Posts Tagged ‘pavline’

Red Greg

By Pavliné

 SWEAT is turning two, and the tropical party crew celebrate their birthday in style by inviting the mighty Red Greg to the laser basement for a soul explosion! Red Greg has been collecting and spinning dancefloor-ready soul obscurities for over three decades. His back-to-back with Ge-ology was the highlight for most Dekmantel 2017 attendees. Pavliné caught up with him ahead of the Sweat Birthday Bash to talk about his label peers Floating Points and Mafalda, time travel and what makes a good edit!


Hey Red Greg, firstly let me say how excited myself and the SWEAT crew are to be celebrating our second birthday with you. For those who might not know you, could you tell us a bit about yourself and your DJ career?

Hi Pavliné, thanks for the kind words. I must say I’m excited to be playing.

Music and DJing have always been something I’ve been interested in. As a kid, I would religiously record the songs from the top 40 and do mix tapes with a couple of cassette decks, by using play/pause buttons and trying to create stutter effects in a real 80s megamix style. I’m pretty sure this must have been in 1981-82 because Haircut 100, Kid Creole and The Weather Girls spring to mind.  

From then on, I’d save my pocket money and buy records. It wasn’t until I was 15 that I thought to try and DJ, so I bought some cheap turntables and modified them by adding pitch controls and taught myself how to mix and like every other kid on the block tried to scratch and do the fancy hip hop stuff.

I always collected records and started to play at local blues dances and quickly found myself playing around London at weekends. It wasn’t until 1989 that I really got into disco. It was the first time I heard many of Patrick Adams‘ records in a club environment. Shortly after a friend invited me to play at his Sunday night party at The Pig Club in Holborn, so from then on I was hooked and have since continued to play all sorts of dance music, which led to European gigs and more recently worldwide gigs and festivals.

You are affiliated with Floating Points and Mafalda’s Melodies International. Could you tell us how your relationship with the label started and about your work for them?

Yes, well that basically came about via an email from Sam (Floating Points) about five years ago. He got in touch and we instantly got talking about records and he invited me to Plastic People to check what he was doing there. So about a week or so later I walked in and was pretty overwhelmed to see a packed dance floor with the crowd singing along to Paradise by Jewel, which was very special. We chatted after hours about parties, music and the next thing You’re a Melody was born and the Melodies International label shortly followed.

I’ve always supported the label from the launch but never actually worked for them or had any output, until Disco Baby. It was a record I used to play quite often but when I played it at the third YAM party at Plastic People, everyone was really into it and shortly after we were playing the edit from a 7” dub plate and people were constantly asking about the record, so it made sense to license and release it. 

Like with all your edits, yours and Floating Points’ intervention on the Disco Baby record is really subtle. It’s like you’re giving it just enough punch to make it shine on a modern dance floor without removing any of its original intention. It’s a very humble approach to music and, in my opinion, the sign of a true selector DJ. Could you tell us what you’re looking for in a record to edit?

I believe that less is more when it comes to disco edits. I don’t understand disco edits that zap the soul and lose feeling from a disco record by quantising the whole track and adding a kick drum. Occasionally it can be done to great effect but in general I like to keep the natural feel of the groove and rearrange, so it still sounds like a song to some extent. 

There’s so many great records with amazing parts and equally dull parts, so for me it’s about removing the dull parts and really extending the great parts, allowing the song to shine throughout and work on a dance floor. I guess it’s looking back to the 70s and the way they used to edit back then.  

For me Ron Hardy was beast when it came to edits. The way he would stretch out that amazing part of a record and work it into his DJ sets was something else. I used to constantly listen to his mixes and without a doubt he’s my all round inspiration. 

I thought of having you playing at SWEAT since I heard you play at Dekmantel together with Ge-ology. It was the highlight of the festival for me. I was surprised to have read recently that you guys had never met before, something that I found hard to believe judging by the coherence of the selection and the flow of the mix. How did the idea of this back-to-back come to reality?

Thank you, glad to hear you enjoyed the Dekmantel set. I wasn’t sure how the back-to-back idea came about or how it would go.

