Our first ever podcast from the US; San Francisco to be precise as the Beat Broker injects some much needed West Coast sunshine into a freezing November. With great releases and remixes on Bear Funk, Ene and Internasjonal already under his belt, Ryan has just delivered a stunning remix for our Crack in the Sky EP which is out Monday December 1st. Check it out here juno.co.uk/artists/Clandestino/
We’ve been aware of Tim & Nath for quite some time; the pair originally got together as students in our home city of Leeds and forged a strong residency at Wax:On. Since relocating to London Eskimo Twins reputation has blossomed with releases on Clouded Vision and Days Of Being Wild and a series of cool edits on their own ‘Reworks’ imprint. Look out for their forthcoming remix of Inigo Vontier. Thier mix for us contains new music from Craig Bratley, Heretic and our own track ‘Night Waves’.
Something other-worldly comes to Leeds nightlife this weekend as Andrew Weatherall’s ‘A Love From Outer Space’ touches down in the city’s longest running and most hedonistic party, Back to Basics. Weatherall is of course Basic’s longest standing ‘resident guest’ DJ, regularly appearing at the club since its inception in 1991. A true non-conformist and the master of reinvention, a Weatherall performance is always an event but it’s his latest incarnation, ALFOS as it’s become affectionately known, that makes it’s Basics debut and which should add extra anticipation to the proceedings.
Formed in the basement of a Stoke Newington pub in 2010 after sharing a love of strange, slow new beat records with his then driver Sean Johnston, ALFOS has grown out of that basement to go on the road and grace some of the world’s most discerning dance floors and festivals. Sticking to their mantra of ‘never knowingly exceeding 122bpm’; their sound has perhaps evolved from those early beginnings but the overall theme is a glorious demonstration of chugging, hypnotic electronic music, often drenched in acid crescendos with even a few oddball pop records not unheard of. Weatherall’s love of dub influences and super loose live bass lines are never far away either. Simply put, it’s a ride you want to strap yourself in for.
Since losing their regular venue last year, Basic’s has enjoyed a somewhat nomadic existence with pop up parties around the city and two recent, very successful and rocking parties at Wire but it’s at Belgrave Music Hall that promoter Dave Beer chose to stage Saturday’s event. “We’ve been putting a lot of work into this one and plan on turning it into something from outer space. There will be a separate entrance and access to the roof terrace for a bit of star gazing. We are putting a lot of production into this, and a tip, if you’ve got anything white to wear, wear it and you will glow with the flow”.
Basic’s hasn’t got to 23 years in the business without Dave’s tenacity, passion and attention to detail for throwing a right royal knees up and he’s currently working on setting up a club of his own, FIFO. A space Dave says will be for creative individuals to express themselves in their own way. “At the moment I am battling against the forces that be; legislation, licencing, health and safety etc etc boring, boring, to create something really special and otherworldly. Ironically FIFO stands for ‘Fit In or Fuck Off’ but there’s not a chance in the world we are going anywhere, Leeds is where the heart is”.
Like his guest DJ on Saturday night, Basic’s has seen various scenes come and go and stayed true to their original values. You wouldn’t bet against them stopping any time soon.
Saturday November 1st
10pm – 6am
Back to Basics Presents ‘A Love From Outer Space’ with Andrew Weatherall & Sean Johnston
Belgrave Music Hall, Cross St, Leeds
Tickets: £12 / MOTD – http://skdl.it/1vCKeeV
Pre-Party from 8pm at The Libertine, Blenheim Terrace with Clandestino DJ’s
Originally hailing from Tel Aviv and now residing in Berlin Moscoman has been responsible for producing slick, contemporary underground club cuts for Days Of Being Wild and Headman’s Relish imprint as well remixing Bot’ox and People Get Real. A slew of super cool edits on I’m A Cliche have led him to an original EP on the label which is out now, well worth checking out here www.kompakt.fm/releases/dark_horse_ep
Robot 84 has been appearing on our radar more and more over the last 12 month’s. His tracks have been supported by DJ’s as diverse as Greg Wilson, Erol Alkan, Bill Brewster, Tim Sweeney, Justin Robertson & Rub N Tug and it’s not hard to see why. His tracks are sublimely produced and range from shimmering dubby disco, electro-tinged balearica and straight up acid trax. Originally hailing from Scotland and now based in London, Robot84 is the alter-ego of Scott Ferguson, regularly releasing on Pete Gooding’s Secret Life imprint as well as recent EP’s on ISM, Under No Illusion and a forthcoming release on Cottam’s Ruff Draft label. One to watch for sure
Who is Man Power? That’s what we kicked off our promo with when we announced your gig with us. I know you are keen on keeping your identity under wraps; is that something you want to try and continue as you get more exposure or is it becoming more of an open secret?
