Posts Tagged ‘Ron Hardy’

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!

Luigi di venere

The DISCOSODOMA crew have had quite the prolific summer, flitting from their Dalston Superstore hotspot to Grecian boat parties and back again! For their next party, they welcome Italian DJ Luigi di Venere who has recently been making serious waves in Berlin. From gigs at Cocktail D’Amore to the hallowed Berghain garden, he has seen a meterioric rise this summer, and we can’t wait to welcome him for his Superstore debut! He caught up with the DISCOSODOMA crew to chat the anthropology of clubbing, Berlin’s virtues and what to expect from his first set in our lazer basement!

Hello Luigi, we are really excited to have you with us for our next party. Can you tell us a bit about you for those who aren’t familiar with your DJ career?

Hello guys! I am from Bari in Italy.  I started DJing during my Stockholm university years where I was hosting a radio show and throwing monthly parties. I am currently living in Berlin.

I always wanted to move here because I was so fascinated by the club scene, and… Here I am, three years now and quite satisfied with it! I play regularly at Cocktail d’Amore and I have my own parties – Maximum Joy, and Overdrive. I also played at Berghain Garden this past summer and… Yeah, that was insane!

On your Resident Advisor profile, it writes that you are “an anthropologist who decided to have clubbing as his object of study and DJing his form of expression”. How did this transition happen?

During my university career I focused on studying the club scene, the fundamentals that make it happen and the styles/fashions that come out of it. The DJ is a key figure in this environment – he/she absorbs the energy of the crowd and transforms it into a lively vinyl narrative composed of moods and rhythms. The result is a unique story that can’t be replicated. I like to express my thoughts through music, it gives me direct satisfaction because the feedback from the crowd is immediate and quite palpable. 

Do you think Berlin is still a city where young creatives can afford to explore and experiment on their art?

Berlin is still a creative city – young people can still afford to express themselves, but it is changing a lot. Rents are rising, clubs are disappearing and the energy of people that move here is different than before. We get a lot of very normal people that work for big corporations and start-ups; people with a 9 to 5 job and a family, totally unaware of the historical importance of the club scene and of all the movements that have made Berlin what it is today.

Would you consider moving to a different city to pursue your artistic endeavours?

If I would choose, now I would rather move to Athens, learn Greek, have great food and beautiful islands around me. That city has an amazing energy and wow, it’s so beautifully decadent! Tip! 

If you could travel to any point in time, when and where would you go? 

I would first go visit Neanderthal man, then I would check out Ancient Egypt, then I would go hang out with Leonardo Da Vinci in Renaissance time and I would go to New York between the 70s and the 80s. The list is long… Shall I go on? These places in time and space I listed are so fascinating for me!

Have you ever thought what would be the ideal party for you?

Arthur Russell live and a Ron Hardy after concert DJ set. A great crispy soundsystem, a wooden dancefloor, beautiful women with fluffy hair and great dance moves, sweaty hairy men shaking their bodies…nothing else matters!

What are the top five records you always go to at your personal times to lift your mood?

Sad City – Introduction To Lisboa, Aged In Harmony – You are a Melody, Michal Turtle – Astral Decoy, Lucio Battisti – Ancora Tu, Soft Rocks – Talking Jungle (Justin Vandervolgen Remix).

Are there any exciting future projects you can share with us at this time?

 I am working on my first record with J.E.E.P. He is a French musician/producer based in Berlin. Can’t tell you more at the moment!

What shall we expect from your set at DISCOSODOMA?

Love is in the air!

And finally, disco is?

Glitter balls, organic harmonies. Disco is more than being alive!

Catch Luigi di Venere at DISCOSODOMA on Saturday 8 October from 9pm-4am at Dalston Superstore!

Gene Hunt

By Dan Beaumont

Gene Hunt was a protégé of legendary Music Box resident DJ Ron Hardy and had a front-row seat for the genesis of house music in Chicago while still in his teens. He is fiercely protective of Hardy’s legacy and personifies a distinctive style of DJing that dates back to the beginnings of club culture itself. Gene Hunt is a collector of dance rarities, producer of unique analogue house tracks, reel-to-reel edit specialist but first and foremost a DJ.

