Posts Tagged ‘Hannah Holland’

Clam Jam Big Bitch Single Release

The two mega-babes behind Clam Jam have certainly been busy this year, and we’re only just over half way through! In between booking festival slots at Lovebox and Secret Garden Party and club nights at XOYO and East Bloc, they’ve gone all ‘Yonce on us and sprung us with a surprise single release! We sat down to chat party plans, inspiration and …uh… Victoria Sponge!


Bica and Cathal, your Clam Jam babe-duo is such a big part of the success of your parties. How did you two come together?
 

B: I bought a box of cereal one day, which is strange in itself considering I am a full English breakfast kinda gal, and lo and behold he was the free gift in it. I kinda liked him so thought I would keep him.

C: Whilst trawling the internet I stumbled upon Serbianmidgetlover.com, placed a bid and won her for 2p and a ten pack of Richmond Menthol Super 10s. She seemed happy enough and I haven’t had the heart to get rid of her since then. They run a strict no exchange or return policy so we’ve been stuck together for years now.

We knew you could throw an amazing party, but had no idea you had a bloody single up your sleeves! How did this all come about?

C: Ah yes! Well… we had this tune in mind for a while, then our mate producer Alex Blanco, who had been  coming to cLAM jAM a while and loving what we played, suggested we all get in the studio……

B: …. and the rest is history.

Where did you draw inspiration for your video?

B: Cathal has been doing amazing video work forever now, for various personal and professional projects, bands, festivals and fashion designers. I love Victoria sponge…. And he loves to make me look demented!

C: There is no one simple answer for this, being that a ‘big bitch’ isn’t a comment about size I suppose.
Its about being fully saturated, excessive and comfortable in your tastes, sexual habits, body, sense of humour or unapologetic lack of it even. One man’s big bitch is another man’s cream cake.  

2015 is looking set to be a big year for Clam Jam! Can you tell us a bit about your party plans for the next few month?

C: We are keeping our Thursday nights, OBVS, at the Mothership Superstore which just gets better and more lushed-out by the minute. We are playing at this year’s Lovebox for the Little Gay Brother Vegas Room on the Friday 17 July, which we are  excited about. Then the weekend after we are set to get all at one with nature, ahem, and play at the Secret Garden Party Festival ! 

B: Also, this is super secret still but we’ll let ya onto something… cLAM jAM will be doing something bigger and better in an unusual location in August. Can’t say more than that, but watch his space.

You have an extra-special guest planned for the debut of your single. Can you tell us a bit about her ?

B: Yep! Super excited that we got a DJ set for the single launch courtesy of the fabulous Perera Elsewhere from the band Yahcoozi.

C: We’ve been following her for a while now, since she has done bits with our mate Hannah Holland, who in turn hooked us up, and we really wanted her to do the set for this night especially. 
Check her out – it’s gonna be ace! 

 

Join Bica, Cathal and Perera Elsewhere this Thursday 16 July for the Clam Jam Big Bitch single release party from 9pm-2:30am.

Chance & Dark

This Saturday Lazertitz present a mega lineup as the girls from hotly tipped band Evvol join Lauren Flax, The Carry Nation and Hannah Holland for this Glastonbury warm-up party. Julie Chance and Jon Dark, as well as being dark-synth-pop musicians, also run the label and party My Haus in their adopted home of Berlin. Ahead of Saturday’s fun, we caught up with Chance & Dark to find out more…

You guys founded My Haus and are part of amazing band Evvol… seriously, how do you find the time?? How do you balance the more analoguey side of things with the more dance music side of things or do you just find it all dovetails?

Jon Dark: So far we have had no problem managing them, we find that when we have time to write for one we tend to be gigging with the other – for example when we were writing the Evvol album we were doing lots of DJ gigs, and now we are touring the Evvol live show, we will have more time to write a new track for My Haus, and then we will move on to the second Evvol album.

The different approach is something that is fun for us actually. Keeps us fresh.

Describe My Haus for the uninitiated…

Julie Chance: My Haus is a collective of friends who DJ and a label. We have put out a white label 12″ release with remixes by Massimilliano Pagliara and a new track not yet released which features vocals from Katie Stelmanis of Austra. We also put on monthly parties in Berlin.

What for you was the moment where you felt like you’d made it? Or at least reached a level of success you hadn’t anticipated?

Jon Dark: The concept of “making it” is really fluid, because when ever you reach a milestone, you then re-set your goals on the next one! But having K7 put out our record feels pretty great.

If you had a time machine and could go dancing anywhere/anywhen, where would we be setting the time machine dials to?

Jon Dark: I’d be in Chicago and Detroit in the late ’80s.

You guys met in Paris! Can you talk us through that clearly fortuitous meet-cute?

Jon Dark: Julie was DJing in a bar and I was living in Paris at the time, I just happened to go to this party, we started talking at the bar, and then hung out all night, realised we had a shared passion for music and pretty quickly decided to do something together, next thing I know my bags are packed and i’m on a plane to Berlin. Never looked back!

What was the last piece of art of any medium or format that moved you?

Julie Chance: We are both really into cinema, I think that we would both agree that Under the Skin – got under our skin. Particularly the amazing soundtrack from Mica Levi.

”Under The Skin” Soundtrack Album by Mica Levi from delaVega on Vimeo.

What’s your lights up/hands in the air track to end the night on?

Jon Dark: Chez Damier – Can You Feel It, an oldie but a goodie.

Considering one of you is Irish and the other Australian, we’re guessing the recent Irish referendum and the knock on effect it’s had on the probability of marriage equality in Australia must have been  particularly poignant for you both… what did you do to celebrate?

Julie: It was a great day for Ireland and actually both of us have Irish passports! We were very emotional. When the results came in we were DJing at Bucharest Pride on top of a float so we felt this was no better way to celebrate, Bucharest is still a bit conservative and has a long way to go in terms of LGBT rights.

If you had actual lazertitz, would you use your powers for good or evil?

Julie: We would probably use our lazertits to break into bank vaults at night and empty them out!
Lazer tits are also good in self defence, walking the streets at night etc…

Join Chance & Dark this Saturday 20th June at Dalston Superstore for Lazertitz from 9pm – 4am.