Initially I was asked to play a regular set and then I later received an email asking if I would play b2b with Ge-ology. I had only heard his mixes online at the time but knew we had very similar taste, so happily agreed. We had no background history but I played after him at Nomads Festival about a month prior to Dekmantel. Unfortunately we never had time to get into deep conversation because we were both playing but we were both looking forward to playing Dekmantel together. 

I think not knowing or discussing anything about the back-to-back is the reason it worked, we had no idea of what selection or tempo we had between us but we were both feeling relaxed and went straight in with that approach. I basically put on a gospel record to reset the vibe and we just had fun and naturally bounced off each other for the whole duration. 

The Dekmantel guys had clearly heard us both play individually and knew exactly what they were doing by teaming us up, so a huge thanks to them and Ge-ology for being that super cool dude he is and an outstanding DJ.

What can we expect from your set at Superstore?

I’m really not sure but the good thing is that it’s in London. So I can bring an extra bag of records. I think variety and energy will be the key things here. 

Can you think of a track that would fit the tropical and hedonistic aesthetic of SWEAT?

I’m not sure, but I’m hoping I can play some feel good high energy disco bangers like this:


Finally, our favourite question here at Superstore, if we had a time machine ready to take you to any dance floor, past present or future, where would you like to go and why?

Ron Hardy at the Muzic Box, simply because he’s the boss and I like an open minded mixed crowd, where everyone can express themselves freely. 



Catch Red Greg at SWEAT on Friday 2 March from 9pm-3am at Dalston Superstore!

Al Zanders

At the heart of winter, the SWEAT crew is bringing the heat to Dalston Superstore with a sun-drenched double bill! Headlining this takeaway edition alongside Sonikku, the Wolf Music and Phonica Records affiliate, Al Zanders, will be serving disco and trippy house in the laser basement. Sweat head honcho Pavliné caught up with him for a tequila sunrise, and to find out what to expect from him at his Superstore debut!

Hey Alex! First of all and for those who might not know you, could you tell us a bit about yourself and your DJ career?

I’m no salesman, but I make funky, deep and sometimes ethereal house music, as well as edits, all designed to be enjoyable on a dance floor. I tend to DJ a variety and don’t like to stick to one genre or style, so you might hear anything from techno to broken beat.

You’ve recently moved from Sheffield to London. How is the music scene there compared to here in London?

I’ve actually been living here 18 months already. I’d say Sheffield is more communal because of its size – everyone knows everyone. London is a very different kettle of fish.

We are a huge fan of disco edits at SWEAT and your edit of Tangerue ‘Doin Your Own Thing’ is truly amazing. You released it under the Lodger moniker, can you tell us a bit more about that?

Thanks! I personally don’t take a lot of pride in edits, they’re just for me to DJ with. Lodger was the first alias I ever made years ago – and I’m probably not going to release under that moniker again, as I’m too focused on my own productions as AZ.

Your latest EP on Phonica Records had an impressive reception upon it’s release. What was the idea behind the tracks?

Thank you – they were inspired by DJ Shadow, the way he layers samples together from vastly different areas of music into one song, creating an interesting blend. Like that beef custard Joey eats in Friends – wrong but somehow still works…

What does 2018 have in store for you musically??

An EP with one of my biggest musical heroes, the first release on his label in 16 years, plus some fun edits and a track I’m working on with a singer that I’m very excited about. So a lot!

What can we expect from your set at Superstore?

Depends what you guys seem to like, but I’ve been enjoying a lot of trippy techno recently so maybe some of that mixed in with my usual flavours.

Can you think of a track that you might slide into your set to fit the tropical and hedonistic aesthetic of SWEAT?

Try this!

Finally, our classic Dalston Superstore question: if we had a time machine ready to take you to any dance floor, past present or future, where would you like to go and why?

I’d maybe go to see the Co-Op guys at Plastic People, but they seem to be making a comeback now – so no need for the time machine!

Catch Al Zanders alongside Sonikku at SWEAT on Friday 5 January from 9pm-3am at Dalston Superstore!

