俺が入った時って、既にイベントとしてやっていました。相棒のLawrenceはGreenwichにあるStudio 338 (旧：The House & Terrace Club)でイベントをやっていて、僕はKeep It Minimalというイベントを友達と軽くやっていました。Laurenceに誘われて、House & Terraceの方でやってみたら、ものすごく盛り上がって、レジデントになりませんか？と聞かれました。イベントの音楽の方向性も任せますって。 Maya Jane Coles - What They Say (Dyed Soundroom Remix)
最初のリリース- Luke Larrell & Victor ReidのSerious Peopleは、Audio Rehabというものだ。自分が当時やっていたセットにもぴったりだったし。そしてHugo Massien,、RS4、Nightshift、Playtime Productions、Carnaoなど、しばらくしたらユニークなトラックメーカーが集まっててかなり強くてユニークなレーベルになってることに気付きました。
Luke Larrell & Victor Reid Feat. Verse - Serious People
Joseff Jordan, Soul Divide, Hott Like Detroit, A.C.B, Boxer & Jay Newman, Jordan Joyce, Morpei, Credential, Carl St Peirre & Tollerance, Standard Issue, Luke Hassan, 6ft Short, Dan Walter, Area 8, Morpei と Frankie Dollar。
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UKHR Exclusive Mix and Interview - 005 - Mark Radford (Audio Rehab) [English]
日本語はこちら 。
Easy Ravers! One day to go till House Not House present Audio Rehab w/ Mark Radford, Nightshift and RS4 @ Circus Tokyo, and it’s looking to be massive!
You can catch all the party info over on the Facebook page, here
For the third-and-final instalment of our Audio Rehab mix and interview series, we’re very excited to present to you none other than Audio Rehab head honcho Mark Radford!
He’s done us an absolutely smashing mix, packed full of Rehab exclusives which you won’t hear anywhere else. Check it out here:
1) Hi Mark, thanks so much for taking the time out to talk to us and for the banging mix! As we’ve been asking everyone, first of all could you tell us a bit about your very early music memories? What sort of music did you grow up with in the house? What where your parents into?
Hi guys, you’re welcome! My earliest musical memories were listening to the top 30 every Sunday afternoon when my mum was cooking the roast!
I used to record the tracks I liked on an old single deck tape recorder, then edit the bits I liked using my brothers tape deck and make my first kind of mixtapes. My mum was into Abba and The Carpenters, not really your typical DJ inspiring music, but I always had a love for music from an early age.
Abba - Dancing Queen
I used to make a DJ booth in our living room with an old fisher price turntable and my tape deck, I would save my pocket money and buy the 7inches that I liked, proper old skool business!!
2) Moving on, how did you get into raving and dance music culture? Do you remember any of the tunes which first turned you on, or perhaps your first big rave?
Growing up outside of London, I was lucky enough to be exposed to the early days of acid house by a few of the older guys that I knew around the time of its explosion in the UK back in 89/90.
Energy Dance (Acid House Rave) ’89
They would go to the real early parties and tell us all about them and I was so intrigue that I would spend hours in my bedroom searching for pirate stations that were playing the music. I had to use about 10 meters of speaker wire and endless coat hangers to make an ariel that would pick them up!
Back then it was real underground, and finding out the names of the tracks being played was almost impossible. Luckily there was a record shop in my home town of Harlow that had a 'Dance' section, and I found a few of the tracks I had been after in there.
The first dance track I ever bought was 'The Theme' by Unique 3. I had been buying Hip Hop 12 inches & albums up till then, but money was scarce for me, so I sold my entire collection of Hip Hop to a good friend of mine and spent the lot on dance EPs.
Unique 3 - The Theme
The first proper rave I went to and managed to actually get into was an underground club in Leytonstone East London called Dungeons. It was a maze of tunnels underneath an old pub called The Greyhound on Lea Bridge road. This was where I had my first experience of raving and losing my mind to the music I was in love with… I have been hooked ever since!!
3) From there on can you tell us a bit about your path through all the different UK scenes and sounds? And at what point did you start DJing and producing?
Like I said, I was DJing from a very early age throughout my college years along with a good friend of mine. We would put on parties for all of our friends, and I got a show on the Weekend Rush pirate station and have pushed on since then.
News report on Weekend Rush
I was also lucky enough to know some older producers that would let me hang around in their studios and watch what was going on. So my interested in producing started a very early age also. I have just picked things up along the way.
Omni Trio - Renegade Snares (Foul Play Remix)
I would say I was following the path of the London scene as it evolved, from those early days of Acid House, through to Hardcore, Jungle, Drum n Bass, then onto Uk Garage and Soulful House.
4) More recently, how exactly did you get into house music? Do you remember any of the tracks that first made you sit up and take notice?
Around 2006/2007 I was playing a lot of soulful and funky house.
Shaun Escoffery - Days Like This ( Spinna & Ticklah Club Mix )
I was doing ok, getting a few regular bookings, but nothing to shout about. A group of friends at the time were going to a lot of house after-parties that played minimal and electro house and they dragged me along to one on a Sunday morning at the old End nightclub in Holborn.
I remember being in there and hating the music, it was not my kind of thing at all, then out of nowhere the DJ dropped this one track that made me jump up from where I was sitting and lose my mind!! I ran over to the DJ and asked him what the track was, and it was 'In White Rooms' by Booka Shade. That moment changed everything for me.
Booka Shade - In White Rooms
5) Many people consider Audio Rehab to be the founders of UK deep tech as its own sub-genre within house, with many of the first generation of deep tech producers cutting their teeth doing releases for you. Could you tell us a little bit about how and why you first started the label?
Audio Rehab was already running as a club night when I first got involved with the brand. My now-partner Laurence was running nights over at the House & Terrace club in Greenwich (now Studio 338) and I was running a night called 'Keep it Minimal' with a couple of my pals. Laurence asked us to come over and host the terrace for one of their nights and it was a huge success, so much so that Laurence asked me to become their resident DJ and take over the musical direction of the nights.
Maya Jane Coles - What They Say (Dyed Soundroom Remix)
At this time I had been on Rinse FM for a few months and I had loads of fresh new producers sending me their music, but the sound I had developed did not seem to have specific home, label-wise, I was just pulling tracks together from all over the world that had a certain vibe I was obsessed with, so I had the idea to start Audio Rehab the label. It was a no brainer really, the branding looked wicked, and I was in the position to showcase the music via my radio show and gigs.
6) The first year or two of Audio Rehab seemed to be focussed quite specifically on the London deep tech sound, whereas more recently the label has branched out with some releases that are more straight housey and some that are more on the bass house edge of things, for example.
What would you say are the defining features of the ‘Audio Rehab sound’? What are you looking for when sign a track?
When I first launched the label I was just releasing music I loved, I don’t think I ever really thought it would get to the point where we are today. It was a very niche market which was born out of the clubs I was playing at in London, then I started getting producers from different parts of the country hitting me up with their take on the sound.
Our first release was 'Serious People' by Luke Larrell and Victor Reid, which captured everything that was going on in my sets at the time perfectly. Then the likes of Hugo Massien and RS4 came to the table and brought their unique vibe to label. With huge underground tracks coming in from brand new producers like Nightshift, Playtime Productions and Carnao Beats. I think we all realised we had something quite special going on.
Luke Larrell & Victor Reid Feat. Verse - Serious People
What I look for in a track is something that is going to make the dance floor explode - high energy music with big basslines, no matter how dark or twisted the sounds are, it still has to have soul.
Lance Morgan Ft. Casey Spillman - Feeling I Want
As we have grown, the range of artists wanting to release with us had opened up massively. I never intended to stay a one sound / direction label, as I know full well how quickly things can change within the Dance music world. I am a fan of house music on the whole and as long as it had the elements I love within the track, I’m up for releasing it.