I met him from Heathrow and accompanied him to St Pancras for a gig in Ghent. He agreed to let me record him talking as we had lunch waiting for the Eurostar.

DAN: Can you share a Ron Hardy DJ secret?

GENE: I remember we were playing together, I think it was about ’87, ’88.

I played this track and he was like, “Why did you rush it out, why didn’t you play the rest of the track?”

I said “But the floor cleared.”

He said, “Let me tell you something: This is what you’re gonna do.” He looked in his bag and he gave me a couple of records. The first record was called Galaxy, by War. So I play this record and cleared the floor again.

He said, “Play it a couple more times.”

I said, “Tonight?!”

He was like “Yeah! Play a couple tracks, do that, then play it again.”

So I played it again. And the crowd stayed on.

He said, “Do you see my point? You have the power to break records. But you cannot be afraid as a DJ to let them experience what you experience. Now what do you think about this record?”

I said, “I love it.”

“Now, what makes you think they don’t? If a record is eight minutes long, play it! Don’t just rush it out or rush it in because the drummers and the singers don’t start getting into their groove until the middle or towards the end of the record. So play that shit! Don’t be afraid. See what you just did?”

“What I do?”

“I just let you break the record.”

And I was like, “wow, you tricked me.”

“I always trick you.”,

Y’know, Ron would give me these challenges or tasks when we’re live at the club. “Alright, c’mon, bring something in.”

I’m like, “I don’t have my stuff with me!”

“Use my stuff.”

So, that was the part about execution. That was the part about timing. That was the part about learning. It was not being afraid to express what you want to express. Give them what they want, but then also educate them.

DAN: Do you think that DJs play too safe now?

GENE: Yes a lot of them do. A lot of them choose their hot spots, a lot of them find more simplistic ways to work an audience without being as creative as they are in other aspects. Now, since you have Traxsource and Beatport and all that other stuff, it makes it very accessible for people to just sit there all day and just purchase shit. Back in the days we had to go to the shops. We had to go to Loop Records, we had to go to Imports, we had to go to Gramophone, we had to go to different places to look in the bins and get creative to find what’s hot. You could get Hot Mix 5 [house music radio show] or you could go to The Playground or the Music Box or Sawyers or what have you and you would just sit back and feel the vibe of what’s going on. You would go to the record store the next day with your tape. We had somebody to educate us, to keep music going on.

DAN: What is the Chicago sound to you?

GENE: Basically, when house music occurred, I mean we had the disco era first, but when house music first came about, we had Chip E doing shit like Time To Jack, and It’s House. We had Jesse Saunders making On and On, we had Robert Owens and Fingers Inc and Bring Down The Walls and Mysteries Of Love, Ron Hardy doing Sensation, Frankie bringing out bring out reel to reels and tape decks to play the exclusive stuff. People didn’t have a Traxsource or a Beatport, you couldn’t just go there and buy something to sound and fit like everyone. The way they’ve designed the game now is you don’t have to go fish and find your music. We would take reel to reels and grab a razor blade and splice and do edits and make stuff go backwards, with the drum machines and outboard gear like Roland 909 or 707s or 303s and we would create our own stuff to play at parties that accentuate to make us different from one another. When Derrick May and Kevin Saunderson used to come down to the Box and bring the Rhythm Is Rhythm shit and strings of life. They would come to the Music Box and give us all that shit.

DAN: So what did you think of what was happening in Detroit?

GENE: Oh, they were really starting to break that edge. You had like Blake Baxter and Model 500, Metroplex, all that shit from Inner City, all that stuff they were doing, they had their own flavour. Like they took a certain element, they added their own attribute to it, and created a sound called techno. Like when I used to take a 909 track, I would just put basslines and make it real abstract, that would be considered as techno now. I would play that with disco, I would play that with house music because it was my rendition. Okay, what makes Gene Hunt so different? Tracks! He makes acid tracks with a 909 when Phuture 303 made that shit with a 707 and and the 727… he makes his acid tracks with the 909! Oh my god!

