Posts Tagged ‘Y.O.T.I.’

tanzBar DJs’ Favourite Records

After their 11 hour New Years Day extravaganza, tanzBar returns for a two-floor party here at Dalston Superstore! With resident Polanski, host Mr Deutz and guest DJs Y.O.T.I., Kasia, Karezza and Jonas Ransson, they’ll be bringing their special vibes to upstairs and the basement. 

“It’s the naughtiest dancing imaginable. Two boys dance with one girl or boys dance with other boys, couples lock in a mass embrace. The scenes on the dance floor are fit for a lunatic asylum: if you couldn’t hear the music you’d think the dancers were insane.” 

Mr Deutz… What is one record that sums up for you the party ethos?

Gotham by Ten Walls. Partly because of the combination of ethereal otherness, strong danceability and joy, but also because Polanski has played it a number of times and when I think of his nights this often comes to mind.

Polanski… what’s one record you can totally lose yourself in?

Let The Good Times Roll (Agoria Remix) by Layo & Bushwacka! This came out in the year 2002 when I had travelled back home for a holiday trip and to my horror I was rejected on the UK border when I returned… There was a bitter-sweet ending to the story; ending my relationship here in London but starting a completely new life chapter in Wroclaw/Poland. Connecting with a new group of people, then starting my new club night and a weekly residency that in few months turned my DJ-skills to a level of turntablism. I remember how that song was totally melting the dance floor, with a powerful rolling bass line and haunting voice, as if arriving from the Elsewhereness – it still gives me goose bumps. It’s beautifully happy as well as sad, it captures those emotions that connect me with music in the most profound way. I have searched the internet to find online version – but it’s only available as a part of my mix from that very club night: bOMBER cLOCK  (Check it at 44:00 minutes)


Deep Moonday by Polanski on Mixcloud


Y.O.T.I… A record that informs your live project The Eyeshadows?

Moon Safari by Air. This album is a proof that alchemy exists. Air took trash and turned it to gold. Moon Safari made me embrace my aural guilty pleasures and use them as part of my creative process. Thank you Air!

Jonas… A record that you treasure from your teens?

Visage by Visage. I’m glad you asked me this question as it gives me the opportunity to talk about the recent passing of Steve Strange who has had a consistent influence over my musical obsessions and influences. The first record I ever bought, at age 13, and actually ordered from the local record store, on 12” believe it or not, was Visage’s ‘Visage’, the third release from their self titled LP of that year. Their music is filled with rich humour and sound puns in addition to solid musicianship on both guitars and synthesisers. And who could not help be drawn to that beautiful picture of Steve on the cover, in such seductive red tones, in leather and Kabuki style make up. Love at first sight. I first became aware of Steve when seeing his image gracing the cover of Smash Hits Magazine in 1981. Most kids at school were into ska at that time, bands like Madness, The Specials, The Beat. Steve seemed to offer something all together more clandestined, glamorous, mysterious and certainly more sophisticated. It wasn’t just the music, although that was a large part of it, but also the new movement he and others at that time pioneered through the Blitz Club, its association with exiting new aspects of fashion, design and the arts. It wasn’t easy being one of the only kids in the school who was into this stuff. Certainly with so many skin heads knocking around the school. Quite a brave move on my part. I’d been brought up in a house listening to the likes of Bowie and Roxy Music, Kraftwerk . My parents were pretty progressive, liberal people who were into quite alternative forms of music and arts. Steve Strange and the New Romantics seemed for me to represent the obvious progression from this lineage. So despite being in to all kinds of musical styles and genres over the years, Visage’s music, the period of the new Romantics and the fascination that it had for me at a formative age has stayed with me, and I’m hoping tanzBar will give me the opportunity to play a small selection of Visage’s music in way of homage to Steve.

Kasia… A record too sad to listen to?

I’ll Change Your Life from the album Bird, Lake, Objects by Masayoshi Fujita & Jan Jelinek

Listening to this record, I feel that the sadness and melancholy somehow bring positive emotions and peacefulness. I find it very pleasant to listen to.  I believe that sad music might actually lift our spirits. I am not sure if a record could be to sad to listen to, ever…

Karezza… A record that reminds you of your first clubbing experience?

Wax and Wane by Cocteau Twins First of all, it is good to say that I started clubbing at goth parties – yes, I was one of those heavy make-up blurred lipstick kiddos – and I just got amused by techno and house music years later. A track that was really important to me at that time, and still one of my favourites, is Wax and Wane by the Cocteau Twins – especially the version that came out on The Pink Opaque compilation, from 1985. Insane drum-machine and unbelievably complex bass-line! 

Y.O.T.I… A record that reminds you of coming out?