Saying that I will always try to keep our loyal fans happy by including mixes of track that are more your typical 'Audio Rehab' sound.
Carnao Beats - Tekno
7) Alongside Rehab, you also run the Plus Recordings label. Could you tell us a bit about it? How does it differ in aims and sounds from Audio Rehab?
I launched Plus Recordings just over 2 years ago as an outlet for some of the newer producers coming through. Audio Rehab just could not cope with the volume of music that I had coming in, so it seemed like the logical thing to do.
Luke Hassan - Bring The Beat
I feel lucky to be in the position that I am where I get so much amazing music sent to me, so I will do my best to get it out there and heard. It’s getting to the point where two labels is not enough, I might need to start a third!!
8) Alongside DJing, running two record labels, hosting a weekly Rinse FM show and a massive regular event at London’s Ministry Of Sound, you’re also a badman producer! Can you tell us a bit about your inspirations and your working method when you’re in the studio?
I get inspired by all different types of music, when I’m driving around in my car I listen to all sorts, from Radio 1, Heart and Kiss fm, to the underground stations, I feel it all helps bring different ideas to me when I’m in the studio.
When I’m in the studio I always try to come with something different to what I was working on before. Everyone knows me for the dark, heavy bassline sound, but sometimes I want to show that I have more in me.
Mark Radford & Thee Cool Cats - Something Happens
I am currently working with a lot of vocalists and some of the material might not be what people expect to hear from me, but that’s my aim, to change things up every now and again and hopefully to inspire others to push themselves and expand their musical horizons also.
9) Two or three years ago, it seems to me like the scene was smaller, but more tightly defined, with a small number of labels and club nights all pushing the deep tech sound.
Now it feels like the scene has expanded out in a million directions, with many artists running their own labels and the sound splintering into smaller niches.
Do you think it’s fair to still talk about one deep tech scene? How much do you feel a sense that Audio Rehab is part of a wider UK house scene? And how do you feel about the recent ‘turn to tech house’ among song artists and labels?
I would definitely say that things have expanded a lot from where we began. I think a lot of people took inspiration from what we where doing and saw that it was possible for them to do their own thing also. I have never been one to pigeon-hole things or label them, I just play what I love and have a great team around me all pushing in the same direction.
So I wouldn’t say that there’s “one Deep Tech scene”, as there’re a lot of great smaller labels springing up that are in-turn creating their own sound also.
I feel that the UK is more connected musically right now than it’s ever been. We have guys from all over the country getting involved in what we are doing now, and I for one think this is a fantastic thing. Everyone brings their own vibe from their part of the country and it can only push things forward.
The turn towards tech house is nothing new, tech’s been around for years. I do feel that some producers feel that they have to go down that route to get anywhere as it’s a much bigger market. I’m not one to jump from what I’m passionate about and believe in just because it’s an 'in' trend. Each to their own, but it’s not something that inspires me.
10) Audio Rehab has its base at London’s flagship Ministry Of Sound club, but over the last few years many institutions have shut down. Broadly speaking, what’s your view of the state of clubbing in the UK today?
I feel that UK clubbing is getting harder and harder to sustain. With the rise in festivals throughout the year and the closure of so many clubs, it’s a much smaller platform to work within than it was say 10 years ago.
With this in mind though I feel that the clubs that are still around are doing extremely well and theres some amazing events going on all over the UK. Manchester has a wicked scene going on with clubs like the Warehouse Project / Albert Hall/ Sankeys and of corse our second home, Gorilla. Birmingham has a huge scene with the Rainbow and the whole Digbeth vibe. Leeds, Sheffield and Liverpool, all have great venues that are packed out on a regular basis, so the demand for good parties is still there.
We are lucky to be in one of the best clubs in the world at Ministry Of Sound and we a have a great following. So I’m very happy with how things are going right now.
Audio Rehab @ Ministry Of Sound
11) Sitting on top of two labels, I’m sure this is a super difficult question to answer, but who are some artists you’re feeling at the moment and you think people should look out for?
Ahhhhh mannnn your going to get me in trouble asking me this question!!! All of my guys know how much I rate and respect them, so I’m going to mention some of the newer talent I see big things for.
Two guys you need to watch out for are most definitely Marcellus Wallace, these guys are capturing everything I love in music and their production is top notch!
Marcellus Wallace - Keeping Your Love
Away from my camp you have the Solardo boys, Mark aka Lokate has hit a sound that everyone seems to be loving at the moment and this year is looking very exciting for this duo.
Solardo - Acid Rocks
Theres a young French dude that I’m really feeling at the moment called Batenko. He has a sound that reminds me of where we started, and again his production is super tight.
Got to mention Joseff Jordan, Soul Divide, Hott Like Detroit, A.C.B, Boxer & Jay Newman, Jordan Joyce, Morpei, Credential, Carl St Peirre & Tollerance, Standard Issue, Luke Hassan, 6ft Short, Dan Walter, Area 8, Morpei & Frankie Dollar who all have great music coming up on both Audio Rehab & Plus Recordings (plug plug plug lol)
Frankie $ - More Fire
12) Finally, what are you looking forward to in Japan?
I have had a great response from Japan since we announced that we are coming over so I’m really looking forward to seeing for myself how they react to our sound... I love a bit of sushi also, so I’m really looking forward to stuffing my face with lots of that!
Once again a massive thank you! Can’t wait to see you out here!
レイバーの皆さん！お疲れさまです！いよいよ後一週間ちょっとで House Not House present Audio Rehab w/ Mark Radford, Nightshift and RS4 @ Circus Tokyoが開催されます！。それで、 Audio Rehabのミックス・インタビューのシリーズの続きを掲載します。.
Nightmares On Wax - Aftermath Nightmares On Wax - Dextrous
Tuff Little Unit - Join The Future
Forgemasters - Pump Me
3) UK国産レーブの始まりといえるBleep And Bassシーンの発祥地であるシェフィールドで生まれ育ったのですが、当時のシーンの思い出について教えてください。
まだまだ若かったので、いろいろ見逃してしまったと思いますが、シェフィールドの活気ある雰囲気は最高だった。ハウスパーティもいっぱいあった。中心には、Warpというレコードショップがあったんですよ。そこのレコードを買うために貯金するのが最高な趣味だったんですよ。Bleep And Bassは他にもシーンがあったと思いますが、Warpの発祥地だけあって確かにそこが中心という感じだったんですね。
4) Bleep And Bassが終わってから、どういうシーンにかかわっていましたか？ある年代のレーバーにとっては、Breakbeat Garage / 初期DubstepのパイオニアーDarqwanとして有名ですが、このころについて教えてください。
Bleep And Bassの次にHardcoreとレーブ音楽だった。Jungle、Techno、Drum & Bassなどが次々と入れ替わるときもそこにいました。小さな町だったのでDJは皆同じレコードをもっていたから、自分で作った方がいいと思いついた。当初はエンジニアといっしょに作曲していたんですけど、完成した曲はいつも想像したものとは違って、作るのをやめてロンドンに行ってシェフィールドで買えないレコードを探してきたほうが早いと、一旦やめました。
Easy D & MC Rush on Sheffield pirate radio station Fantasy FM in 1992
その次に作ったのがBiggin’ Up The Massiveで、個人的にはこれもくそだと思うけど、RankingというロンドンのMCのサンプルが良かったせいか、反応はとてもよかったです。DJ EZがシェフィールドに来たときそのレコードを渡した。すると、EZがかならずその曲をかけるようになって、ヒットとなった。
DJ Lombardoという親友がいて、90年代から彼も俺と同じ道を歩んできたんです。数年間前に、彼に「もうインスピレーションがない」って言ったらDeep Techという音楽を聴いてみなって言われた。Mark RadfordというDJがいるって。そのショーをインスピレーションにしてAll Aroundという曲を作りました。そしてMarkがその曲を気に入ってくれてサインしてくれたんです。
RS4 - All Around
Deep Techを聞いて初めて「すごい」と思ったのはShea BurkeのLonely Travelsだったかな。今でも大好きな曲。
Shea Burke - Lonely Travels
6) 俺たちはRS4の大ファンです。2013年、年末ごろにRinse FMでMarkがLocked On Youのリミックスをかけたんですけど、それを聞いたら完全にDeep Techにはまりました。In The Darkもそうですけど、RS4の曲のダーク、フューチャー、強いて言えばMelancholicな雰囲気を聞くとJungleなどのUKレーブ音楽を連想させられます。
Easy ravers! With just over a week to go until House Not House present Audio Rehab w/ Mark Radford, Nightshift and RS4 @ Circus Tokyo, we bring you the second in our three part Audio Rehab mix and interview series.