Evvol play The Waiting Room in Stoke Newington tomorrow night from 7.30pm with support from Black Gold Buffalo. Grab a ticket here.

Clara 3000

Tomorrow night we welcome Parisian up-and-coming DJ and producer Clara 3000 to Dalston Superstore for another edition of LAZERTITZ! A protégé of French legend (and Superstore fave) Chloé, Clara made her name as a DJ and kick-started her career at the tender age of 19 supporting famed electro band Justice. Now she’s made her own EP for French label Kill The DJ and playing in our basement! Ahead of the party, we caught up with her to find out more…

Your DJ name makes you sound like a futuristic robot disguised as a hot girl… Are you a modern day Maria from Metropolis?

I’ll just take the compliment.

You started writing for a dance music magazine at 17 AND you interned at Ed Banger… is there a better induction into dance music for a french teenager?

It was a good way to start indeed and I learnt a lot about clubs, music, and its business. Looking back, I realize how lucky I was: in 2007-2008 Ed Banger was the most exciting thing in the French electronic scene, there really was a feeling of “here and now”. These two jobs also gave me an excuse to spend three nights a week going out, which allowed me to start figuring out more precisely what sound I really related to, what worked and what was boring, what I loved in the night itself, etc. After a while I realized I wanted to be more than witness of this and I eventually started DJing myself.

If you had a time machine and could visit any dance floor anywhere/anywhen, where would you want to go dancing?

Wigan Casino 1965, Mudd Club 1980, Hacienda, 1985. 

Your Rinse FM show is described as super eclectic… how do you go about digging records for it? Do you start with a theme or do you freeform it?

It’s more like wandering, every week I listen to a lot of stuff from different sources (blogs, YouTube, Discogs, books…) I usually just get caught by something I like and research around it. Most of the time you have listen to a hundred bad songs to find a good rarity. 

At our sister venue Voodoo Rays we have pizzas named after Giorgio Moroder and Hot Mix 5…. What base and toppings would a Clara 3000 pizza have on it?

Pepperoni for ever.

Clara Pizza 

Talk us through your debut release! Super exciting! We want to know all about it please…

It’s been super interesting to lock myself in the studio, and it was more introspective than I thought it would be. I knew nothing about production so it took some time to learn about the technical stuff but the EP is almost finished now and I can’t wait for it to come out. It’ll be released in Kill The DJ after summer.

If you taking us on a date in Paris where would be going to eat, drink and dance?

First a rubbish bar because it’s always more fun, then sea food at Terminus Nord, and after we improvise.

But if you could change one thing about Paris nightlife what would it be?

More girls behind the decks. 

You’ve previously spoken about your childhood love of the Batman soundtrack… if your music was scoring a film what film would it be?

A western.

You describe yourself as a “no-pants DJ”… Firstly,do you mean American pants or British pants because frankly your answer changes EVERYTHING. And secondly, is this something we can expect at Lazertitz?

Come and see! 

Join Clara for Lazertitz this Saturday 25th April at Dalston Superstore from 9pm – 4am.

Photo credit: Pierre-Ange Carlotti

Mama

This Saturday we welcome the utterly fabulous Mama to Dalston Superstore for Lazertitz! A south London girl, now based in Berlin, Mama will be performing live in the laser basement! Ahead of the party we caught up with her to find out more about releasing on BPitch Control with her close collaborator Argy, her times as a key figure in Hannah Holland’s Batty Bass parties and the weird ways the music press likes to describe her…

You’ve hosted the insane Batty Bass parties, including the infamous NYD sessions… what’s the craziest thing you’ve ever witnessed or partook in at one of these?

Apart from witnessing the occasional nudity and people swinging from the ceiling there was nothing really as explicit as some of my lyrics about abortions, leaving your soul at the door, slags, tits and dicks. People would sing and chant along. I don’t know how they remembered all the words because it wasn’t online and we didn’t have soundcloud around that time but yeah, we had such a fun and open minded crowd.

How did you come to work with your close collaborator Argy?

We met in a dive bar in Berlin, both nursing a stiff drink after splitting up with our partners and thought it’ll be funny to write an album about it together. Two months later the ‘Dominonation’ album was born but wasn’t so much about the exes, we forgot about them quite quickly.

Mama, if you were house mother, what would you house be called and who would be the children of your house?

It’ll be called ‘MAMA’s Play House’. It’ll be full of New York club kids, lip-syncing drag queens, doo wop street singers, a lollypop lady to help the club kids cross the street, Haçienda ravers, top quality stand up comedians and Voguers. 24hr entertainment.

You’re originally from South London… what made you want to leave the wonders of the south for the techno decadence of Berlin?

I only planned to live in Berlin for a summer to record my album but some how after a summer of open airs, meeting creative people and Bar25 every weekend, I just never made it back home. That year I ended up recording with over 20 house and techno DJ/Producers such as Catz n Dogz, Tiefschwarz, MUNK, Bloody Mary, got remixed by Life + Death, Solomon, Paul Kalkbrenner, Jay Haze… the list goes on and on. Living in Berlin has been creatively fulfilling for me because I worked with some great names and I finally got round to writing and producing my solo album Dreams of Liberty. I also recorded an album with MUNK under the name of Mona Lazette (my sassy Brazilian alto ego) and collaborated on the Argy + Mama album project for BPitch Control. I must say though, I was on the tube the other day on the Victoria line and I suddenly felt like I woke up out of a dream wondering why I had left London for ze Germans in the first place, I could’ve written albums in the UK. It was like a surreal stoner moment.

What’s been the most pivotal moment of your career so far do you think?

Being the opening act on the Kele (Bloc Party frontman) tour. I was on such a high being on big stages every evening with excellent sound and lighting and a roaring crowd. We toured cities I would never even think of visiting such as Luxembourg and I loved getting rocked to sleep by the moving tour bus every night. It fit my life like a glove but sadly when it came to the end of the European tour I locked myself in the bathroom and cried because I didn’t want to go back to reality. I would happily live on the road like a gypsy singer traveling from coast to coast, maybe with a senile parrot on my shoulder and a cheeky Monkey in hand if you catch my drift.