69 Love Songs by Magnetic Fields. One can argue that 69 Love Songs songs can be far too many love songs for one record. In my case this ambitious project can not reflect more the long process of self realisation I had to go through. I love this album as much as I love 69.

Mr Deutz… A record whose lyrics could be about your life?

DJ Culture by Pet Shop Boys. I suppose it might sound a bit dated and portentous, but the lyrics offer very singular combination of insights and feelings with which I strongly identify. I first heard the song at a very traumatic time and it consoled me. It still does.

Polanski… A record that never leaves your bag?

The Sky Was Pink (Holden Remix) by Nathan Fake. If I needed to be a hundred percent honest, I’d have to answer that my laptop is my record bag. It contains stuff that I grew up with, as well as some records that I played 15, 10, 5 or 2 years ago. Looking back, the music I play in clubs gets so heavily used that after a year or so it just goes to a folder in the same way that an LP on vinyl gets covered in dust. So to twist your question a bit, one of the most influential dance records for me of all times would have to be The Sky Was Pink (Holden Remix) by Nathan Fake. It’s still in my bag!

tanzBar is at Dalston Superstore this Saturday 14th March from 9pm – 3am.


Next Thursday in conjunction with the ArtHole exhibition launch, local electronic duo the Eyeshadows will join us in the laser basement for a special live performance at 8pm. As they’ll be celebrating the launch of their debut EP, we caught up with Y.O.T.I. and Mark from the Eyeshadows to find out behind their sound and ethos…

How did Eyeshadows come into being?

Everything started from a simple loop, playing around with a voice processor and the band name EYESHADOWS. That was all we had. I think we both had an instinct for the type of band we’d like to be but nothing was set in stone. It’s been interesting seeing the band almost take on a life of its own. It’s all been very organic.

What one record from the others collection sums up for you the point where your taste converges?

MARK: I’d gladly take Dirty Sanchez’s Really Rich Italian Satanists EP from YOTI’s CD rack. I’m not a huge fan of electronic music as I’m more of sweaty punk kid, but I loved the electroclash/elektro scene from the early 2000s which YOTI introduced me to. It had an energy and attitude and sense of humour, which I feel electronic music often lacks. It wasn’t “funky” it was rough and I do like a bit of rough.

YOTI: Even if I’m not a great fan of what Morrissey’s turned into, I have to say that his first solo album Viva Hate is one of those mile stone records in my life. That’s one of the records that I believe means a lot for Mark too and we both admire his ability as a lyricist. It must be obvious to everyone that he was always trying to empathize or connect with his audience on an emotional level and that’s something to admire.

What are your individual musical backgrounds?

MARK: I’ve been a variety of bands since my teens. Singing, playing guitar and trying to be Kate Bush.

YOTI: I did a fine art installation around eight years ago about a fictitious pop star, so I had a go at producing some tracks for that without any previous musical knowledge. I wasn’t really happy with the results but I used them for the project which went really well. Four years ago when I had a bit of a break from the visual arts I thought of trying again as I go a bit loopy when I am not creating. This time it worked for me and I got really into it. I created a solo project and EYESHADOWS grew out of that.

You’ve been performing live for two years now, how come it’s taken so long for you to get in the studio and make your first EP?

We’ve been perfecting our art, slowly, carefully with precision.

Tell us how you came to work with photographer Kostis Fokas for the EP artwork….

We discovered his work on a variety of sites and fell in love. We felt what he was doing which in some way tied in with the music that we’ve been trying to make and so approached him to see if he’d be interested in working with us and were delighted when he said yes. Kostis is an incredible guy and amazing artist and we’re thrilled to be working with him.

Eyeshadows EP cover by Kostis Fokas

If you had a time machine and could go back in time to any dancefloor anywhere/anywhen, where would you want to go dancing?

YOTI: Studio 54 in 1977, FAZ an Athenian Club in the early ’90s and Nag Nag Nag in 2002.

Mark: Donnington Monsters of Rock festival 1995 in a mosh pit, at the front being squashed by 10,000 metal fans.

What will your live set encompass?

Moving imagery, darkness, smoke, flashing lights, dirty looks, heavy petting.

Why is it important to have a multimedia aspect to the Eyeshadows?

We think pop music is a visual medium and that all great pop music is linked to a strong iconic visual identity. When you begin to combine music and imagery or film you can create something incredibly powerful and that’s what we try and do. Whether that’s with the videos we’re producing or our performances. Some of the imagery we’ve used for our videos could be considered controversial, but we’re not intending to shock. Whatever we do, we do to strengthen the message and the experience of our music.

Sum up the EP in one sentence?

A friend of ours described us as sounding like “The best post-club shower sex you’ve ever had” so we’ll go with that.

Join the EYESHADOWS for their EP Launch at Dalston Superstore on Thursday 5th February between 8-9pm.