You can catch all the party info over on the Facebook page, here.
This time we’re very excited to present a very illuminating interview and wicked mix packed with original tracks and cutting-edge Deep Tech bits from none other than RS4!
You can check out the mix right here:
1) Beginning at the beginning, what sort of music did you grow up with in the house as a kid? Do you remember what music your parents used to play?
I was bought up on Motown, Church music and Reggae mainly.
James Brown - I Got The Feeling
2) Can you tell us a bit about how you got into raving and dance music? What were some of the big tracks for you?
I fell into dance music by accident really, I think I was about 15 when a friend of mine told me about a club in town called ‘The Limit’ that was pretty easy to get passed the bouncers underage. As you can guess I was up for the challenge and luckily I got in.
At the time I had no idea what music this was that the DJ was playing, I was just buzzing that I got past security. As I stood in the middle of the dance floor listening to this strange bassy music, a track came on with a kind of robot voice that shouted “LFO” then the bass dropped! From that moment I was hooked. Big tracks for me back then and still now are;
LFO - LFO
Nightmares On Wax - Aftermath Nightmares On Wax - Dextrous
Tuff Little Unit - Join The Future
Forgemasters - Pump Me
3) You grew up in Sheffield, at the heart of the bleep and bass scene that many people call the first home-grown, original UK dance genre. Could you tell us a bit about your memories of the scene?
I was still pretty young back then so I missed out on a lot the best parties however, Sheffield had a buzz about it, House parties popping up everywhere. At the centre of it all was the local record shop famously called ‘Warp’. Saving up money to buy records from there was the best hobby ever! I wouldn't say Sheffield was the only place known for bleeps & bass but as Warp records was there it did feel like the centre of that scene.
4) After bleep and bass, what were some of the scenes and genres you got involved with? For a certain era of raver and producer, you’ll always be remembered firstly as the pioneering breakbeat garage/ early dubstep producer Darqwan, could you tell us a bit about this period?
After bleeps & bass, I followed the hardcore & rave music scene. From there I watched the birth of jungle techno then drum & bass. Being from a small city meant every DJ had the same records so making my own tracks became an idea. At the time I worked with an engineer, however, the tunes I had in my head never sounded like the finished tracks. I parked the idea of making tunes for a while and decided that it was easier to jump on a train and just buy records from the stores in London.
Easy D & MC Rush on Sheffield pirate radio station Fantasy FM in 1992
This is when I discovered the early 4x4 sound of UK Garage. As this sound was brand new and exciting I followed it until 2 Step was born, then I decided to try to make music again but this time without an engineer. The first track I made was called Jumpin’, which sounded terrible.
The second was Biggin Up The Massivem which was equally as bad, however, it had a vocal sample of a London MC called Ranking on it which covered up the fact that the track was rubbish. EZ played in Sheffield one night and I gave it to him, he played it everywhere, which made the track massive, and the rest is history!
Oris Jay - Biggin Up The Massive
RS4 - The Massive (2014 Refix)
Once I’d actually learned how to make tunes I wanted to experiment with darker sounds and more breakbeat style drums and that’s when I made up the alias Darqwan (dark one). That darker, stripped down bass heavy sound was one of the things that influenced the sound of Dubstep.
Darqwan - Said The Spider
5) More recently, how did you get involved in the deep tech scene and with Audio Rehab? Do you remember any of the tracks that first attracted you to the sound?
I have a good friend called DJ Lombardo who had been on a similar musical journey to me from the early 90s. A few years ago I told him that I had a bit of writers block. He said I should take a listen to a sound called Deep Tech. He said to check out a DJ called Mark Radford as he has got the freshest tunes. So I listened to his show, then wrote the track ‘All Around’ which later got released on Audio Rehab.
RS4 - All Around
I think the first track that caught my ear was ‘Lonely Travels’ by Shea Burke. I still love that tune now.
Shea Burke - Lonely Travels
**6) We here at House Not House are huge RS4 fans! Hearing your remix of Locked On You on Mark Radford’s Rinse set at the end of 2013 was really the track that hooked me on Deep Tech. With tracks like that and In The Dark, there’s a darkness, a kind of space-aged melancholy that really connects with some of the energies of early jungle and other UK sounds.
What’s going on in your mind and what are some of the influences you’re bringing into those sorts of tracks?**
Soulstar - Locked On you (RS4 Remix)
That’s a cross between the early sound a D&B, the sound of dark garage and probably the mood I am in at the time. I found in the early years of making tunes that channeling the mood you are in can make the difference between skippy, bouncy basslines or darker more subbys basslines. Buying a new synth from time to time can also influence the sound of my tracks.
7) Apart from producing and DJing, you’re also a label owner! Can you tell us a bit about your label Paper Plates and what sort of sound you’re aiming for?
I set up Paper Plates as I was making too many tunes and needed an outlet for them. The theme of the label is Bass heavy, dance floor ready and the sound of now.
RS4 & Lombardo - Signs
Lokate - Strobe Light
8) Recently within the UK house scene, a lot of artists are moving away from the purely dark sounds, and towards something a bit closer to the international tech house sound. What’s your view on this, and the scene more generally at the moment?
Some people get in to music to make money and if that is their motivation then they will follow whatever seems to pay the bills. All versions of House music go in and out of fashion so I guess it’s tech house’s time to shine.
I think the Deep Tech sound is still growing but I think it needs more figureheads pushing the sound. When I came into the scene you had two camps that were really pushing the sound, Audio Rehab and House Entertainment. Although there are many people pushing the sound it is still these two names you hear when people talk about Deep Tech.
9) More broadly speaking as someone who’s seen a lot of sounds come and go, how healthy do you think the UK club scene is at the moment? Both in terms of the music and in terms of the club scene.
Clubland also goes through phases and follows the trends of what music is popular. People will always want to go out dance and have fun with their friends. When one club is empty another one somewhere else is full.
10) Who are some artists you’re feeling at the moment?
Hugo Massien
Hugo Massien - Better Let Her
Curtis Gabriel Nightshift Harry Ley
Mark Radford and the Audio Rehab crew
Mark Radford - Oceans
Solardo
X5 Dubs
X5 Dubs - I Was Born In The 80s
11) And finally, what’re you looking forward to doing out here in Japan?
The club vibe, playing some never before heard tracks, the food and the sights and sounds of Tokyo.
週末、24時すぎぐらいからMTVもかなりトリッピ―な音楽を流していたし。必ず見ていました。そこから音楽への興味がどんどん深まっていったと思います。 音楽に本格的にはまったのはGarageでした。DJ Discipleの「Keep It On Moving」を聞いたのが、レコードのコレクションを集め始めた切っ掛けでした。
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality
Anya is LIVE right now
FREE
Free to watch • No registration required • HD streaming
Ravers! We hope the new year is treating you all well! This year HNH/UKHR are firing on all cylinders with parties nearly every month and a metric bucketload of POWER music coming your way!