If you had a time machine and could visit any dance floor anywhere/anywhen, where would you want to go dancing?

The Folies Bergère in Paris where Josephine Baker, the first Black Superstar performed her famous banana dance in 1927. I idolise that era where artists such as Pablo Picasso, Salvador Dali, Hemingway, Coco Chanel, T.S Eliot rubbed shoulders in late night bars.

What are your backseat car jams that you used to belt out in your childhood?

’90s r’n'b and acid house. I watched a lot of r’n'b on The Box Channel on cable TV and heard a lot of house music around the house because my older Brother was a club DJ. Think of a vibe that sounds like a mix of Voodoo Ray by A Guy Called Gerald and No One Else by TOTAL and that was my childhood jam.

If you had actual lazer tits, would you use your powers for good or for evil?

For good during the day offering lazer repair eye surgery for the blind and for evil by night to zap thunderbolt lightening up psychopaths anuses and force them to feel compassion and empathy for others.

What’s the best or even the most weirdly incorrect description you’ve ever read about yourself in the music press? “An intriguingly sophisticated diva-in-waiting” is pretty good…!

One prudish or undersexed journalist described my shows as close to a sex show “First off due reference must be made to the support act, MAMA. I’ve never been to, nor do I ever intend to go to, a live sex show but if I think I can rest assured that the eroticism of MAMA’s live show isn’t far off. From her semi-transparent leotard to her suggestive dancing and not forgetting her explicit lyrics, this was a performance dripping with sensuality…. Cyprus Avenue is not an easy place for support acts to come and win crowds over but by the end of her set at least half of the congregation was shouting and clapping, the other half were too busy trying to hide the stalk in their pants”

What does 2015 hold for Mama?

I just want to be on the road touring my solo album. It’s just me on vox and Riccardo Paffetti on live drum machine and keyboards. A little two man circus. I’m also working on album #2 from my laptop where ever I travel.

Mama joins us this Saturday 28th February for Lazertitz at Dalston Superstore from 9pm – 4am.

Photo credit: Saty and Pratha

Jennifer Cardini

We’re honoured to have Parisian techno legend Jennifer Cardini as our super special guest this bank holiday Sunday at Lazertitz! Hailing from the south of France, she forged her reputation with residencies at Rex Club and famed lesbian club Le Pulp, ultimately going on to set up her successful Correspondant label to release both her own records and fresh new ones from around the world. Ahead of the party we caught up with her to talk about techno, love and Parisian lesbians…

What drew you to Paris in the late ’90s?

Friendship did. I met a girl who was also a DJ called Sex Toy during a radio interview I did for the release of my first ever record. After the interview we started to talk and became good friends. We started a band called Pussy Killers, which was one of the first DJ combo bands. We wanted to do something a bit different. Being fans of David Bowie and Rocky Horror Picture Show, we wanted to bring this rock-glam-humour into techno, because at this moment everyone was so serious, wearing label tshirts and stuff like that. So we started this and we wore Mexican wrestler masks, arriving on stage with a big ghetto blaster that played recordings of my dog barking, and playing Nirvana, AC/DC or Iron Maiden in the middle of our DJ set. It was a mixture of everything we grew up with, that superhero attitude.

She was the one who introduced me to the people from Le Pulp. I played there and they asked me to become a resident. So I said yes and just moved. Also Sex Toy and I wanted to make music together so it made more sense to be in Paris… I’m from the south of France and it’s not the most exciting region when you are young! It’s very nice now that I am a bit older- to go to the beach and stuff- but when I was in my 20s I was bored to death there.

So I came to Paris, which was really amazing, it was super exciting, so many things to do and people to know. So friendship brought me [to Paris]. But actually, I was already playing Rex Club and when I told them I planned on moving they offered me a residency. It was difficult to say no. I came here already having the two residencies, and for me they were the two best clubs at the time in Paris.

DJ Sex Toy was quite an influence presence in Paris?

She was an icon. Now there are two movies about her as she passed away 10-12 years ago. She was the kind of person who had 10 ideas every second… which could be very tiring! But she had this amazing energy and very creative. She had the craziness that I was too shy to have at that time. So we were a good combo- I was the more serious techno-freak and she was more the crazy creative person. She was always able to find crazy clothes to wear and be avant-garde-everything. Anything she wore, everyone else at Le Pulp would start wearing as well. She was this model for a lot of lesbians.

DJ Sex Toy

You were name-checked in RA’s article “The Alternate History Of Sexuality In Clubbing” as one of the most prominent DJs to come out of the Parisian lesbian club scene- other than Sex Toy, who were YOUR favourite DJs from that time?

Well, Ivan [Smagghe] was for sure. He was resident at the Kill The DJ’s parties. And Chloé of course.

Umm Le Pulp was really nice because it was small and dirty and crappy with the worst sound system ever! But we got everyone to play there, y’know. And it was also the time that everyone started touring outside of their own country and all the German DJs were really into the idea of coming to Paris to play and everybody was sleeping at our place, and we’d cook for them because we had absolutely no budget whatsoever. Which meant I got the chance to see a lot of amazing DJs play at Pulp. For example Michael Mayer, and we got to play back to back at this time. He is for sure one of my favourite DJs as he is a real storyteller. Just like Koze. He was another favourite DJ of mine at this time. I remember we booked him for Nouveau Casino and he started his set with Johnny Cash and it was just fantastic.

Even now, Koze, Michael Mayer, Ivan… and Andrew Weatherall are amongst my favourite DJs. Also I really love Ata from Robert Johnson. Because these DJs can take you everywhere.

Roman Flügel is another I like a lot as he is always on the verge of experimental and dance so it’s always very interesting and with a lot of elegance. Roman is a very elegant DJ for me. Very smart in his choices and how he builds things up.

What made that time in Paris so special that people still want to talk about it today?

Probably the fact that a lot of DJs came out of that time, Ivan and Chloé and me, we all started there. And also the fact that it was a lesbian club! That was pretty unconventional because the nightlife was ruled by the techno clubs or by huge gay parties. At the time Le Pulp started there was no place for queer subculture. Gays had gone really mainstream in the big clubs where you had thousands of boys dancing to commercial house music. So what made it special is that it was the place of a “first time” for a lot of people.