Hugo LX

By Fabien Marini

SWEAT is your party for queer house heads and their friends! For the latest edition, the SWEAT crew is bringing you the prodigy of the new Parisian house scene: Hugo LX (Serving la Mona/ My Love Is Underground) for a jazzy and soulful house masterclass! Hugo LX is a true music enthusiast who has been making some serious waves in the new Parisian house music scene. Although his better known production could be classified as classic or old school house, his musical journey was not as straightforward. Pavliné catches up with him ahead his gig for SWEAT w/ Hugo LX!

Hey Hugo, first of all and for those who might not know you, could you tell us a bit about yourself and your DJ career?

I’ve been in and out of this music thing for the more than a decade, producing music in a wide array of styles and tempos, from jazzy hip hop to contemporary dance music, through ambient and organic house.

These trips through styles and BPMs also express part of my nomadic reality, cruising between many places and countries. Growing up unrooted also allows me not to feel boundaries too much when it comes to genres, categories and even social layers.

Though everything and everyone is unique, we can nearly always find common grounds. As I’ve been back to DJing extensively for the last three years, I try to express all of this through my selections and mixes (nothing’s more lovely than when two songs play well together!)

You had a few releases on high profile music labels lately. Which one of these was a the real breakthrough track for you?

Though the label was newly born, I think Drifting Away on Nick V’s Mona Musique label made a special and significant impact, and I’m happy DJs play it worldwide, including some of my favourite selectors. It’s definitely humbling!

We had Nick V playing at SWEAT a few months back, which was sooo much fun! I believe he played a role in introducing you in the new Parisian house scene. Could you tell us more about that?

Nick V is an uncle to most of Paris’ latest wave DJs, and he played a special role connecting us to well-established and successful music structures, labels and clubs.

I remember nearly stopping music in the summer 2014, discouraged by label politics and projects being unreleased or poorly promoted. But he kept asking me for some house or broken beat demos, and the first batch were immediately published on the now defunct 22track playlist, allowing me to gain some attention by renowned label heads and DJ’s.

I read you also have a strong connection with Japan, and Kyoto in particular. You said you like Japanese Urban Soul, 80s electro and ambient. Do you also like Japanese house (because I do!) and if so, could you give us a track or a DJ you like in particular?

I’ve been into Japanese house for a long time, and have befriended several DJs there over the years. One of these friendships recently materialised in myself remixing the master Satoshi Tomiie on his latest offering. Also I’m an avid fan of Mr YT aka MissingSoul, and the master Kuniyuki (Rain of Ocean is one of my favourite Japanese house tracks ever, and it’s barely house!) who I expect to work with in the near future…

Last but not least, salute to my friends Hiroaki OBA, Tomoki Tamura, Stereociti, Kez YM, Takecha and Yutaka Yonenaga!

What can we expect from your set at Dalston Superstore?

Turning the event into a comfortable and intimate party! That’s what it’s all about!

You have a strong relation with vinyl. When did you start collecting records and what do you find so compelling with that format?

I started collecting at age eight. I like the generosity of the format – it’s a circle, it’s colourful, comes in various shapes and sizes, and credits on the labels, give food for thought, knowledge. Giving a vinyl is transmitting a legacy!

Finally, can you think of a track that would fit the tropical and hedonistic aesthetic of SWEAT?

Let’s go back to basics… maybe something from the Nott Us labels..

I-Aye-Bye-You by Billy Robinson probably. It has a very sweet layering and comfortable feeling, but it’s actually a real burner!


Catch Hugo LX at SWEAT on Friday 3 November from 9pm-3am at Dalston Superstore!

sweat at dalston superstore


Wolf Music

By Pavliné

SWEAT is back at Superstore for another round of proper house music, disco bangers and tropical nonsense! For its third edition at Dalston Superstore, it seemed a natural fit to invite two house and disco fanatics whose record collection and knowledge is rivalled by few: Wolf Music! Stuart and Matt have been DJing since 2009, which also saw the inception of Wolf Music Recordings, one of the UK’s most influential house labels of the decade. They’re talking shop, favourite disco tracks and answer THE classic Superstore question asked by SWEAT’s resident Pavliné!