But perhaps the jewel in our calendar this year is a big old rave we’re having this March with a label who - more than any other - can be said to have kick-started this whole UK deep tech wave and turned it into what it is today - Audio Rehab.
You can catch all the party info over on the Facebook page, here
Leading up to the party our 3 guest headliners - Mark Radford, Nightshift and RS4 - will be doing us interviews and guest mixes so we can dig deeper into how they came to define the sound of the UK underground.
This month, it is our great pleasure to start with the man known for pioneering the hard edge of the UK deep tech sound, Nightshift!
You can check out the wicked mix he's done for us here:
1) Hi there man, first up a massive thank you and big up for taking the time out to talk to us and do us that wicked mix! Beginning at the beginning, what sort of music did you grow up with in the house as a kid? Do you remember what music your parents used to play?
My mum was always a big “Whitney Houston” fan and she loved the real 80s pop music, nothing special lol.
Whitney Houston – I Wanna Dance
My dad on the other hand, was very open minded musically. he liked all genres to the extent that we would be listening to The Stones, one minute and then be showing me these new guys 'The Prodigy', as they were known at the time.
I do remember that he was a big fan of The Jam and The Who, typical mods and rockers stuff from his younger days. I was always fed good music.
The Who – My Generation
2) Skipping on a bit, can you tell us a bit about how you got into dance music and rave culture? Do you remember any of the tunes which first turned you on, or perhaps your first big rave?
I remember in the early 90s a lot of old acid / hardcore tracks were starting to chart. For example even Seal – Killer (Solitary Brother) was classed as acid house, and that was huge at the time. Seal killed youtube – Et4BvxPYwmE
Seal - Killer (Solitary Brother)
MTV used to play real trippy sets after midnight on weekends and I would religiously tune in. In a nutshell, my love for dance music grew from there.
I would say my real love was early UK garage. I heard a track by DJ Disciple called 'Keep On Moving' and that’s when my vinyl obsession started. Early UK / US garage was my thing.
DJ Disciple - Keep On Moving
3) Could you tell us a little bit about your path through the UK sounds before getting into this sort of house music? Both your own career as a DJ/artist and in terms of the genres you followed?
As I previously mentioned, I was always a massive US / UK house and garage fan. However, I moved with the times and at one point was firmly involved in the grime wave in the early 2000s, until I felt it was time to grow up a bit! I put myself in some real hostile surroundings so I felt it was time to move on, but saying that I did love every minute of it.
I also had a real interest in the UK funky and dubstep sounds and dabbled at producing both, but as we all know, them genres lost their momentum a fair bit around London as the house scene started to grow in popularity.
It was just a natural progression for me to move onto house music, and one that I felt most at home with.
4) More recently, can you tell us how you first got into this end of House music? What were some of the big tracks that made you sit up and take notice.
You see, I was always into house music from my early days, but I could see that there was a movement happening around London and also up north with what I could only describe as “Our House”- That real deep tech.
It was just a bit darker and grittier, but still house. At the same time, I couldn’t quite pinpoint exactly what it was that made it different and I still can't! But it was certainly different in a good way, and it made us stand out from the rest.
Even if there were pockets of the industry turning their noses up at it, we just didn’t give a shit! We were all growing a huge following and it was very refreshing for a lot of people. If I had to say which artists inspired me to jump on the house route, I'd have to say producers like:
Playtime Productions
Luke Larrell
Carnao
As well as DJs like Mark Radford.
I could give a real sheepish answer and start spurting out some of the old house legends and the European tech house guys at the time, but I think most people would admit that the guys I've mentioned were real powerhouses and without question paid a huge part in London being flooded with house music.
Regardless of what you’re playing or producing now, they were the guys smashing it at the time in a scene that was new to most of us. It also goes without saying that they were not alone in that, there were a lot of circuit DJs at the time doing their thing and throwing house music down people throats and they know who they are. I would have a list as long as my arm if I had to reel all the names off!
5) I’ve always thought that Memories was a bit of a game changer, one of the first deep tech tracks to really revel in its UK influences - could you tell us a bit about the track and how it got released on Audio Rehab?
If I'm being absolutely honest, I knew it was a solid track and would do well but it was never one of my favourites.
I didn’t see it ever having a quarter of a million plays on Soundcloud like it does at the moment, it's crazy to see how many people still come to my Soundcloud to check out that track. Honestly I never actual saw it as a game changer like a lot of people do but I'd be more than happy to agree with that tag lol.
The track got signed like this: Radford – Big Tune. Me–You want it? Radford – Yes. THE END! Lol
6) For a long time, your label Definition Audio was a real hub for a lot of the darker, harder UK deep tech sounds, can you tell us a little bit about how you started it and what it was all about?
I started Definition Audio purely as a label to release my own music on, and eventually got other artists involved. The sound was without question real hard UK deep tech, but like most producers and DJs, it’s natural for me to want to progress, move on and experiment with other sub genres, which is what I'm doing now.
Nightshift – Telling Me
With that my love for the label just fizzled out, and Definition is currently owned by a good friend of mine and his team who have picked up from where I left off.
7) Now you’re involved with a new label and project, Myami. What’s the idea behind the new brand and does it differ in focus to Definition?
Myami is a new label that I have launched which is predominantly a more upbeat techier sound focused at being more DJ friendly and having just that bit more longevity.
Definition Audio catered to a fairly small audience in comparison to Myami that being the main difference between the labels. Also with Myami I am actually releasing music that I would play myself which is also very important and keeps me motivated in building the brand.
For the short time Myami has been around it is already making an impact and we have very busy release schedule from some great producers.
8) Can you tell us a little bit about your inspirations as a producer and your creative process in the studio?
I genuinely don’t have any single standout inspiration. I draw inspiration from producers around me and literally whatever I'm playing in my sets. If I like a certain sound or producer, I'm very quick to study the elements and learn from them.
I feel I can only be as creative as what I'm listening to, which is why my music library is pretty stacked.
I'm pretty well rounded when it comes to being diverse, and that's because I understand what I am trying to create and know from the off how I want it to sound. Simple as that.
9) Over the last year, the big trend in the UK scene was towards a more international tech house sound. What’re your views on the scene as it stands and where it’s going?
The scene here in London has definitely swayed over to the tech house side of things, which again was just a natural progression. As producers have got better so has the music and there’s no denying that the quality of music from the home-grown producers has vastly improved over the last year or so.
Tech house has always been at the forefront of house music, it just took a bit of time to really take off over here. Saying all that though, it is a “trend”, as you put it. Techno will be the next phase I think.
I feel the house scene will go full circle here in London. One thing about the London scene is it never stands still in any genre of music. We tend to grab it, rinse it, move on to something new or even go back to something old - but it never stands still. As for where this scene goes, your guess is as good as mine.
I stopped worrying about it a long time ago, and started just enjoying making the music. One thing I’m always very careful with is moving too far away from certain sub-genres, because as soon as that sounds been and gone, I like to be that guy that can dip in and out. I never put all my eggs in one basket.
10) Who are some of the other producers you’re most excited about at the moment?
I'm really feeling Solardo at the moment, they're a breath of fresh air.
I do feel I can only put up with so much rolling tech house before I need a break, as it can become a tad bit repetitive after a while.
I sometimes feel I have to hear that creativity and Solardo's style of house music was a welcome break. They are without a doubt the guys I am feeling the most at the moment!
I recommend checking them out.