Le Pulp 

It was also a bit punk and a bit dirty. We just did whatever we wanted in there. There was no dress code. The entrance was free. And it was a lesbian club where boys were allowed if they behaved well. They would come with girls and everybody was really respectful. There were no social differences. You had hipsters. And you also had homeless people and from the suburbs.

Homeless people?

Yeah. I read an interview with Ivan and I remembered that sometimes when it was really cold we would let people from the street get in the club so they wouldn’t freeze to death. It was really like this err…

Community?

Yeah! And that’s something that has tended to disappear a little bit with the high fees that are charged for entrance. It leaves a lot of people outside y’know.

It was more mixed. Sometimes you had people from everywhere. We had Björk coming and people staring at her like she was an alien.

Do you think that women, queer or otherwise, in techno prefer to play at queer parties or venues?

I don’t know. I mean for me, I really like to play at lesbian parties! I know that promoters like Barbi(e) Turrix for example, which is the main lesbian party at the moment, they really like to book female artists. But I think it’s also very political. It’s a response to the fact that a lot of the festivals don’t book women sometimes. You can see lineups with no women at all! It’s like ‘ey!

But I don’t know. I can’t answer. I like to play good parties.

But you also play gay parties for guys as well as for girls, no?

I try to choose parties more according to the venue and the promoter. If I can see that the guy or the girl  making the party really loves music and is passionate, and you feel that by looking at the poster, you can see easily what the target is. If the target is “okay I am gonna make a lot of money” or the target is “okay I am gonna make money because obviously you are working for it, but on the human point I want the party to be great with a nice atmosphere”. You can feel this.


Jennifer Cardini – “Venom” (Official Video) by CorrespondantRecords

Your label Correspondant has been going from strength to strength- what should we be looking out for on it?

Actually right now I have a little fetish with the Mexican scene haha! We are gonna release records from a guy called Max Jones in September.

And you have Zombies in Miami too…

Yeah. The Mexican scene is extremely rich, very good producers who have one foot in more like rock music and one foot in raw dance music… and there is also a kind of humour to the music. It’s very heavy. And very sexy. I really like that.

But people that don’t know the label should listen to the compilations. They’re good snapshots of what we like to do. The diversity and range we like to go through. From techno to down-tempo stuff.

One of the best tracks from the last compilation is The Aspodells [Andrew Weatherall and Timothy J Fairplay]. It’s so beautiful. I would recommend that and also the fantastic André Bratten called Trommer og Bass. I still play it and have been for one year now. It’s a huge track. It’s gonna be on Erol Alkan’s Fabric CD.

Your own latest EP with Shaw references Paris Is Burning with tracks In The Ballroom and Pepper LaBeija- why do you think the documentary is still such a rich source material after all these years?

Because it’s still very modern, very relevant, it’s still very hard for a lot of gay kids to live their sexuality with freedom. For example, in the movie you see that kids were thrown out from their house, and rejected by their family. I think it is even Pepper LaBeija who says that when his mom found out he was wearing women’s clothing, she burned all of them.

Pepper LaBeija

We live in big cities and we don’t always realise all this, because we are in a social environment that makes us think that it’s easy to be gay, but I don’t think it is. I don’t believe that it’s like that for a kid that lives in a little city- he still gets the finger pointed at him. Even if we make progress it’s still not so easy to grow up knowing you are gay and to be happy with it.

I saw the film for the first time two years ago, just before going into the studio with David [Shaw]. I’d heard about the movie, but I’d never watched it, and my girlfriend showed it to me and I was really moved by those kids.

The film is also really relevant of the difficulties of going from one social class to another. In the movie some of the kids are dressing up like upper-middle-class or trailer or one is even dressing like an airline pilot. So you really have this feeling that by dressing up and by going to those ballrooms they are trying to climb a social ladder that in reality would be much harder for them to climb. With their background from living on the streets, it’s much harder for them to break the social differences. This moved me because I think it’s still the case. It’s still very hard to go from one social level to another.

What keeps you in Cologne?

This one is easy! Love does. I’ve lived here with my girlfriend for the last three years. I wanted to change my life a little bit. I’ve got 20 years of nightlife behind me and I just wanted to start the label and start to make music again. I’ve had this project with David [Shaw] and I’m travelling so much I just wanted to find a place that was a little bit more stress-free and laid back than Paris. Paris can be really tough! It’s still my favourite city and I’m totally in love with it. It’s so beautiful and every time I go there I’m like “wow”. But I wouldn’t like to live there anymore. I do miss my friends though.

Jennifer Cardini

The quality of life here [in Cologne], and the quietness in the week are really part of my stability right now and that’s something I don’t want to break.

What are your friends in Paris doing? What exciting projects, nights, things you wish you were part of?

I’m still friends with all the people from Le Pulp. That’s nearly 20 years of friendship.

And I do miss the queer scene in Paris! The queer scene in Cologne is very underground haha, I haven’t really found it yet! But in Paris it’s really good right now. Without pretention, I can really feel how much my generation gave more freedom to the new lesbian generation. Because we broke free from something.

We were like “’ey! We are here!” Before Le Pulp, I have the feeling the lesbian scene was very underground in Paris. Like, it was always very confidential.

I can feel it now with big parties like Barbi(e) Turrix where you have like 1000 girls dancing to really underground techno music and that is just amazing. And that is because of Pulp. And this is still something unique. Everywhere I go there is rarely 1000 women dancing.

To good music?

I am not gonna say “this is good music” or “this is bad music”. But, they are dancing. To music that we play. And that’s quite crazy for the lesbian scene! And that is really because of Pulp. And of us fighting to not become mainstream and keep our craziness a little bit.

That’s what Lazertitz was set up to be, a party specifically for lesbians to dance to good music at. So it’s really great we have you for it.

I’m really looking forward to it because I always play Fabric, which I love, but I have never played any queer parties in London so this will be my first.

LAZERTITZ

And what do you plan to treat our basement for lesbians and their gay boyfriends to?