It’s become a fairly open secret amongst friends and the people I meet on the road, but it’s something I’m still quite keen to keep under wraps as far as the greater internet community goes. Mainly because the truth will be so disappointing in comparison to the fantasy.
What led you to create the Man Power projects?
I’ve been releasing records for several years as part of a collaborative project.That project is reliant on being able to connect my tastes and influences with the people I collaborate with. It was becoming evident that there were elements of my tastes that weren’t appropriate for what we were doing so I started Man Power as a way to explore those elements.The anonymity thing was just a necessary adjunct to remove comparisons with the other project. I also reasoned that the lack of a real person behind the music would hopefully let the music become the focus and allow it to be judged purely on its own merits.Looking back, I now realise that this was quite naive. It would be disingenuous of me to say that the whole mystique element hasn’t added to the interest in the project. That was never anything that was built in to the concept though. It’s kind of a happy accident in a way, but it’s also a bit frustrating as something that was supposed to bring the music to the forefront has potentially become something that overshadows it.I’m not complaining, as so far it’s allowed me to play around the world in some amazing clubs and festivals, and it’s lead to more people paying attention to the music I release, but it certainly was never conceived as a gimmick, and it sometimes concerns me that this is how the project is perceived.
You were recently included as part of a new scene labelled ‘Primitive’ by DJ Magazine along with Daniel Avery, Eskimo Twins and Hardway Bros as well as established artists like Ivan Smagghe, Weatherall and Jennifer Cardini. What do you make of that? A valid observation or another example of lazy journalism?
It’s incredibly flattering to be lumped in with all of these DJs and artists, as they’re all people who I admire greatly. You can regard the whole “Primitive” thing as cynical in one respect, as (with the exception of Jennifer maybe) I don’t play or make music that is very similar to any of those other DJs, which leads you to think that it’s just been a convenient way to simultaneously incorporate a job-lot of breakthrough artists on the left field of dance music, with a view to increasing their readership.However, while the music isn’t that similar, I do think that all of these artists (myself included) all come from a similar personalised place with what they make or play. We all have a tendency to jump across genres and dig a little bit deeper, so while its not a great surface connection, I’d venture that their is a deeper thematic connection between everybody mentioned in that article. We all like “weird”. We all play across all tempo’s. We all have different shades in the music we play. So from that point of view I can see where DJ Mag are coming from. The name itself is a different matter.
There’s more than a touch of humour in your persona as can be seen from the accompanying artwork and track names for your releases; do you think that’s important to balance out the seriousness of the music?
I think you should take your work seriously, but not yourself.For me, too many artists get that the wrong way round.They’re happy to churn out generic music, but are super conscious about their public persona.The celebrity DJ thing seems to be somewhat counter productive in terms of concentrating on good music.This is a mild mannered rebuff to that phenomenon.
You’re working on an album at the moment; what can we expect from that and when will it be ready for release?
The Album should be out before Summer 2015.I don’t want to spoil the surprise, but it’s going to be very different to what I’ve done before, while at the same time having a lot of familiar elements to the things that are starting to define this project.It’s very important to me to actually ensure it’s a cohesive album, rather than just a collection of shorter club bangers.
Any plans to put together a live performance?