11) Finally, what are you most excited about doing and seeing when you're out here in Japan?
I've heard such amazing things and can not wait to get there to showcase our music. I know I'm in for a real treat.
Kicking off 2016 in fine style - we've got some great news for you! House Not House co-founder and resident DJ Datwun was invited by the man himself, Mark Radford to do a 30 minute HNH exclusive guestmix and interview on his Saturday night Rinse FM show!
Talking about our movements and the house scene in Japan and playing nothing but forthcoming House Not House exclusive tracks - it's a lot! 👊
Check it out below and give us a signal! 🙌
あけましておめでとう！
いやー、なんと素晴らしい知らせで始まって、今年もきっといい年になるに違いない！
１月２日、UK deep techシーンを率いているMark RadfordがHNHのレジデントのDatwunを土曜夜のレギュラーのRinse FMセットにゲストとして誘ってくれました！
1. Technoman - I Called You
2. Mr P - Attitude
3. Karlton Phillips - Girls You Like
4. Frankie Dollar - Tech The Discotheque
5. Mayeye - Narcos
6. Antonio Noure - The Hunter
7. Purple Future - Trendsettah
8. JustJosh - K Hole
9. 2Faced - Snake Charmer
10. Studio 37 (Dean Allen) - Thunderbirds
11. Josh Gregg - The Darkness
日本語は下記]
We're super excited to have man like Sex up from Osaka to play at HNH present Strange Static on Dec 12th! This is a clip of him playing his anthemic 'I Called You' track, which I'm very very excited to say will be coming out on House Not House Records next year 😁👊 Bad man producer and always GOES IN when he DJs! Can't wait to see what he brings 👊
We also have the CLOCK HAZARD boys gracing the party with their unique, unchained, future JP house vibez! Very happy to announce that 92 of this years's Rinse FM supported 92 EP will also be joining us all from Kansai ways!
Perch: 学校のころHardcoreを聞き始めたんです。これは俺にとっては大きな転換期でした。そこからJungle, Drum’n’Bassにはまり、初めてのクラブ体験をしました。17でした。そのときのアンセムで言うと、’Long Dark Tunnel’, SLK, Ed Rush & Optical。Ram Recordingsのファンでした。
31 Seconds
Vybe: そうだな…ダンス音楽にはまったのはHardcoreの時だったんですよ。まあ、ざっくりだけどAltern-8からProdigyのことを言ってるんですね。Jungleになるちょっと前ぐらいに音楽に集中し始めてたんですね。その当時好きなアーティストで言うと、Acenというアーティストがいました。。Trip to the MoonとかClose Your Eyesは今聞いても本当に素晴らしい音楽。
Perch: John Tejada – Unstable Conditionという曲を聴いたのがきっかけでした。やばいと思ったんですよ、もっと聞きたいと思って。それでこういうような曲ほかにもあるか必死に探し始めて、音楽の旅が始まったって感じです。
John Tejada - Unstable Condition
Vybe: 最初は、House正直あまり好きじゃなかったんです。なので、あまりDJとして加わりたいと思いもしなかったんです。まあ、とはいってもいくつかの曲はあったかな。Houseで初めてやばいな！と思ったのはNo Artifical Colours / Max Chapman – Jack and the Beans。この曲のような曲はほかにも絶対あると信じて、色々ディッグってたんですよ。そして相当やばい曲いくつか見つけて… それでモチベーションがあがったんですよ。
No Artificial Colours/Max Chapman - Jack and the Beans
HNH: Ravers! It’s been a while but we’re back with round 2 of our UKHR mix and interview series and we’ve got some very special guests lined up for you! Today’s guests are two veterans of the UK rave scene who’ve been carving a big name for themselves these last few years with their own totally unique and totally raucous take on the deep tech sound. It’s Strange Static head honchos Perch MC & Arun Vybe, and let’s just say you’ll be hearing plenty about them in the coming months: both in the UK and over here in Japan!
They’ve kindly done us an absolutely tear-out mix on a pirate radio vibe, and before we get started on the interview, we’re gonna leave that here for your listening pleasure:
Without further adieu, here’s Perch and Vybe in their own words:
1) Evening gentlemen, first up a massive big up and thank you for your time! I know you’ve both been involved in music for a long long time, so I wanted to start right at the beginning and ask, what did you listen to growing up at home? What were your parents into?
Perch: When I was growing up as a child I first starting listening to Motown, Ragga, Soul, Country and Western. My parents used to listen to all types of music which I feel helped me with my understanding of music I have today. I have listened to the likes of The Beatles to the likes of Lionel Richie and Shirley Bassey.
Shirley Bassey:
Vybe: I come from a musical background with my father being a DJ as his main occupation so I have always been around various genres of music from an early age. My parents were into artists like David Bowie, Luther Vandross, Beatles. It was a mish mash of music anything from Latin Cha Cha to Sugar Hill Gang.
Luther Vandross,
2) A big later in life, how did you get into raving and dance music? What was the big sound at the time? What were some of the tracks you remember?:
Perch: When I was in school I started listening to hard core which I feel this was a turning point for me in music. From this I moved on to Jungle/Drum n Bass which lead me to my first rave when I was 17 years old. Some of the tracks I remember from back then are “Long Dark Tunnel”, “SLK”, “Ed Rush &; Optical” and I was a “Ram Recordings” fan.
31 Seconds
Vybe: I got into dance music when it started with Hardcore. That's a broad term but back then that encompassed anything from Altern 8 to Prodigy. It was just before the start of Jungle I started to really start listening to what was going on. One of my favourite artists was Acen who really set the tone for me. Tracks like Trip to the Moon and Close your Eyes sound outstanding to this day.
Acen - Close Your Eyes
I followed the UK Dance scene heavily, I loved Jungle/Drum n Bass but not enough to get decks. That time came when I first heard Garage, that was in 97, that changed the whole way I perceived music. I instantly purchased my first Techniques and had some fantastic memories from that era. The rave scene was special with Garage, many well organised events at some of the best clubs in London and some in not such pretty surroundings but they were few.
3) You guys have been a DJ/MC duo since the garage days, can you tell me a bit about how you met each other and got involved in doing music yourselves?
Perch: Back when I was about 18 years old I went with a mate to listen to a set and ended up being Aaron Vybe’s house. I then went on to recording my first set spitting over a garage set that Aaron Vybe was playing. Since then we have worked back to back and grown in strength by strength. Our unique sounds work well together.
Vybe: Perch used to come to mine in the Garage days to record sets with many other MC's at the time. I met Perch through another friend of mine who was a DJ. We was just having fun with the music and was not taking it to seriously back then. I did radio shows and some events but was mostly on the Garage rave circuit enjoying myself.
I later joined Musical Mobb in the early Grime days around 2003. We toured Ayia Napa and performed at various events including having a regular slot on Freeze FM. It was a good time especially in the Grime prime years.
Pulse X
4) More recently, how did you two come to the UK deep tech sound? What were some of the big tracks that made you sit up and take notice?
Perch: I heard John Tejada - Unstable Condition and from there wanted to hear more of this kind of stuff. Started searching around to hear if any similar sounds existed like this track and my musical journey of House went from there.
John Tejada - Unstable Condition
Vybe: I was not heavily into House earlier on enough to want to be involved as a DJ as nothing did not resonate on me on that level. I did love certain House tracks from the early years and Electro did peak my interest a little further down the years. Later on the tune that really got my attention was No Artificial Colours/Max Chapman - Jack and the Beans. I really started digging for music again as knew more similar stuff existed out there and found some gems which got me going.
No Artificial Colours/Max Chapman - Jack and the Beans
5) Strange Static works operates as a very tight-knit organisation, with just you two and your 3 house-producers KG3, Joseph Curti5 and Just JDan and no external signings. Can you tell me a bit about how you all know each other, and how you came to set up the label in this way?
