off. I got into electronic music at school, bought decks and started making tunes with a terrible sampler. Things got out of hand after that.

What influences the music you make?

Wow, a lot of things. When you listen to a lot of music you pick stuff up that you’re unaware of, and it makes its way into your own tracks without you realising. All of my best tunes have been complete accidents. I have consciously ripped stuff off before though, haha. 

Whats you favourite piece of hardware that you use in your work?

Probably the Korg MS20, it’s bonkers. I only got it recently but have been using it in every track since.

What direction do you see Miaoux Miaoux taking and has it evolved from what you initially envisioned?

It was initially a bits-and-pieces kind of project – bobble hat electronica I suppose. Now it’s much more of a pop project – I’m interested in how artists like Matthew Dear and Little Dragon are basically making pop, but within these amazing electronic contexts. They both have a signature sound that as soon as you put their record on, it’s obvious it’s them, and that’s something I want to develop.

You are currently touring, what cities do you look forward to playing and why?

I’m playing Brighton on Saturday, it’s actually my last gig of the year so should be fun. Always a party city apparently, I’ve never been though!

What up and coming Glasgow bands should we be listening to?

Nevada Base’s new stuff is brilliant, I’ve been doing a bit of recording with them. Perfect modern disco. New Loops Haunt is amazing. I was a big fan of Dananananaykroyd so their new project Alarm Bells looks good too. 

You have remixed for the like of Lindstrøm and Chvrches, what other projects have you lined up for the new year?

Got one more remix to do, then I’m gonna take some time off, tidy my studio and come back in the new year full of ideas and cake. The next record will be all analogue synths, and mixed out of the box – both the Lindstrøm and Chvrches remixes were done in two or three days, and mixed really fast, which is giving me the best results at the moment.

We hear that you’re really into computer games, and Xbox recently used one of your songs. Do you find inspiration playing video games and does that cross over into your music?

I definitely have been influenced by video game music – Final Fantasy VII, which I spent a lot of my teens completing, has some of the best music I’ve ever heard anywhere, not just in a video game. Mostly they’re a good way to wind down and forget about all the deadlines you’ve missed.

What record defines your formative years? 

Probably DJ Shadow – Pre-Emptive Strike. I heard it before Endtroducing and it blew my tiny mind.

Do you have any strange hidden talents that nobody knows about? 

I’ve been told I’m quite good at imitating accents, but my Scottish accent is still terrible, despite being here for four years. I sound like a haggard Billy Connolly.

And finally whats is your favourite sandwich filling? 

I’m a sucker for the chicken salad from Piece in Finnieston – it’s right by my studio and I’m in there almost every day. Should probably credit them on the next record.

Miaoux Miaoux joins us for White Leather Viper Club next Wednesday 5th December from 9pm – 2:30am.

Ooft!

Glasgow based house producer and DJ Ooft! aka Ali Herron hits up London town next weekend to join us in Dalston for Ubermax. In addition to making his own deep house, Ali also runs the small UK label Foto Recording that’s previously released acts such as Cole Medina and former Ubermax guest Medlar. 

Known in part for his work with fellow Glaswegian, The Revenge, Ooft! has been steadily gaining more of our attention, and even recently appeared on one of our favourite NY radio shows, Beats In Space. We caught up with the man himself to find out what we can expect from his laser basement set, his feelings on his hometown and more…

What’s in your record bag for Ubermax?

I always pack a mixture of house, disco, soul, and some slower stuff so that I’m prepared for most situations. At the moment I’m particularly feeling tracks from Deetron, Lauer, Daniel Solar, Nick Nikolov and more. There are loads of great tracks kicking around at the moment.

Why did you decide to set up your own label, Foto Recordings and what’s the label’s defining feature?

The main reason I set the label up was simply as a vehicle for releasing my own music. As time has passed I’ve ended up putting out music from other people but mainly close friends of mine. As such there is no defining feature… unless you count ropey artwork!

Foto Recordings artwork

What are your favourite UK labels (other than your own!)?

UK wise here are a few super-consistent favourites: Wolf, Delusions of Grandeur, Use of Weapons, Firecracker, House of Disco, Seven Music, Extended Play, and Disco Deviance. Pretty much every release always has at least one track I really like and end up playing loads.