Yes. I’m working on a personal live performance involving hardware etc. I just need to conceive a way that isn’t either “man with laptop”, or merely a rehash of something somebody else is doing.Ideally I’d also like to perform the album with a full band if possible, but a lot of this depends on the popularity of the LP I guess. I’m going to remain hopeful though.
What’s the most obscure record in your collection?
Obscure is a funny thing to qualify I guess. The strangest thing I enjoy playing at the moment is a remix of that awful cod D&B tune that came out in the late Nineties. Puretone – Totally Addicted to Bass.There’s a promo 12 with a tribal remix on the B Side, but if you play it on 33 +8 it turns in to a chugging and belching percussive beast, with the pitched down vocal just adding to the weirdness.
It’s been a busy summer for you with gigs at Fabric, Electric Elephant and Unknown in Croatia plus a tour of South America. How have you found the reaction to your music since touring?
It’s all been incredibly rewarding.I think I’ve finally reached a stage where at most of the gigs I play there is a majority in the crowd who are familiar with me and have specifically came to hear what I’m going to play.
That brings a certain amount of pressure, but it also brings an amount of freedom to what you can play. Not because people are more forgiving (they’re really not), but because you know that you’re being judged on giving a true account of yourself, rather than how you service the rest of the night for the other DJs playing etc. I’ve been fortunate enough that on several occasions clubs have remained open one or two hours after their closing times, due to their still being a full dance floor at lights-up. which is one of the most flattering things I’ve ever experienced, and one of the nicer aspects of playing in different countries with a more relaxed attitude to licensing hours etc.
A cursory Google search for ‘Man Power’ and ‘Interview’ returns hundreds of results for leading UK recruitment agency Manpower. Had any interesting CV’s submitted to you by mistake?
Actually, credit where it’s due. They’re a global recruitment company. I’ve possibly already removed any mystique by answering these questions, but in the interests of over sharing I have to admit that choosing this particular nomenclature has led to me constantly feeling embarrassed when called upon to introduce myself to new people.A word of advice is that you should always choose a name which you feel comfortable announcing to strangers.
What can people expect from a Man Power gig? Do we need to organise a Moodymann style screen to hide your appearance?
While I want to keep my face off the internet, I have no issue with showing my face in a gig.Online all I’m interested in sharing is my music. A gig is about interaction though, so it’s genuinely somewhere that I’m required to share all of me.I toyed with obscuring my face during my early gigs, but it felt too contrived and a bit of a contradiction of what I was trying to say.Ben Williams (Gatto Fritto) came up with the best suggestion when we were discussing how I could hide my face at gigs. He suggested that I devoted a portion of my fee to paying 2 burly minders to attend all of my gigs (in tuxedos) and just stand in front of me, shoulder to shoulder, blocking every bodies view.
Cousins Josh Doherty & Rich Bevan make up the London based slo-mo techno and acid house duo Posthuman. Producing tracks together since 1999, their brooding melancholic sound has seen recent releases on Tusk Wax, Body Work and Rothmans with a new double EP out soon on Horn Wax. Also look out for their jams on Barcelona’s ‘Polybius Trax’ out now on limited green vinyl
Logan Fisher aka Haules Baules steps forth this month to deliver a monster of a mix for us. Responsible for one of the biggest tracks in the last couple of years with ‘Creeper’, he’s one to watch for sure. His 3rd EP will be out soon on his self titled Haules Baules imprint.
After chasing him for what seems like an age we’re delighted to finally present a guest mix from Man Power. Who is he? Know one know’s for sure. What is for sure though is since a series intriguing, underground electronic productions appeared on a little known SoundCloud profile, coupled by what can only be described as (tongue in cheek?) homo-erotic imagery, Man Power’s stock has risen considerably leading him to release on Hivern Discs, IsItBalearic? and more recently Jennifer Cardini’s Correspondant imprint where a debut album is imminent.
On Saturday October 4th Man Power comes to Leeds to play for us at Clandestino. Full details coming soon
We welcome Antoni Maiovvi for this month’s podcast. Antoni creates hyper-cinematic electro-disco. He is also the co-owner of Giallo Disco Records, a limited 12” label that is currently the only home for euro inspired dance music.