Perch: Me and KG3 new each other from when we were young. At this time I also knew Aaron Vybe. Then we all became close friends. Aaron Vybe knew Joseph Curtis and Just JDan but I also knew Just JDan through the music. Me and Aaron Vybe then decided to start the label Strange Static. We chose to keep a tight knit team as we produce such a unique sound.
KG3 - Believe
Vybe: I wanted to set up a close knit of high calibre producers putting out a sound that would identify what we represent. Each of the producers have there own style and technique that differ but still encompass a deep quirky sound that fuses many of the UK Dance genres but keeps it House at the same time. Myself and Perch oversee the label trying to craft the sound with the producers. I have known of KG3 way back in the Garage days but we have properly know each other for the 3 few years, it was through Perch who is KG3's close friend that we linked up. Just Jdan is the brother of a good friend of mine who passed away recently (RIP) and Joseph Curti5 is family.
Joseph Curti5 - Deeper Side
6) On that note, how would you describe the Strange Static sound?
Perch: Our sound is unique. There’s not one specific genre that can describe the sounds our producers make.
Vybe: I will keep this short and sweet. Strange, quirky, weird and dark at times.
Just JDan - Stranded
7) Over the last year, it seems the deep tech scene has been evolving and changing, with many labels and artists focussing more on the techy, housey side and fewer people making or pushing the darker sound. What’s your view on the current scene and the direction it’s going in?
Perch: The current scene has lost track off the original sound of House Music with UK producers switching up there sounds dramatically. I feel that the direction that it is going is moving more away from the UK sound and more following fashion ie The Ibiza Sound.
Vybe: I know the term Deep Tech gets attached to us but I don't think that term truly defines the sound we put out or what others who create similar sounds are making. I don't mind if people do want to use that term but we just like to put out music and will let people decide how we fit into it all. The scene is evolving which is a good thing overall. It keeps the sound moving and the boundaries of the sound goes further, more flavours are added making the sounds even richer. The techy Housey side can fuse with the darker sound, thats the way I see it. I know others will have a different point of view but so what, at least DJ sets don't all sound the same.
8) Who are some artists you’re feeling at the moment?
Perch: Some of the artists I am feeling at the moment are “Formula Music”, “Braindead” and “Noure Music” just to name a few.
Noure Music - Woah
Vybe: The producers I feel at this present moment are 2Face, Ghostee, Formula, Mr P, Realness, James Jekal, X5 Dubs, Digital Danger and many more but the list would be very long.
Digital Danger - Intimidation
9) And finally, where next for you guys and the label?
Perch: Putting out quality music and pushing the UK sound that we play at home and beyond.
Vybe: We are going to keep on doing what we do best, but the output going forward will double if not more. We have plans in the works to accomplish that - but our motto has always been quality over quantity which is why we are very selective with what we put out on Strange Static.
It's very exciting going forward as it's been a fantastic year for us, having been mentioned in the mainstream press several times and attending some amazing events. We hope to be doing more of the same going forward.
A huge thanks to Dom Datwun and Frankly Sick for conducting this interview and a big hello to all the Japanese House music lovers. Thanks for taking the time to read this interview.
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[日本語は下記]
For our 6th release on House Not House, Karlton Phillips is back with a slick and sleazy 2-track single, Pimp. The A-side shows the culmination and perfection of his trill-tech sound. It starts with a mysterious husky vocal sample which advises any would-be hustlers out there: “a pimp is happy when his whores giggle: he knows they are still asleep…” It then drops into a chunky old-skool groove, with a swirling synth line and rolling trap hats. It’s all about the 2nd drop though, a massive hip hop switch-up that is 100% guaranteed to duppy the dancefloor or your money back! On the flip it’s Karlton’s Tech Da Piss VIP mix, which brings the sample back in the service of a tweaked-out tech house banger. Here, percussive ticks, tocks and twitches lock into a wavy, infectious bassline, creating a surefire shufflers’ shutdown. Ladies and gentlemen, Karlton ‘Pimp’ Phillips has done it again.
HNH001の成功例を模範に、Karlton PhillipsのPimpシングルでHouse Not Houseの第六弾をリリース。チャラさをアップしたこのアンセムはすでにイギリスの多くのラジオでリワインドされている。
Pimpオリジナルではハウスとトラップを混ぜ合わせた「Trill Tech」という彼ならではのスタイルを見事に極めた。PimpがPimpの仕事のコツを述べるという不思議なイントロから完璧に再現したOld-Skool な太いハウスビートへ突然切り替わる。これにトラップのハットを乗せるという、いかにもフューチャーな釣り合わせはダンサーを涅槃に導く。ヤバい！と思いきや、第二のドロップでは、もろトラップビートに切り換える汚いワザを用いてヤバさ増大。「Tech Da Piss VIP」では、伝染病のように広がるPercussionと頑丈なベースラインでShufflerたちを捕らえる。
期待を超えるこのEPでKarlton Phillipsがバッチリ盛り返してくれた。
HNH 005 - Digital Danger's Renegade Acid EP out next Friday, August 14th! 🙌🏠🎶
いよいよ、HNHの第五弾目が、来週金曜日の８月１４日にあらゆるのネットストアにて発売します！🔥
[日本語は下記]
With HNH 005 we take it back to the core Deep Tech sound with 4 screwface stompers from Wolverhampton native Digital Danger. Danger’s first musical love was DnB à la Andy C and Randall, and you can hear that in his intricate polyrhythms and dubby basslines. But, what really stands out from his productions is a dramatic, cinematic quality that comes from his love of movie composers such as Steve Jablonsky and Hans Zimmer.
On title track Renegade Acid, Gregorian monk chants vie with robot voices against a caustic bassline to play out a sci-fi drama of galactic proportions.
The clue’s in the name with Intimidation, a menacing, darkside number that features a boxer hyping himself up before a fight. It builds with eery space-bleeps and swelling bass-pulses and drops into a high-NRG serrated wobble, guaranteed to intimidate all but the hardcore and headstrong.
Chinese Whispers is the moodiest, with its deep, dubbed-out bassline, hair-raising atmospheric sweeps and a minor-key Kung Fu movie melody straight out of classic Sino-Grime.
Finally, on Ingredients of House, Danger teaches us how to build a House track - “This is true house music” he says, though with it’s unchained metallic bass wobs and punishing military snares, we’re not so sure they’d let this one into your average deep house party!
Four twisted riddims from a producer just hitting his stride: cop the tracks and watch this space!
For our 3rd release, House Not House are very excited to present a producer who’s been making #movements since he debuted on the London house scene little over a year ago - Ghostee. Baring the tell tell signs of a youth spent soaking up the sounds of the ...
Ghostee’s Hard For Me EP, out now on Beatport and all good online download stores!
GhosteeのHard For Me EPはBeatport、iTunes、Junoなどのネットストアで発売中！ぜひご購入ください！
[日本語訳は下記]For our 3rd release, House Not House are very excited to present a producer who’s been making #movements since he debuted on the London house scene little over a year ago - Ghostee. Baring the tell tell signs of a youth spent soaking up the sounds of the London underground, Ghostee’s house is dark and cold. On Hard For Me, minor-key intergalactic atmospherics combine with a rolling half-step beat to create a spooky anthem that hits the sweet-spot between dubstep, darkcore jungle and tech house. I Can’t Stop is a wobbler, bringing the energy with a capital N-R-G. With its squelching swamp-monster bass and tight bleeps and beats snapping across the soundspace, this one’s for the shufflers. Finally on To The Top, Ghostee comes hardcore with a darkside stomper taking in influences ranging from 92’ rave to 96’ tech-step DnB and 2003 grime. How he ties them together is pure 2015 tech. This is serious music from a young producer who’s already got that sound. This is a London something, and a London something this.