Everybody had a different flavor. Lil’ Louis when he did French Kiss and The Music Takes Me Away… I remember when he paid 300 bucks for an 808 drum machine, he started making French Kiss, got the deal with Ray Barney [owner of Dance Mania records].

DAN: Someone said that Jesse Saunders On And On track was important because it taught the whole of Chicago that anybody could make a house record.

GENE: All that stuff was being distributed by Larry Sherman who owned Trax Records. This man had a record company, a pressing plant, right in the back of a meat market! Everybody would come down there and get their stuff pressed up and they had different labels and so forth and we’d press vinyl. You would sit there with a hammer. Me and Ron Carrol would sit over by the garbage can. Ron Hardy would be in the other room doing the shrinkwrap. Steve Poindexter would be doing the typesetting and the labels. We would have all these old K-Tel records and shit and we’d have a hammer and break the records down so we could re-melt the wax. All those records that came out, that you would see on television, we’d break the records and tear out like the vinyl part of it and press records and you’d still see the old records pressed in the new records, oh it was gangster!

DAN: Was Larry Sherman a bit dodgy?

GENE: “A bit dodgy” wasn’t the word! Haha. Let’s try “total dodgy”! But we all learned. We would take the vinyl recording, get a good quality recording of it, go downstairs, make a plate of it, then press it up. The vinyl quality was shitty but back then it was beautiful just to be able to get a record that you couldn’t get. So, Ron would take personal shit out of his collection, record it, and then put it out.

DAN: Why do you love playing records?

GENE: If you’re playing records and the record skips or the record jumps or gets dirty, that’s the fun about it. You’re really up there doing it. You’re really conducting music in a sense, to make it realistic to everybody in the room. The warm sound of a good quality recording and the fidelity that comes out of those speakers, the sound and the feeling of it, it doesn’t sound processed, it’s a real live feeling, it doesn’t have a synthetic feel whatsoever. That’s the importance of playing vinyl. The tape hiss. That analogue thickness. That warmth. It’s different from some shit being processed and watered down. It sounds too perfect. It has to be a little dirty. It has to have a little dirt, a little grunge in it to get with the natural aspect, to make it more organic.

It’s like some broccoli, if you overcook it. You cook all the nutrients out of it and you lose that crunch to it. It’s soggy and synthetic. You want to have warm and organic attributes to get the natural aspect of what you’re doing. That’s why it’s so valuable to play wax.

[Gene is eating a forkful of broccoli at this point]

Dan: What is your state of mind when you’re DJing? Do you get nervous?

GENE: Not really. I know I have a job to do. I have to entertain a room full of people for a number of hours so I have to get everybody on the same page. So based on the way that I feel emotionally – If I got personal problems at home, or I’m going through some shit I’m taking my problems out on the dancefloor. So they’re loving it, and it’s helping me get through my problems. Because I’m unleashing the way that I’m feeling, I’m expressing myself to a room full of people. My car got towed, I got tickets, some shit happened, so I’m going to take it out on you guys and you’re going to love it. I like to tell a story when I play. I like to give you past, present and future. I want to give you aspects of where I started and where I came from. Let you know what’s going on in the now, and tell you things about where I want to go. It’s like a rollercoaster – you anticipate, and you go up, but you don’t know when the drop is coming. My advice is to never plan what you do. Because I want to enjoy it just as much as you want to enjoy dancing.

DAN: What do you think about EDM?

GENE: It has its moments. If you come from Chicago which is the Mecca of house music, obviously, you should have some form of education and history. You hear EDM stuff in a club – I went through this a couple of weeks ago –  I’m like, “Why would they put me on to headline and they got this person and that person” It puts me in a challenging state because here I am in a room full of people who don’t have a clue about what they’re dancing to – but it feels good to them. It’s a mind opener.

DAN: Would you play a disco record to an EDM crowd?

GENE: Yes. Most definitely. I wouldn’t hesitate. I’m relentless. “Alright, they’re digging that. Let’s try this.”

I still hear Ron in my head saying, “Don’t rush that record out, you better let that record finish.”