Ahhh, I don’t know! I’m still thinking about it! But I like to play all kinds of stuff so I’ll chose records, and then I’m there, and we see how it goes. It’s like a deal y’know, the energy I get from them and the energy I get back. It’s like going on a trip. All I can do is bring good music and then we see what we do about it. 

Join Jennifer Cardini this bank holiday Sunday 24th August from 9pm – 4am for Lazertitz at Dalston Superstore.

Superstore & Voodoo Ray’s at Glastonbury

We are honoured to back at Glastonbury this year! The Superstore crew take over the Downlow Radio room on Saturday night – expect festival pumpers from Hannah Holland, Josh Caffe, The Lovely Jonjo and Mikki Most.
 
Also in the Downlow over the weekend you can catch Berghain residents Tama Sumo, ND_baumecker, a Frankie Knuckles tribute from David Morales, Luke Solomon, Danny Krivit, Seth Troxler, Jovonn, James Hillard, Luke Howard, Grizzle and loads more.
 
Luke Howard at Glastonbury
 
In case you were wondering the NYC Downlow is the wold’s only travelling gay disco and we think it’s probably the best place in the entire world.
 
If that wasn’t enough, our pizza sisters at Voodoo Ray’s are bringing down their brand new trailer and setting up shop in the Block9 field (right next to The Downlow). ALL your pizza needs will be fulfilled, in fact over the weekend the chefs will be making pizzas until 7am to refuel you and keep your hangover at bay. 
 
VDR at Field Day
 
Dalston Superstore at the NYC Downlow
Hannah Holland, The Lovely Jonjo, Josh Caffe, Mikki Most
Saturday night in the Downlow Radio room, Block9
 
Josh Caffe and The Lovely Jonjo at Glasto
 
Voodoo Ray’s at Block 9
-       Wednesday 19:00-03:30
-       Thursday 15:00-04:00
-       Friday 15:00-07:00
-       Saturday 15:00-07:00
-       Sunday 15:00-07:00
-       Monday 10:00-16:00
 
VDR trailer at night
 
Join us this weekend in the Block9 Field at Glastonbury Festival, Pilton, Somerset.

Happy 5th Birthday DSS

By Cliff Joannou / reprinted from QX Magazine with kind permission

Dalston Superstore put queer East on the map five years ago. With an incredible array of club nights, combining explosive DJs with the most mentalist drag queens and trannies, you don’t get more bang for your buck than a weekend at the ‘Superstore. Owners Mikki Most and Dan Beaumont plied Cliff Joannou with plenty of prosecco and told him just how they pull it all together every week…

CLIFF: Why is Dalston Superstore the dog’s bollocks?

DAN: Come down to our birthday next Sunday and we’ll show you…

You’re on. How has Dalston itself evolved over the past five years, and what impact has the ‘Superstore had on the area…

DAN: When we started out people thought we were crazy trying to open a gay bar in Dalston! 

MIKKI: Yes, we were pretty much the first bar in the area, and certainly the first gay bar, so I think people thought we were mental. We’ve opened up a lot of doors in the area for people though, and it’s been amazing to be part of helping make Dalston more diverse. It’s been stressful at times but the booze helps!

How have you set it apart from other gay venues?

DAN: Music, booze, food and fun! You never know what to expect at the ‘Superstore. You could find Grizzle reenacting the Human Centipede on the bar – don’t ask! – and then pop downstairs for dance courtesy of some hot young DJ we’ve found in New York or Berlin.

MIKKI: Yes, we’ve always tried to push things a bit here and not just do the obvious stuff. We both ran clubs before [TrailerTrash and Disco Bloodbath] and putting on great DJs is fundamental. We’re open day and night, and I like the idea you can come for a decent cocktail and some food early evening and still be here at 4am in the morning dancing… There’s not too many places offering that in London.

For such an intimate club spot, you’ve had some very cool DJs jump at the chance to play there…

DAN: The best thing about programming your own discotheque is that you get to bring all your favourite DJs over to play. Highlights for us have been an amazing set from Prosumer in the early days, Erol Alkan dropping a disco set, the legendary David Morales playing for four hours, and multiple visits from people like Optimo, Horse Meat Disco, Chloé and Spencer Parker. Plus, our amazing residents – it wouldn’t be the same without Hannah Holland, Borja Peña, the Little Gay Brother guys, Lovely Jonjo, Dave Kendrick, Jos Gibson and the Duchess of Pork et al.

MIKKI: Absolutely, we recently had the guys over from Members Club in Berlin for B(e)ast and the music was really amazing and fresh for London. It’s great to have the freedom to bring over international talent and introduce it to our scene over here.

And it’s the place to put a wig on it…

MIKKI: It’s part of what we are and to be honest all the best nights I can remember at ‘Superstore have involved wigs and heels flying around all over the place. So many of our regulars turn up in flats and leave in heels, it’s what gives the place its sparkle.

DAN: [Laughs] Yes, our bar very often gets mistaken for a stage by our bewigged regulars doesn’t it? We wouldn’t be the venue we are without the support of people like Jonny Woo, A Man To Pet, John Sizzle, Jacqui Potato and Glyn Famous. In fact we are still in awe of their talents… not to mention their ability to stage dive in heels on a Friday night without sustaining any injuries.

Dalston Superstore (117 Kingsland High St, E8 2PB) celebrates its 5th birthday over the May Bank Holiday weekend with the main party on Sunday 4th May.

Kid Batchelor

By Hannah Holland

A pioneer of the musical explosion on ‘80s London who DJ’ed at many of the revolutionary clubs of the time, as well as making legendary records… We are honoured to have Kid Batchelor spin in the laser pit at Paris’ Acid Ball this week, and learn a little history along the way…. 

Hi Lawrence aka Kid Batchelor. You were born and bred in Hackney. Must have changed a bit?? What was the music scene like when you first wet your toes?

When I started playing records in the ‘80s the music scene was simply electric. London was a maelstrom of creative activity. I could dazzle you with sparkling anecdotes aplenty from acid house-era London and beyond – if I could remember. A gentleman has no memory. 

I was born in Hackney, my family and I lived in Clissold Park, and I remember growing up near Hoxton. Just some of the changes I have witnessed over the last 20 years… It went from NDC to ultra-trendy enclave, with real estate developers tripping over each other to get a slice of the action.