ロンドンのシーンにおいて大活躍しているトラックメーカーGhostee。彼のEPを今年House Not House第三弾目のリリースとして、三曲ぶっ放す。ロンドンのクラブシーンの中で青春時代を過ごした彼ならではのサウンド、その陰気な冷たさ、いかにもロンドンらしい。ダブステップ・ジャングル・テックハウスの分岐点でさ迷う「Hard For Me」。ハーフステップビートに気味悪いメロディーやあきらめを感じさせるピッチダウンしたヴォーカルをのせ、重苦しい雰囲気を極める。脈拍のようなベースラインとズカズカ進むキックが抱き合う「I Can’t Stop」ではダンスフロアをノンストップで沸かすだろう。最後に、「To The Top」では荒々しく突進するビートに浮かぶようなDivaヴォーカルをあわせ、’92 Jungle, ’96 Tech-stepと2003グライムを巧みに混ぜあわせる。雰囲気や音性において、イギリスクラブ歴史を網羅しているが、作り方は間違いなく２０１５年のディープテック。若いながらもサウンドやビジョンはしっかり発達しているGhosteeのEPを全身で聴いて欲しい。
[日本語は下記]
For HNH 004 we’re coming differently, with an absolutely corking EP from none other than Glasgow's Nativ. Nativ’s best known for his floor-ready UK funky rollers, getting into the sound through Marcus Nasty’s Rinse FM sets in the late 00s and continuing to churn out the bangers and push funky FWDs long after most had moved on to the next thing. On his EP for us, he’s kept the skipping snare polyrhythms but come deeper and darker. Title track Lost? sets the spacey scene with its twinkling melody floating over the swirling atmospherics and heart-beat throbbing bassline, while its tight, military snares propel the thing forwards. That Night is the darkest of the bunch with its cinematic strings and tribal drums conjuring up a post-apocalyptic landscape and its compact, slow-burning energy as likely to appeal to dubstep skankers as deep tech shufflers. Finally, on Innocence, with its submarine radar bleeps and globular, pulsing bass, Nativ takes us 10,000 feet below sea. Taking in influences from dubstep to techno, UK funky to jungle, this is House Not House in a nutshell, and we know it’s gonna be moving dancefloors internationally this summer!
レコードはずっと買っていましたけど、初めてターンテーブルを買ったのは2000年代後半、ちょうどグライムがはやりだしたころでした。実は友達との賭けでＤＪやり始めたんです。あの友達はＤＪで音楽をいろいろ紹介してくれたんですけど、自分のほうが詳しくなって、「俺がＤＪになったらお前より有名になるぞ」って感じで。結局俺の勝ちだったみたいです（笑）。でも、とてもいい友達でそのころ応援していただいて感謝しています。あの友達の家でずっと練習していたものでした。 そのごろ、クラブでＤＪするようになり、重いレコードを持ってナイトバスとか、ギャラが良かったときタクシーで行っていました。その延長線上で複数のレーベルを立ち上げて、今Switched On Recordsを運営しています。
HNH: どういう流れでハウスにはまったのか、具体的にSwitched On Recordsを立ち上げた経緯などについて教えてください
HNH: Switched On Recordsの音をどう定義しますか？曲をサインするにあたって、どういう基準で曲を選んでいますか？
S.E.F: Switched On Recordsは、的を射た、生なUndergroundサウンド。レーベル運営に当たって、マーケッティングやＰＲよりはリリースする音楽のよさが大事です。今までのリリースはスタイルで言うと様々ですがクオリティーは均一。音楽に関しては偏見がないので、新しいアーティストをサインするときは音楽のよさ、真実さを重視しています。
Harry Ley - Somebody
HNH: Black Opsのメンバーとして初期グライムから音楽活動をずっと続けています。今日本でグライムはかなり盛り上がっていますけども、グライムは音楽活動にどういう影響を与えましたでしょうか？
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Today on UKHR we're very happy to announce our first exclusive interview and DJ mix from none other than Switched On Record's main man S.E.F! He’s done us an absolutely corking exclusive mix, showcasing the Switched On sound from the beginning to now, and before we get started on the technicals, you can get locked and loaded and grab the free download right here:
Switched On records are one of a tiny number of record labels who can honestly claim to have been at the forefront of the UK deep tech scene from the very beginning, having done more to shape and influence the deep tech sound than nearly anyone else around.
S.E.F's background reads like a historiography of UK dance music – involved as a fan right from the early days of hardcore rave, through jungle and garage and then involved as a DJ and eventually producer and label head through grime, funky and now, deep tech.
Cracking music and a very enlightening interview. We hope you enjoy!
HNH: I’d like to start by asking if you could introduce yourself and tell us briefly about your musical background and history?
S.E.F: Konnichiwa ✌
I guess the first ever start was taping the radio in the early 90s when I was a kid, still in primary school! Lol That was stuff like Prodigy. Two early tracks which come to mind are Prodigy's Out Of Space and Shamen – Ebeneezer Goode
Prodigy - Out Of Space
Growing up in London made it easy for me to enter the world of music as I was surrounded by it from early on. I’d always listen to pirate radio and was out seven nights a week. I worked in record shops, promoted events, handed out flyers in the cold and rain, spent all my money on vinyl and equipment. Overall I had a lot of fun doing it. In the 90s I was very into hip hop, stuff like Biggie and Tupac, and then later on Jay Z, Nas, Gangstarr.
Jungle was something I only ever heard of the radio, I never went to the raves as I was too young. When Garage came along I was still in college, so I was a listener and then a raver when I got old enough to get into parties, rather than being involved in the scene. Gass Club was my first garage rave I think! At the time the sound was split between the sing along RnB remixes which I was never really a fan of and the darker dub style which I found unreal.
Baffled - Going on
I had been buying records for many years, but by the time grime came around in the early 2000s I'd bought some decks. I actually started Djing as a bet! There was a guy, a DJ, who got me into the music, but I ended up knowing so much about the music that I said “I bet if I became a DJ I'd get further than you!” Lol. It's fair to say I won! But he was a good friend, I spent hours and days if not weeks practicing at his place and I'm really grateful for what he did for me.
From there I started playing out quite regularly, with my vinyl in boxes on the night bus, or possibly a cab if I was getting paid enough! That developed and eventually I went on to set up a few labels and now I run and own Switched On Records.
HNH: More specifically, could you tell us about how you got into the house scene and started up Switched On Records?
S.E.F: Switched On Records came off the back of a difficult period for me musically. I was at a crossroads with everything music related and didn’t know what or where I wanted to do with my career. Luckily I had good people around who encouraged me continue with my first love and I’m forever grateful for that.
Before anything else finding new artists and playing music I like is a feeling that can’t be matched. In terms of what got me in to House Music that’s very easy to answer. Steve Bug. Check him out.
Steve Bug - Essential Mix 2009
HNH: How would you describe the Switched On sound? What features or what vibe are you looking for when signing a tune to the label
S.E.F: Switched On Records is raw, underground and to the point.
No bullshit and no gimmicks. Before all the marketing, pr and all the rest that is an essential aspect of running a label the most important part is to have good quality music. The releases have been quite varied in sonic style but the quality is always consistent. I’m pretty open minded so I don’t have one set style or feature that I look for when signing new tracks or artists. Just be good and yourself!
Harry Ley - Somebody
HNH: You've been doing music since the early grime days. Grime is actually going through a bit of a boom out here in Japan at the moment: to what extent has grime continued to influence your music since the Black Ops days?