DAN: And back to Ron – how was it working for him?

GENE: Pins and needles. Out the blue. It was scary. You never knew when he wanted to take a break – he would just say, “Get on.”

There wasn’t a plan, like, “You’re going to play 11:30 or 12:30.”

He would just play a record and then go out the back and chill out. 

“Go ahead, get on.”

He’d be back there taking a nap.

I used to open up. If I was five minutes late and he gave me shit about it. At the very last Music Box – 2210 South Michigan was the very last one. I was like less than five minutes late.

“You have to be punctual, you gotta be on time.”

I’m like, “It’s nine fifty!”

“You should be here at nine thirty.”

He was in my ass because I was there at nine fifty. Subliminal mind games that just got me fucking rugged. And Frankie was the same way with me. I would pick him up – Frankie Knuckles does not drive, Frankie Knuckles does not drive a car, he’s terrified of driving a car. You have to drive him. I would meet him and he would give me music. “Give it to so-and-so, give it to so-and-so, don’t give it to so-and-so.” Specific instructions. Ron was the opposite. But they both respected one another and they were both training me.” They saw a young kid that was ambitious.

Gene Hunt

DAN: How did Frankie’s style differ to Ron’s?

GENE: Very similar and yet different. They both played the same music, they both played the same things. But the way they played them was totally different. Frankie was real sexy with it, real smooth. Ron was more aggressive. It was like passive and aggressive. But you wanted both aspects. In Chicago you couldn’t have one without the other.

DAN: Describe your style…

GENE: [smiles] That’s a good one. Once I get in the groove I want to stay in that groove. I don’t want to have any intermissions. I’m relentless. Once I get it going and once I get everybody into that mode. I keep that flavour going. I want to keep that room and give it bounce. We gotta have some vocals, we gotta have some live drums, we gotta have some groovy shit, we gotta have some sexy shit. I want to give you a four course meal of music.

DAN: Who are your current favourite Chicago DJs?

GENE: My girl Serena – CZ Boogie. She owns a publication called 5 Magazine which is like the house music almanac when it comes to parties.

Czboogie & guest Lurob on the 5 Magazine Show on CHFM by CZBOOGIE

We have a group in Chicago called The Untouchables – it’s me, Farley (Jackmaster Funk), Paul Johnson, a guy named DJ Box, Craig Alexander and CZ Boogie – so it’s the six of us.

How is the gay scene in Chicago?

Off the chain. It’s off the chain. We got a night on Sunday called “Queen” at Smart Bar. It just so happened that the person who does this night owns Gramaphone [legendary Chicago record emporium] – Michael Serafini. The night is explosive. Frankie’s birthday was ridiculous. You had Louie Vega, you had David Morales, you had Derrick Carter. All star lineup. You couldn’t move in the place.

Join the Chapter 10 group: here


This Thursday we welcome Chicago legend K’Alexi to Dalston Superstore! Immersed in the then burgeoning house music scene as a pre-teen, he was exposed at an early age to seminal DJs and legendary nightclubs, not to mention a whole range of different genres and styles. For his DJ set here this week he’ll be joining Robert Owens in the laser basement for a real Chicago house love-in…
Is it true that you were hanging out with the likes of Frankie Knuckles and Ron Hardy when you were 12? If so how did this come about?
Yes, but mostly Ron, as an older friend he took me under his wing and got me in with him with no I.D and that set me on the path. 
As someone who’s experienced quite a few seminal clubs first-hand, if you had a time-machine what dancefloor where and when would you like to go back to?
The Musicbox with Ron Hardy, the sound fx of rain as he played an edit of Clouds by Chaka Khan, such a beautiful moment…
What’s your one failsafe, timeless record?
My Mudusa – K’ Alexi Shelby 

You’re playing alongside Robert Owens this Thursday! Besides him of course, who in your opinion are house music’s most inspiring vocalists?
Robert Owens, Byron Stingley, Paris Brightledge , Me, Dajae, Stephanie Cook, Ronna Ray, Jamie Principle, Russoul, Peven Everett, Terisa Griffin, Josh Milan, India plus much more and this is NOT in any order.
Why do you still do it ?
It’s so deep within me at this point I couldn’t stop even if I wanted too…
What would you be doing if you weren’t making or playing music?
I’m a creative person by heart, so I think photography. I love being behind or in front of the camera.
What’s next for K’Alexi?
I’m revamping my label K Klassik and it’s doing well. We’ve got mixes for some of dance musics best known, and soon to be known. We came together for me doing a mix on my song The Dancer… with vocals by me!