What happened in ‘Shoho’ circa 1986, it was akin to East Berlin post ’89, meaning a foray into uncharted territory. Artists attracted by large open plan spaces and low rents moved in. It used to be cheap. Now though, property prices are much higher. The greasy spoons have given way to bijou restaurants. We have witnessed this happen to Soho and Shoho, Dalston has been trendier than Chelsea’s heyday for the last few years, but now Hackney has posted the ‘full-up’ sign there too. London venues and its electronic arts are in danger of being priced out of the city. It’s the Manhattanisation of London. 

Today according to a recent report London is officially the most expensive city in the world. From the price of a beer to bus fare to the shoe boxes that people call home. And, of course, rents continue to rise but salaries are staying the same; so what’s a gal/guy, to do?

Overheard as I passed a young couple standing outside an estate agents window in Shadwell this week: Him: “No that’s a garage.” Her: “Oh!”

What turned you onto DJing and where did you start?

My Adventures On The Wheels of Steel, so to speak, corresponds with the dawn of hip hop, which has just turned 40. I heard a set by DJ Cash Money, just from seeing him on the decks scratching to the funk; he’s had me as his love slave since. Forty years on from the first inklings of hip-hop filtered out of DJ Kool Herc’s decks: allowing one song to segue into another, at a Bronx house party in 1973.

Together with Jazzie B, Tony Humphries’ KISS FM MASTERMIX SHOW, and Tom Moulton’s High Fidelity, concepts that single-handedly created a new industry of remixing-producing records with greater dance impact. His super-sonic frequency design went much further than Motown ever did. Tom brought out the “blood and guts”, the things that really count in a song. These relationships played a huge role in my own development as DJ of 30 years standing. 

 Kid Batchelor

I was also hugely interested in disco, which became so ubiquitous it choked on its own backlash, and clouded the minds of suburban fans who forgot that the music had already been a big part of black, Latino, and gay culture for a half-decade. Disco died in 1979, or so they say. In truth, its influence metastasised throughout dance music. House music was disco in the raw. Frankie Knuckles and the other gay African Americans who invented house music began the process of rescuing disco from its own excesses by stripping away the clichés and reconnecting it with its subversive counter-cultural roots. When house music became the dominant popular style in the early 1980’s, first in Chicago then in NYC, San Francisco, LA, and all the other major US cities, before spreading across the country and the world.

Your work has been heavily influenced by New York ‘80s underground music scene, what was your first experiences of the music and the city? Must have been so fresh…

As in London, so New York was a hotbed of energy and ideas i.e. Keith Haring’s immersion in New York’s downtown cultural life; he quickly became a fixture on the New York artistic scene, befriending other artists like Jean-Michel Basquiat and Kenny Scharf, as well as many of the most innovative cultural figures of that period e.g. Fab Five Freddy. The role these relationships played in Haring’s development as a public artist and facilitator of group exhibitions and performances was very important, and I just thank god for my late friend Keith Haring who introduced me to Larry Levan at his ‘Party Of Life’ at the Paradise Garage.

Party Of Life flyer by Keith Haring

He knew what the latest records and the dances were; and artists like him went out at night and listened to music and danced a lot, they painted in the daytime that was the whole idea – it was all seen as one. Jean Michel Basquiat too, was an artist whose work symbolised a Cultural Movement, which had at its centre break-dancing, graffiti art and rap music. Through his work, he came to prominence in New York.

The late Dennis Hopper was also a connoisseur, he spoke about Afro-American Pop-Artist Jean-Michel Basquiat in the following terms: “He has it all. Basquiat used to walk these streets with hundreds of thousands of dollars in shopping bags from his art sales. He enjoyed contradictions, art critics found him confusing. I don’t have any cynicism about him, however, he never said very much in interviews, yet there was a big idea to his art. He stands for a inquest post-modern type of beauty. He does something a lot of painters today want to do, but with theirs it comes out too controlled or twee, with Basquiat it’s alive. He had an incredible natural faculty…”

New York’s late ‘80s and ‘90s Sound Factory, Paradise Garage, Ballroom Culture and acid of Music Box is some of our biggest inspiration for Paris’ Acid Ball. You went to some of these clubs, what was the impact it had on you?

Believe me when I say this, I think it changed my perceptions of what was possible. 

I have always loved radio, especially from the US. Ever since I was a teenager collecting music – I fell in love, from then on the obsession grew and now I’ve been catapulted back, reflecting this knowledge and appreciation of the popular music of my youth. 

How did London and New York compliment each other back then? 

An important factor in making London a global Mecca for electronic arts is its cultural and social diversity (at least as great as New York).

In such a hotbed of energy and ideas, the process of reinvention never sits idle. For gangs of individuals driving such change, this city of 7.8 million people can support niche clubs and intensely-focussed musical style and act as a perfect playground in which to sculpt and grown our reputation as, yes, the artistic capital of the world. It’s like a nappy, the contents has to be changed regularly.

But if you looked at London in the mid ’80s, with its 3am license in the West End only, and compared it to New York (the city that gave us disco and hip hop with clubs like Area, Danceteria, Paradise Garage, The Palladium, CBGB) you might have laughed at the notion that London could supercede New York by the mid ’90s. 

It is easy to locate the parallels and synergies between British and American Pop Art of the 1960′s and ’70s. Clive Baker’s work can feel, despite it’s ‘Britishness’, like a celebration of the popular that we have come to associate with the USA. Such is the power and profile of Warhol, Lichtenstein, Wesselmann et al, that it is easy to forget that the genesis of Pop Art lies not in New York but in London. 

You were DJing at the legendary Soul II Soul party at the Africa Centre. It seemed like a perfect slice of London’s music scene, creating something totally unique. What was your experience of it? What were the big tunes you would play there?

Thirty years ago, Thatcherism was a boom/bust economy; racism was a street reality as well as a nightclub door policy. A tough pressured time, it led to the emergence of one of the most radical club scenes in the world. Thank heavens for the Funki Dreds aka Soul II Soul (SIIS )– a legendary sound system that became a Grammy award winning soul act. Headman Jazzie B took me in as just a Kid (hence my handle) who could rock turntables’ and together we tore club culture apart.