Hey guys! We can’t wait to have you join us for SWEAT! Tell us a bit about Wolf Music and and what drove your impulse to create your own label?

S: I’d been involved in various musical endeavours before I met Matt but had never run a label. I thought, at least if it fails we’ll have some records to give out to our friends for their birthdays/Christmas/wedding presents! Luckily it didn’t, and we’re still riding that wave.

M: I was already running a label when the opportunity to work with Atmosfear Dancing in Outer Space came up. It’s an all-time favourite of mine and I couldn’t pass it up. I knew that what I wanted to do with it didn’t suit the current label so I decided to start something new. I asked Stu to join me and that something new went on to be WOLF.

If you had to choose one record to represent Wolf Music, which one would it be?

S: That’s a tough question, as over the past eight years styles and artists have shifted. However I think we’ve stayed true to the sound we set out to represent, quality house music. We’re also around 60 releases in so there’s a lot to choose from! I’m going to pick something from 2013, Medlar‘s debut album Sleep. In my opinion an absolute masterpiece. You can listen to the whole album with the accompanying video by Letty Fox here.

M: I’d have to agree with Stu on this question. The album is a real melting pot of sounds that all make sense when listened to as a complete piece.

You recently celebrated eight years of Wolf Music. What can we expect from the label in the year to come?

S: Hopefully we’ll be able to realise our dream of launching a range of branded fidget spinners.

M: To keep pushing the sound and culture that we identify with, and to buy that second super-yacht from the spoils.

You recently published a vinyl-only mix of soulful house. What was the idea behind this? Can you tell us a bit about your relationship to vinyl records?

S: The idea behind the mix was to showcase records from the golden era of soulful house, a sound that doesn’t get as much love as some other sub genres of house music. Matt & I have also played this style of house in our sets amongst more deeper cuts so we decided to take the time to dig into our collections to expose people to records that Matt and I class as classics.

The fact it was a vinyl mix was more the fact that Matt & I own those tracks on vinyl. Of course vinyl holds a special place in our hearts and we continue to push the medium through the WOLF releases and when DJing. I wouldn’t call ourselves vinyl purists though.

M: I don’t often hear DJs playing good vocals in clubs and this was a chance to show people they need not be afraid – there’s loads of amazing vocal tracks that still bump.

What can we expect from your set at Superstore?

S: I’ll most likely be rolling through with a bag full of vocal house & ecstasy disco

M: Pure Drama

Can you think of a track that would fit the tropical and hedonistic aesthetic of SWEAT?

S: Me’Shell Ndegeocello If That’s Your Boyfriend (He Wasn’t Last Night) (Mad Sex Remix). Lil louis helping Me’Shell throw shade from ’94

M: Stu’s gone house so I’m going disco. Bobby Womack’s I Feel A Groove Comin’ On

’cause I do too…

Now for the classic Dalston Superstore question, which is: if we had a time machine ready to take you to any dance floor, past present or future, where would you like to go and why?

S: I guess the easy answer would be to watch Larry Levan at Paradise Garage but I’d quite like to go back to last weekend at Love International to make sure I could leave the dance floor before Young Marco played Alphaville’s Forever Young and killed my vibe.

 Pavliné: I love Young Marco but Forever Young, ouch!

M: I’d like to see Siano at his Gallery peak. Before disco was called disco and the DJ would play whatever would move the floor. Then if there was still juice in the time machine I would go catch Ron Hardy bringing down the walls at the music box.

Forever Young though…

Catch Wolf Music at Sweat this Friday 14 July from 9pm-3am at Dalston Superstore! 

Nick V

By Pavliné

After the Berlin edition, the SWEAT crew is now looking at Paris for its second bash at Dalston Superstore. For this special dance edition, it just seemed natural to invite Nick V, the DJ who took it upon himself to bring expressive dancing back to the forefront of the clubbing experience during his eight year residency at Mona in Paris! After a ten year hiatus from playing in London, we can’t wait to welcome him to the lazerpit. We caught up with him to chat about the importance of dance as a cultural force, starting an independent label, and musical discoveries!