Anything exciting due on Foto for 2013?

Absolutely nothing! My main aim was to get four releases out over 2012, which should hopefully happen when the next OOFT! EP comes out at the beginning of December. After that I haven’t made any plans for the next phase. We’ll see which way the wind blows!

You were recently on renowned NYC radio show Beats In Space- how did that go and are you happy with the show you did?

It was great fun, really easy too considering it’s a long time since I’ve done any live radio. Tim Sweeney is a consummate host. I thought I was only on for an hour before we started but it was 90 minutes so I managed to get plenty of my favourite tracks played and am pretty happy with the results.

[Listen here]

Who are your all time house heroes?

I could reel off the usual suspects like Lil Louis, Romanthony, The Nightwriters etc but my biggest influence has definitely been two DJs from Glasgow – Harri & Domenic. They have played together every Saturday night at the Sub Club since 1994 and have been my inspiration and education in all things house. I think most artists from Glasgow would be hard pushed to say anything different. 

Describe your relationship with The Revenge…

We’re really good mates with a shared love of music. He was my main production mentor and helped me to learn the basics of music production as I was a DJ with no clue how to do anything! We worked together as OOFT! initially a few years ago before he got too busy with his other projects, but luckily by that point I’d kinda learned enough to continue working on my own We’ve recently started DJing together a lot more again after a long time time flying solo with our monthly Instruments Of Rapture parties back in Glasgow (with Craig Smith from 6th Borough project too).

Where do you go out in your home of Glasgow? What venues and nights are really doing it for you at the moment?

I’ve said this in other interviews before but we’re really spoiled for nightlife in Glasgow considering its small population. There are five or six solid underground nightclubs, of which the Sub Club is my favourite (because it’s the best!). You can basically take your pick most weekends as there will be three or four decent nights on every Friday and Saturday.

Why do you think Glasgow has got such a good dance music scene?

It’s a hard one to pin down but I think the city has traditionally had the weekend socialising scene for many generations where young people would go out to drink and dance the night away and forget about their jobs looming on a Monday morning. This tradition allied to disco, house and techno (and all the newer offshoots) makes for a very potent combination. When it goes off in Glasgow, you know all about it!

What made you want to start making music?

It started off the back of DJing really. I had some favourite older records which I found very hard to mix as they didn’t fit in with the rest of my music. So I started experimenting with basic cut and paste editing of a song so I could get it into my set. Fast forward eight years or so and it has all just grown organically from there! 

And what one song brings you instant nostalgia for your childhood?

Any track off Tina Turners greatest hits, Chris Rea’s New Light Through Old Windows or Survivor’s Eye of The Tiger off a compilation called American Heartbeat. These were the main cassette tapes in my folk’s car stereos! Heady days.

Ooft! joins us for Ubermax on Friday 23rd November from 9pm – 3am with Sigmund K and Eugene & Mortimer. 

Rare Disco Picks

Weekly night White Leather Viper Club has laid on a whole month of special guests and kicks off this week with Glasgow’s David Barbarossa. Known in his home for his night Wild Combination, he’s come to town to show us a thing or two about disco. We asked him his top 5 rare disco tracks and why he likes them so much.

Bob Chance – Jungle Talk

Over-loud jungle sound effects, wild synths, Bob’s club singer looks & a sleazy bump; what’s not to like?

Jean-Yves Labat – Cash

Off the wall French fun[k] from this Todd Rundgren sideman with one of the most unpleasant covers of all time. ‘C.R.E.A.M’.

Saada Bonaire – Invitation

Super sexy sapphic suggestion sung [slightly out of tune] by a couple of models over Dennis Bovell backing? An invitation I can’t refuse.

Chaplin Band – Let’s Have A Party

A little over the top, with a message we can all appreciate. You really need the full 10 minute Disco Mix, but that doesn’t appear to be online so imagine this, but MORE.

Talking Drums – Courage

Afro tinged post punk from GLASGOW. A Wild Combination family favourite, the keyboard soloing around 3 minutes in gets me every time.

                                                                                        

David Barabossa guests at White Leather Viper Club this Wednesday 8th February from 9pm – 3am.