S.E.F: Other than the two ‘Throwback’ tracks which are a nod to my childhood, the rest of my productions have a raw, dark and gritty feel to them. I guess grime did have an influence growing up but before that there was garage and jungle which grime was derived from so that’s where the main influences stem from in addition to rap/hip hop which has had the biggest influence on my music.
S.E.F - What It Is
HNH: What were some of the key tunes that really got you listening to house music?
Going WAY back this brings back a lot of memories of TDK’s and my favourite show of all time, Top Of The Pops:
Inner City - Good Life
As a DJ these tracks did it for me:
Ame - Rej
M.A.N.D.Y & Booka Shade - Body Language
Inner Soul - Pressure
DJ Gregory - Don’t Panic
HNH: What to you, was the first UK deep tech track?
S.E.F: The one that did it for me and I think first influenced a lot of the current sound was this:
Ooft! - Yeah (Jay Shepheard Remix)
I’m going to be 100% biased and say this one too as it ended up on every mix CD, shapes video, and also influenced more that one or two of the new breed.
S.E.F - M.O.E
HNH: A common criticism of deep tech from people outside the scene is ‘it’s just house’, what would you say to that?
S.E.F: I’m not a fan of endless sub labeling of genres, as it's very easy for the label to die out or have negative connotations added to it, like for example what happened to 'bass music' and 'UK Funky'. I don’t have strong feelings on what you’d call the sound that has been around since 2011 or thereabouts. To me this new house sound is an extension of what was already there but there are obvious differences to more mainstream House Music, that tie into what came before it like garage and grime. It’s a massive scene that has developed in London but has spread across the UK quickly and organically. No press coverage, the demise of pirate radio and pretty much everything else that helped previous scenes grow.
The new factor has been social media and the phenomenon of “cutting shapes” which has been a controversial discussion, my view on it is ‘Dance The Night Away’ as a famous track once said.
But going back to the main point of what the music is called I honestly don’t have an answer. I recently played in Berlin and was asked “What the fuck is this? It’s amazing”. I just answered “London style House”. Above all it’s great to see such a vibrant and distinctive scene going from strength to strength whatever people choose to call it.
HNH: Who are some artists you’re feeling at the moment? Could you tell us just a little about them?
S.E.F: The new additions to Switched On this year have been amazing. KG3, F Projekt, Harry Ley and David Alexander.
KG3 - X Lord
Lost & Found who has now moved to Berlin has been consistently excellent from day one for the label.
Away from Switched On, artists I really like Hugo Massien’s style. Another producer from the new skool is Tekla, an absolute don. He's got the rawest sound I've heard in years. Then there’s also DAF who’s recent release on Recess was out of this world.
Tekla - That Feeling
HNH: Where next, for you, the label and the scene?
S.E.F: More of the same but hopefully on a bigger stage. Events is something that has been missing for us but there are plans for something quite big toward to the end of year.
HNH: Thanks so much for your time!
S.E.F: My pleasure. Big shout to the House Not House crew and the Japan crew!
さらにGrime度の高いDeep TechをほかにもDigしたいという方はTop Shelf Material (https://soundcloud.com/topshelfmaterial)やMFR Recordsというレーベルは要チェックです。（https://soundcloud.com/mfrrecords) 意見・コメントがありましたら、ぜひコメントしていただければと思います。。
Today we’re gonna talk a bit about the relationship between deep tech and grime music. At any given moment in the history of UK rave you can pinpoint a genre or two which were leading the way in terms of bangers-produced, crowd numbers, radio play, buzz. Amidst the bewildering diversity of UK dance music in the year 2015 it is perhaps fair to say that the two genres leading the way today are deep tech and new skool grime in its various forms. For many people it seems to be a choice between one and the other - and we at UKHR aren’t gonna pretend to be neutral onlookers: deep tech’s better, but your milage may vary ;)
While there’s overall very little crossover between these two scenes as they currently stand, in a way they can both claim to be the descendants of classic grime.
The relationship between deep tech and grime is in someways pretty simple: a huge number of people currently involved in the deep tech scene were involved with grime beforehand. On a demographic level, they both evolved in east and south London and appeal to the same working class and multi-racial demographics. And, as grime was systematically banned from clubs across the capital, the "urban" (read "black") following of deep tech music has led to many clubs banning shuffling and shufflers. Cutting shapes plays the same role to teenagers now that spitting bars over a mobile phone beat did to youth ten years ago: https://instagram.com/p/tMF80wA3Yb/
Besides these personal and cultural links, there are many musical connections ranging from a generally cold and minimalistic aesthetic that brings to mind early grime at it’s most spartan:
To a conscious incorporation of grime sounds:
But in many ways grime and deep tech are total opposites. Grime was an MC led scene - even the presence of hosts over deep tech sets can be controversial. Grime parties were often about lyrical prowess and which bars could get the most wheelups - deep tech raves are all about the dancing. Grime was all about skunk - deep tech is all about MDMA and balloons. Grime was about keeping it real - deep tech is about loosing yourself in the music. Violence - verbal or otherwise - was at the centre of grime’s self-image - with deep tech the code words are peace, love and house music.
Deep tech then, evolved not only out of grime music, but in reaction against it. UK rave music can be said to be defined by a series of contradictions* - striving for pop success vs. keeping it underground; feminine vs. masculine elements; swinging syncopation vs. stiff rhythms etc. At times the music has swung to one extreme or the other - tech-step DnB purged all the party vibes and human elements from jungle, leaving an extremely dark and techy sound - speed garage brought the funk and soul and ragga elements back. 2-step garage, after a period of churning out hits which flawlessly fused dancefloor energy with pop sensibility, went too far down the commercial route and ended up vibe less and overproduced - grime and dubstep evolved in reaction to this, bringing the darkness back.
*Man like Simon Reynolds goes into this in way more detail here, wicked read: http://energyflashbysimonreynolds.blogspot.jp/2009/06/nuum-and-its-discontents-5-masculine.html
Deep tech for me is the pendulum swinging back towards danceability, groove and fun. Perhaps in the future it too will swing too far in one direction or the other - perhaps it will draw closer to international house music and loose the UK elements which give it its edge. But for now it remains perfectly poised between the grittiness of grime music and the sexy swing of house, and that’s what makes it the best music in the world right now.
Anyway, that’s enough of the history lesson, here are a few of our favourite artists and tracks from the intersection of grime and deep tech:
1) Rude Kid
From
To
2) J Beatz
From
To
3) Tazer
From grimey funky
to scene defining deep tech
4) S.E.F
From a member of the legendary grime crew Black Ops:
to label head of the always on-point Switched On records:
And superlative deep tech producer:
5) Luke Lawrell AKA Flukes AKA 1 half of Crazy Cousinz from gyal tune grime:
and producing the uncontestedly biggest uk funky banger:
to creating the first UK deep tech track and kicking off this whole current house wave:
6) Paper Aero Plane - Splurgeboys, Snowy Danger, James Pyke & Kadey James on SBTV
An experiment rather than a full on trend, a road rap/grime crew spitting over an 8 bar edit of Dennis Ferrer’s wicked remix of London Grammar’s Sights. Given the hostility to full blown MCing in deep tech (Sample quote from man like Mark Radford “4 guys on stage chatting, spitting bars at each other and all of that, it’s not wanted in this music”) I don’t see full-on MC vocal deep tech tracks taking off. But what an experiment! Party vibes and all the touch-stones - house! shuffling! balloons! East End art students! - that make this one of the best lyrical summaries of London in the year 2015 about.
Grime runs deep in deep tech’s bones. It seems to me that the people who can’t hear the gritty UK energy that is the animating life force of this music, who see deep tech as ‘just tech house’ need to realise: these grime luminaries haven’t lost touch with UK music, you have.