Hey Nick, first of all and for those who might not know you, could you tell us a bit about yourself and your DJ career?

I was born in Manchester in the UK and lived there for 17 years until 1987. My parents are Franco Vietnamese but the start of my life was very English. Coming from Manchester, music was a strong part of my life. During the 70s and 80s so many new popular music genres were born, including the ones that laid the basis for today’s dance music culture.

I moved to Paris in 1987 and started DJing in 1993, specialising in the more soulful side of house music, from the disco inspired garage sound to the jazz grooves of deep house, still a strong part of my sets today. My first gigs were at Queen club on Champs Elysées opening for US house DJs to a predominantly gay crowd. The people running the club were very strict about having the dancefloor full so I learnt how to push a crowd and challenge myself as a DJ. I was looking for more musical freedom though, so I started the first of a series of residencies in Paris in 2003, playing a mixed bag of records to a mixed crowd. This is was the beginning of what I am doing today at Mona where retro house fuses with newer sounds, vintage disco and jacking acid house or techno.

Tell us a bit about your residency at Mona and what makes this party so special?

Mona started in 2008. At the beginning it was the continuation of my previous residencies in Paris. We weren’t that successful at the start. We decided to turn things around in 2010 by inviting younger cats to play at the party and instantly the crowd started to change, especially when the My Love Is Underground crew (Jeremy Underground and Brawther) came. We like to invite back regular guests such as Daniel Wang, Prosumer, Honey Dijon, Karizma, Giles Smith or Mike Huckaby.

The dance “element” is quintessential to the party ?

The big change came when we started to get involved in the Paris dance scene, putting on events for dancers and also for non-regular dancers who still loved to dance, via the Mona dance class at the start of the night.

I have always been a dance enthusiast but I noticed that except for one or two very specialist exceptions, dance wasn’t really happening in the clubs. I found this is a shame as many dances started in the clubs.

Pavliné: This is where the idea of dance classes came from?

I wanted the ordinary non-dancers to be at the centre of things. With the help of some of the best dance talents Paris has to offer, we set up the classes, devoting the first hour of the night to dance, free and open to all and especially beginners, with every month a different teacher coming down to teach house dance, voguing or waacking.

We then started throwing, every three or four months, kiki vogue balls and now dance contests that incorporate vogue, waack, house dance and even more, so that some of the more regular dancers could show their moves. We make sure the atmosphere stays very relaxed though and having fun is our priority, for the hardcore competition vibe you need to attend the battles! With dance our crowd changed and the party changed with the positive energy that comes with it.

Pavliné: If you had to choose one record to represent Mona?

I like to break tracks into my sets and turn them into Mona classics that the crowd recognise instantly. There have been quite a few over the years. The big one at the moment is the e-smoove remix of Taylor Dayne’s I’ll Wait that dates from 1994.


It’s a bit of old news now but Paris has experienced a sort of dance music revival. Can you tell us a bit about that and how does it feel for someone like you who’s been part of the scene for a lot longer than that?

As I said earlier, things haven’t always been this way. About eight years ago parties in Paris were much less diverse than they are today – the successful ones were more orientated towards the minimal techno sound dominant at the time.

Many people were going to clubs outside of France, to Berlin, London or Barcelona and bringing back new ideas and a fresh outlook on clubbing. So it was only a matter of time before they started to do their own thing over here, with the vibrant energy of the younger generation challenging established promoters and pushing boundaries, even literally, with new alternative venues appearing far away from the centre of Paris, which was unheard of in the past.

That’s how it started, in reaction to the lack of a scene. I believe that’s how things happen, so I don’t really mind when things go “bad”, it’s always part of a cycle and there’s always something new and interesting that comes afterwards.

Jeremy Underground and Brawther played some of their first gigs with you. Who are your more recent discoveries and artists to watch?