The Funki Dreds

Our music policy was Afro/soul. We hooked up with crews like Wicked Pulse (Soul Kitchen), Family Funktion, Norman Jay and Nellie Hooper’s Bristol Massive (The Wild Bunch/Massive Attack). Jazzie’s music became steeped in seventies James Brown beats and classic revival tunes, whereas I moved forward towards electronica, new sounds, garage and house etc. Although I am still down with the Funki Dreds we never overcame that crucial fissure, me to the future, they to the past. 

The late ’70s and the early ’80s reggae imagery – of painted medallions, fists, sensi plant or leaf, images of the Ethiopian Emperor who died in 1960s and was considered divine by Rastafarians, Zion – a referencing to Jerusalem and the Emperor Haile Salassie is believed to have been Christ incarnate, and so on gave way to ’80s African imagery, long canvases decorated these dance halls like Africa Centre in Covent Garden; so we got musical forms with its own imagery e.g. Soul II Soul, Funki Dred.

I’ve been commissioned to make a radio programme about Soul II Soul, a musical ideology which has remained at the avant-garde of what many describe as an oxymoron, British soul music. Yet in the eighties one man and a group of friends took on that transatlantic cynicism and nullified it in the most revolutionary style imaginable. That man was Jazzie B, and his friends, a bunch of talented singers and performers who had all until then been denied any major form of success. But with Soul II Soul these singers’ names became familiar with millions of lips, as SIIS became the neologism of London and then the world. 

What do you think it was about the UK that embraced the explosion of acid house in1988?!

London has been a hugely successful Mecca for the electronic arts enthusiasts over the last couple of decades, for a variety of reasons… among them: its cultural and social diversity. The development of the one-nighter club format from the early ‘80s, Warehouse parties. Pirate radio. Home-grown UK producers (in the 80s) and pioneering musical genres (Jungle, UK garage, D&B, dubstep). Sound system culture. Gay and polysexual scenes. Its size. And its party people, who made the parties matter in spite of 2am licenses and other restrictions.

In the ’80s, a new sound emerged across London’s dancefloors – a plethora of musical communities and sub communities – house, new beat, garage, techno and balearic beats. This sound exploded right across London and beyond, under the Acid House banner (smiley faces), which conveys the heady days of the Balearic spirit for those who can only dream of having been there.

Give us an insight into your record box gems of the time.

Too many favourites, hundreds in fact, but Will Downing – In My Dreams is one that popped to the head of the queue when I read your question. In half an hour it could be a pet Bas Noir, or a Fast Eddie’s Let’s Go, or some new, young artist from Croydon or Italy. Tough and electronic sounds.

I played all the best tunes during the rise of each genre – electro, rap, funk, house. During the late 1980′s acid house era, I shifted towards a more radical model of uniting art and music technology. 

Your Bang The Party records were some of the first proper UK house cuts to emerge on the scene, how did Bang The Party come about ? 

Dance act Bang The Party (founded 1986), originally a trio including Keith (KCC) Franklin, KCL Project. But then were downed to two, Lesley ‘Bullet’ Lawrence and I. 

Release Your Body, with Derrick May, an acid house fave, was followed by Bang Bang You’re Mine, a garage classic. We also released an album, Back To Prison.

Since those golden times you’ve gone on to be a creative director for London’s best super club Fabric, a regular record player in Europe (particularly Italian Rivera), worked on various TV projects + host a weekly radio show Mi-Soul. What advice would you give to a young Londoner stepping out to play music?!

The single ingredient you’ll need in spades is PASSION. And a lot of LUCK.

Nobody does dedication like James Brown, the minister of super heavy weight funk and social commentator. Here’s his charming point of view …

“Put your hand on the box and feel this,
Lay your hand up there and feel it,
If you got any kind of soul you got to feel it.”
 (James Brown, I Got To Move)

GET the message? This is not for the feckless or faint hearted. What you hold here is a funk bomb, primed to vaporise lethargy. A compound of full-length, full-strength masterfunk. An hour or so of GET UP and go. The jungle groove.

Sadly, in the industry as in life, being the best you can be isn’t necessarily a winning formula. All ironically, in the words of The Last Poets “We started on the corner and ended up in the square”.

Join Kid Batchelor this Saturday for Paris’ Acid Ball at Dalston Superstore 9pm – 3am.

Hannah Holland’s Heroes of 2013

By Hannah Holland

10 things I’ve discovered – rediscovered, obsessed over and loved this year.. art and personal heroes of 2013!

Sister Rosetta Tharpe

Sister Rosetta Tharpe

Fierce women from the ’30s and ’40s that influenced Elvis and Little Richard. Love this women, what a powerhouse. BBC4 did a great doco about her this year, which was great as she’s rarely written about.

Xander Gaines

Xander Gaines

I met this magical person in New York, he is living breathing art and made me want to make a track inspired by how much I love New York!! Check out my Live It EP on Get Up from earlier this year!

Gay Bingo 

Gay Bingo

Jonny Woo, John Sizzle and Ma Butcher made the final 10 year shebang at Hackney Empire, a huge moment in East London herstory. Also I went on an Australian tour with them earlier in the year for Mardi Gras, which was a riot!

Connan Mockasin

The smooth tones of this album have been keeping me company whenever I need some delights upon the ear…

David Bowie

Bowie exhibition at the V&A

Always a constant obsession with Bowie, but his exhibition at the V & A was endless and incredible.

Alex Noble – Creatures From The Kaleidoscope 

My good friend and partner in Batty Bass, Alex Noble, had his first ever solo exhibition, which incorporated his talent into all the different mediums he works with, under the themes of death, spirituality and conscious awakening. The scope of work was beautiful and I’m dead proud!!!! 

Alex Noble’s Creatures From The Kaleidoscope from Ryan Lanji on Vimeo.

Black Gold Buffalo 

Black Gold Buffalo

Loving playing bass for exciting new band Black Gold Buffalo with my amazing girls Keziah and Anna Argiros. We played gigs all over London this year including Lovebox and Loco Disco festival… next year we’ll be releasing some music, watch this space, we’ve been busy in the studio!  