We’re really lucky that Chicago house is still important and still revered in dance music… having been there from the start, why do you think it’s so enduring?
The pure history of it rings out and goes way pass 4 on the floor. And as much as the world tries to name other places as the birth place we all know the truth… Chicago baby.
Join K’Alexi this Thursday 24th October at Robert Owens Live At Dalston Superstore from 9pm – 2.30am.


This Friday Disco Bloodbath welcomes Raudive aka Oliver Ho to the laser basement, playing under his more house orientated alias. Kicking off the bank holiday in style, Raudive, along with Bloodbath residents Damon Martin and Ben Pistor will be treating the basement to all kinds of aural delights. Ahead of the party we caught up with the man himself to find out more…

What separates Oliver Ho from Raudive?

Well, Raudive is my production alias that I use when I produce my hyrbid of “techno/house/no wave/industrial”. It’s a kind of dance music, but on my terms.

Oliver Ho is me, that encompasses everything from the Raudive stuff to my band The Eyes In The Heat, and my next project coming soon, Zov Zov, an experimental noise/post rock project with my friend, Tommy Gillard. That’s coming out at the end of the year on vinyl.

How did you come up with your moniker Raudive?

Well, I wanted signify a point in my artistic development, a kind of signal of independence and statement of being an individual. I have always been interested in the idea of EVP, which is “electric voice phenomenon”. It’s the process of recording the voices of spirits and ghosts through filtering the noise in our enviroment. Tape recorders would be used to document these strange voices of the dead. I love the idea the human soul speaking to us through electronic equipment, it’s a beautiful metaphor for music in general. One of the pioneers of this movement was Konstantin Raudive, so I named myself after him.

You’re based here in London- what musically is really exciting you in the capital?

London is fantastic, I have always loved the diversity of music here. Recently I went to Cafe Oto to see Leafcutter John, he was performing using bike lights to control the sounds in his music; it was very inspiring. Soon I will be going to see a Stockhausen piece being performed at the Royal Festival Hall.

What prompted your taste transition from being super into acts like Napalm Death and Godflesh to getting into dance music?

Well I still love those old heavy bands like that, but I think it was stuff like Aphex Twin and Autechre that got me into electronic stuff. And then after that it was Psychic TV, Psychic Warriors Of Gaia and Exquisite Corpse too. I really didn’t get techno properly until I started going to the Lost parties though, that club changed the wiring in my brain. Hearing the music on a huge soundsystem and feeling that pressure, something simple and relentless… I love the combination of simple and relentless.

You’ve released on loads of labels- which feels most like home?

I started out on Blueprint Records, that was my home for a long time. More recently, I have felt really good working with Stefan and Finn at Macro Records in Berlin. I have just finished my next album for them and I am so pleased with how it’s come out. They are super open minded, and always want their artists to have the freedom to really express an individual take on things.

If you had a time machine and could go back to any dancefloor any when and any where- where would you be going?

I would love to go back to the Music Box, and hear Ron Hardy play. I think that must have been quite incredible to hear all that stuff, The attitude he had, and the energy. I would also love to hear the noise band, Whitehouse, play early in their career, in the ’80s. Although that’s not dancefloor music, thats more torture chamber music, but in a good way.

If your house was burning down and you only had time to save one record, which would it be?

Bloody hell, only one record… probably my Napalm Death Peel Sessions record. It sounds amazing, like nothing else, but also listening to it is like looking at old pics in a family album.

What motto do you live your life by?

“Dream Your Life.”