I’m very much into the Australian producers of the moment such as Harvey Sutherland or Jad and The. In France there’s Gary Gritness, an amazing multi instrumentalist and a great set of producers who produce both house and hip hop such as Neue Graphik, Mad Rey or Hugo LX who signed the first release on my new label.

As you mention it, can you tell us a bit about the record label?

Mona Musique is a project that has been in my head for a while and I have only just started to find some free time to make it happen. I have been curating music for a while and receive a lot of good stuff, so setting up a label was the logical step forward. I wanted to link it to my party Mona, and the idea is for tracks to be designed for the party, incorporating and appealing to its different aspects: the dresscodes, the thrill of the dancefloor, the mixed crowd and the creativity of the dancers. The first release is out now and I am working on the next set. I have come to realise how hard it is to maintain a consistent level of releases and a steady work rate, so hats off to all the longstanding independent labels!

What can we expect from your set at Superstore?

I haven’t played in London for over ten years so I’m quite excited about the idea of coming over, and thank you very much for the invitation. I never really prepare my sets that much, I throw into my box a good mix of classics and recent records that I’m feeling, and everything comes together on the spot depending on the vibe, how people feel and how they react to what I’m playing, so I can’t really say much more in advance.

I must say I like it when people come to dance with an enthusiastic and open mindset, and that they don’t take things too seriously, it doesn’t matter if you don’t know who is making the music, fun always comes first for me. I try to keep this in my own mind myself when I play, so if you see me dancing then it’s a good sign!

Finally, can you think of a track that would fit the tropical and hedonistic aesthetic of SWEAT?

This traditional Gwoka drum track from Guadeloupe in the French Antilles and released on London based label, Sofrito, is fast becoming a Mona classic. It’s a super DJ tool sitting well between any genres and putting dancers into a trance. The kind of track that lets your body take control.

I bought that record when it was released a few months back but never got to play it in a club. If you do play it on the 19th, you can be sure I’ll be dancing on my ass off!

Catch Nick V at Sweat Dance Party this Friday 19 May from 9pm-3am at Dalston Superstore!



By Pavliné

With a series of flamboyant and hedonistic parties, SWEAT offered the kind of escapism you really needed during 2016. For its first edition at Dalston Superstore, the crew decided to look back at its origins and bring their favourite acts from Berlin (where the party was born under the name Restless). Along with Tim Vita, we are happy to welcome for the first time in the laser pit one of Berlin’s best selector: Akirahawks!

Hey Akira, I’ve danced to your music countless of times at the infamous Homopatik but also other great clubs in Berlin. But for those who don’t know you can you tell us a bit about you and your DJ career?

My name is Akirahawks. I’ve been living and DJing in Berlin for about ten years.

Tell us a bit about ://about blank and Buttons, the new party you’re a resident at?

Yes, Buttons is a new adventure. It’s also at ://about blank and I’m a resident there. We’re very excited to keep on pushing boundaries in the Berlin house music scene.

I believe I read somewhere you started your DJ career after you found some abandoned records in your building? Is that true or just to add to the legend?

Haha, it’s true. I found 20 – 30 records of cheap disco maxi, 90’s hip house and hits compilations in my first flat in Berlin. I knew a little bit of electronic music history and theory through my group of friends. So I gave it a shot and starting practising with these records. I then started to buy records and little by little acquired the collection I have today.

Which specific record do you think would make people want to start a career as a DJ?

In my case, this would be Gaznevada – I.C. Love Affair that Larry Heard played under his Mr. Fingers moniker but I believe most people become DJs because of a shared love for electronic music with their group of friends.

You also produce music – can you tell us a bit about that?

Shingo Suwa and myself run a label named House Mannequin. We also have another project called Love Comedy. We’ll release a record this year.

What can we expect from your set at Superstore?

Something fun and slightly ridiculous!

Finally, can you think of a track that would fit the tropical and hedonistic aesthetic of SWEAT?

Claudja Barry – (Boogie Woogie) Dancin’ Shoes

Catch Akirahawks at Sweat on Friday 3 March from 9pm-3am at Dalston Superstore!