Goldfrapp

Goldfrapp

Wow the new album  Tales Of Us is totally sublime, classic sounding, I can’t stop listening.

Laurie Anderson

I’ve always known about Laurie Anderson, but it took me ’til this year to become obsessed. Maybe the beautiful words she wrote about Lou Reed and his death drew me in, but I can’t get enough of her brain power.

Savages

Savages

I haven’t felt this much excitement for a band since I was about 14. The girls totally kick ass live and their album is killer, stripped back to its raw energy and the message – Silence Yourself. 

Yoko Ono 

What a woman! She curated this year’s Meltdown Festival, and it was the best line up I think I’ve ever seen there!!! Iggy Pop, Savages, Kim Gordon, Bo Ningen, Peaches, Siouxsie Sioux etc and lots of Yoko’s art throughout the South Bank centre. A great moment in London for 2013 especially women in music

Kim Gordon

Kim Gordon

I love this pic I took of one of my teenage heroes Kim Gordon.

Check out Hannah’s latest mix for more heroes…

And join her TONIGHT in the laser basement for Little Gay Brother Present Studio 54 NYE Tuesday 31st January at Dalston Superstore from 9pm – 4.30am.

Caffe Culture

Ahead of tonight’s Grizzle Cosmic Fembot Extravaganza we pinned down man about town DJ/Producer Josh Caffe. His debut release Caffe Culture Pt 1 is out now on Batty Bass featuring the track Let Love Ruin with David Newtron and remixes from Hannah Holland, The Carry Nation and Leo Zero! He told us all about the track and more!

It’s Grizzle’s Cosmic Fembot Extravaganza tonight… what/who is your sexy robot pick?

 I love the fembots by Hajime Sorayama. Proper sex bots.

Sorayama Sexy Robot

How long has Caffe Culture been in the making for?

For quite some time. I initially came about idea late last year but I wasn’t really sure whether to do it or not as it was my first production and vocals project and I kinda felt a bit out of my depth. I’m quite a perfectionist with my music and wanted this project to be 100% amazing but didn’t feel confident enough…..I overcame that!

Working with Jeroen (aka David Newtron) was such a natural process too, we really bounce off each other with ideas, which made things a whole lot easier in the studio writing or messing around with random objects for instruments. The guy managed to get me to sing! Never would have dared try that on my own.

Which remix of Let Love Ruin can we expect to hear tonight?

I’m hoping to squeeze all of them in. They’re all good!

Who is your biggest inspiration for the record?

Without a doubt Jamie Principle.

What prompted your personal transition from DJ to producer?

It just felt like the right time… and also meeting the right people to collaborate with at the right time. I love DJing to bits, but being able to play out something you’ve produced and worked day and night on is such an amazing feeling. Really makes me want to produce more and more and DJ more and more. Just want to constantly keep sharing good music with people really.

And you sing too! Who are your vocal heroes?

I do! That was a hard experience, which I didn’t like at first since I’m not a natural singer at all. But the more we worked on Let Love Ruin the more we felt it needed more than just a simple hook. I really had figure out how my vocal limit/range could work on things and ALSO I hate the sound of my voice so I criticized everything but Jeroen was like “seriously Josh this is good!”

Vocal heroes would have to be Ralph Tresvant, Robert Owens, Vikter Duplaix, Larry Ernest Blackmon (to name a few).

Describe your ideal music video for Let Love Ruin…

Ummm, I’m having discussions about potentially doing one so I can’t really say the idea otherwise it will ruin the surprise when you see it. It would be my dream idea if it happens though.

Who would you just die to collaborate with?

Todd Terry, Sonny Fodera.

What’s next for Caffe Culture?

Well Caffe Culture comes in two parts so we’re just finishing up the second release As I Look which will be out later in the year. Watch this space!!

Join Josh TONIGHT (Friday 11th October) for Grizzle’s Cosmic Fembot Extravaganza at Dalston Superstore from 9pm – 3am.

Hannah Holland’s Activathuh Mix

Paris’ Acid Ball queen and Batty Bass head honcho Hannah Holland lays this hot mix on us to brighten your Friday! Featuring tracks from some of our favourite people including Cormac, The Carry Nation, Shaun J Wright, Ashworth and recent laser basement guest Brodanse, it’s sure to have you slipping on your dancing shoes. Get hyped for tonight courtesy of Miss Holland.

TRACKLISTING!

Ashworth - Changry  [Native City]
Auntie Susan - Triangle [Forthcoming on Batty Bass]
Cormac - Tone Alone [WetYourself! Records]
Ashworth - Cash Soup (Aggborough Remix) [Native City]
Shaun J Wright & Alinka- Love Inspired [Classic Music Company]
The Carry Nation & The Cucarachas - Oracle (Dub) [Tribal Records]
 Josh Caffe & David Newtron - Let Love Ruin (The Carry Nation Remix) [Batty Bass]
Christy Love - I’m Goin’ Under (Hannah Holland Dub) [Get Up Recordings]
Brodanse - Activate ft Cari Golden [Danse Club]

For more on Hannah Holland and Batty Bass visit : www.battybass.com

Classic Goodybag Giveaway

Just ahead of this weekend’s next Classic Music Company party, they’ve had a dig about the office and filled another Classic tote bag with goodies (including signed vinyl) for us to give away. 

They’re teaming up with local heroes Paris’ Acid Ball for a whole night of two-floor bumpers and pumpers and all-round acid mischief. Classic boss Luke Solomon is joined by Hannah Holland and DJ Squeaky in the basement whilst upstairs Horse Meat Discoer Luke Howard and Superstore head honcho Dan Beaumont takeover.

For your chance to get your mitts on a Classic goodybag plus free entry for you and a pal to Saturday’s party email the correct answer to hello@dalstonsuperstore.com by 12pm (noon) Friday 6th September.

*only the winner will be contacted

Which other Luke will be joining Luke Solomon this Saturday?

a. Laidback Luke

b. Luke Whostalking

c. Luke Howard

Join the whole gang this Saturday 7th September at Dalston Superstore for Classic X Paris’ Acid Ball from 9pm – 4am.