Your mixtape for How The Other Half Live was very eclectic, covering all kinds of bases from Captain Beefheart to Gang Of Four and even Sasha Grey. What’s the weirdest curveball you think you can get away at Disco Bloodbath this Friday?

It wouldn’t be a surpise curveball if I told you now, would it!  Wait and see!


Oliver Ho 21/03/2013 by Zntn&How The Other Half Lives on Mixcloud

Join Raudive this Friday for Disco Bloodbath at Dalston Superstore from 9pm – 4am. 

Leo Zero

Tonight sees local legend and actual house hero Leo Zero join us for Banjee Boy Realness. With White Leather Viper Club taking over the top bar for a special weekend slot and their special guest being none other than our very own Mikki Most; it’s definitely a night not to be missed!

As one of the original heads behind seminal London clubnights Soulsonic and Faith, having been part of pop acts Chicane and Dab Hands, and even a talented graphic designer in his own right; Leo continues to make music, DJ and remix current-day popstars such as Lana Del Rey and Florence And The Machine. Needless to say, it would be hard to measure his influence and imprint on London’s house music scene today. 

Ahead of tonight’s party we caught up with Leo Zero himself to find out more about his prestigious past, his current work and any other acid house gossip we could dig up…

What’s your favourite remix you’ve ever done?

The ones that work best are when you love the track to bits in the first place…When I first heard Jack Penate’s Tonight’s Today I was smitten after about five seconds. So I got onto XL and hassled them like crazy for the parts – there was so much to work with I ended up doing a 10 minute version. Paul Epworth produced the track and it’s always amazing getting the chance to remix his productions. You can get that remix for free here…

Where’s the weirdest place you’ve ever DJed?

Ha ha, easy. A concrete tunnel under a dual carriageway in High Wycombe which was turned into an illegal acid house rave for the evening (this was 1988 and people were dancing in petrol stations). There was some very strong acid doing the rounds and a sadistic DJ was turning off the lights and playing train noises down the tunnel… everyone shat themselves. I think I was too wobbly to DJ myself actually.

You’re a house hero to many- who are your original house heroes?

Remixer-wise Francois K – the undisputed top boy. His work during the ’80s alone trumps everyone else hands down and he’s got another 20 years worth of killers on top of that! DJ-wise Tenaglia for all those amazing Miami sessions and legendary visits to London. Production-wise Farley & Heller for their trademark ‘bounce’. Radio-wise Jazzy M for his Jacking Zone show which was essential house listening from as early as 1986.

Which of your many defunct projects or aliases do you miss the most?

One that needs resurrecting was (the stupidly named) Onion Display which was me and Phil Mison – I also had Maurice Fulton in the studio jamming with drumsticks on a plasterer’s trowel once. I’m on a mission to salvage some of these projects from the old DAT tapes and get them out there…. so nothing is ever defunct.

What’s your most treasured memory from the Faith years?

They are ALL totally treasured memories from Faith – magic times. London felt like one big happy family at those parties.

What imprint do you believe it’s left on London’s dance music scene?

Secretsundaze, Mulletover, and Dalston Superstore are all run by Faith babies – we are just a proud part of a bigger London legacy that stretches back to Boy’s Own, and earlier – see the famous Kenny Hawkes house family tree T-shirt for details.

London House Tree 1987-2008

Is there anyone you wish you’d ever booked as a promoter or DJ’ed alongside, that you never got the opportunity to?

I’d love to have seen Ron Hardy spin – from talking to people who were at the Musik Box like Robert Owens, you get a feeling for the special kind of voodoo that was going on in that room – I’ve seen Sneak tearing places to pieces or Derrick Carter totally ‘in the zone’ but I know Hardy would have been a different bag altogether.

Remixes aside, is there anything else you’re currently working on?

I’m busy working with Terry Farley, X-press 2, and Josh Caffe and doing lots of songs with amazing singers like Shaun J Wright (Hercules & Love Affair) Robert Owens, Victoria Wilson James ( Soul II Soul / Murk).

What motto do you live your life by?

“Life is beautiful and never forget it.”

Join Leo Zero in the basement for Banjee Boy Realness tonight Friday 5th April from 9pm – 3am.