Tuesday, 16 August 2016

'Top 6' Feature // Quavius for Mixmag

I penned some words about Galcher Lustwerk's latest signing Quavius in the August issue of Mixmag, in shops now :) You can also read online here!
Words and image by Yours Truly X

Friday, 15 July 2016

Interview // Red Light Radio for PAPER Magazine

I paid a visit to Amsterdam and spent some time with the owners of Red Light Radio for PAPER Magazine! I didn't break the internet but we did talk about their musical scope, getting tattoos on air and, being in the Red Light District, boobs. Read in full below or here on the PAPER website!
Amsterdam's sprawling De Wallen area - better known to tourists as the city's infamous Red Light District - is, contrary to popular belief, anything but seedy. Even as the neighborhood acts as a hub for the city's legal prostitution industry, De Wallen has lately also been serving as a creative haven for professionals, businesses and visionary projects alike - one of the most prominent of which is Amsterdam's Red Light Radio station. 
Housed in a former brothel, the established station has occupied the space for the past six years and has remained one of Europe's most captivating and fiercely independent media ventures since its inception. Collaborating with some of music's brightest and best rising talent, RLR's founders, Hugo van Heijningen and Orpheu de Jong, have brought everyone from Avalon Emerson to Roy Davis Jr to Hieroglyphic Being through their refurbished doors to spin a set. PAPER spoke to van Heijningen about the station's growth, livestreaming a tattoo session and, of course, the boobs in their official logo.
 First off, how did you and Orpheu come up with the idea to put the station together? 
 We've been down here [for over 6 years] now, but we've always been working in music - DJing and playing in bands. We thought it would be cool to create a platform to share music - crazy music - with not just our friends, but whoever else wanted to [listen]. We've...built-up quite a connection, but in the early days, there [had been] other people doing this [online radio] for a long time already. Like in Amsterdam, [there was] Studio 80, that my partner had a show on. But we saw that everything was changing around the Red Light District -- with the prostitution windows [which sex workers can rent out to entice potential customers from] and [then brothel owners] being bought out to get things moving, to bring in new businesses and people to the area. 

 But was your original idea to always have it here? 
 Yeah, my idea was that I wanted it to be a radio station, but it also had to be in this neighborhood -- behind a window. It took almost a year to get a space and when we did, we [could only have] it for three months. But then those three turned into four and now we're still here six years later! Now we actually rent this whole building and the building out the back, [which houses] a lot of creatives and musical people. 

 Yeah I actually noticed you guys have Dekmantel and Red Light Records outside? 
 Yeah, that's right. Dekmantel had to move out, as they got too big...but yes, it's great – we have a label out in the back and [record store] Vintage Voudou, so a nice range [of businesses], but we have close common connections. 

 The space itself is pretty intimate. Has that influenced the way you operate? 
 Yes, I think so. When we first started we wanted a window that was facing the street and didn't expect to get this whole building. We were new and didn't really know how much space we'd need to run the station -- but this was the perfect spot. We've kept the studio small, so we can't have too many people inside. But it sounds good and we want guests and visitors to be comfortable. It's a great spot and I think we can stay here much longer. 

 Yeah, it's cool how a passersby can peer in and wonder "What is going on?" Now that you guys have gotten bigger, though, how do you approach your scheduling now and fitting in guests alongside your many residents? 
 We have a lot of residents, but we always have open slots available in the schedule for special guests and people to come and play. Amsterdam now has a lot of artists traveling through the city on their tour schedules -- just like London. In the beginning we mostly had to reach out to people we wanted to feature, but it's great that people now come straight to us. We'll have label managers or artists directly contacting us about passing through. After all these years, we can have some of the best guys around doing radio shows and visiting [the local area], it all became a lot easier for sure! 
 I also heard you had a tattoo day recently, what was that all about? 
 Yes! The tattoo day! We wanted to do something cool with our friends at [tattoo parlor] Papanatos and get some of our residents DJs tattooed – we thought, "Let's make a radio show out of it!" We had this webcam around so people could see what they had done and most of the time the tattoos were music-inspired. We had some Sonic Youth ones and then we played Sonic Youth on the radio - we also got some ZZ Top tattoos, as we play them a lot!

 Have you done any of these collaborative days with anyone else locally? Was there a recent one that has stood out for you? 
 We collaborate a lot. We've done events with different initiatives, museums, things like that -- music is needed on so many occasions. We just did a really cool online radio festival from our studio and in the Muziekgebouw, this beautiful, tall building just over by the water. We broadcasted with a number of stations around the world, starting in Melbourne and over to Japan -- every hour was like a different station representing their sounds and Red Light Radio was in the middle. We then had this party at Muziekgebouw where we got to play live and DJ, which was our most recent.

 You also have a very interesting logo. What was the inspiration? 
 Our logo was made by Parra who is an Amsterdam artist! The design was important for people to know that was us. We wanted the light in the window to be the center. I'm really happy with the logo and all the little details that link us to the studio and area. 

 By little details, you mean the boob and the boot? 
 Haha, not just that, but yes! 

 How has the station evolved since the beginning? 
 Well now we have a much bigger program. At first, we were broadcasting for just a few hours a day, but now it's from morning until late at night. Besides that we now travel a lot - China, Russia and we're also going to Morocco at the end of the summer. Online radio all over the world has grown with stations everywhere; it's not unusual now for people who are interested in underground music to tune into one of these, ourselves included. We've, of course, gained more followers and as I said, the artists joining us have also grown along with the collaborations. 

 Who has been your favorite guest you've invited in recently? 
 I can't pick! 

 Too many to mention? 
 Yes! Even our residents and the local guys we invite in, they surprise me - which is great. Then there are also the big guys - big DJs that we're lucky enough to invite in and be guests for the hour. But they're coming to Amsterdam to big venues. Even like tomorrow, we have an event with [afro-house legend] Ata Kak at Rush Hour [Records] which makes it all feel really, really special.

Thanks to RLR for having us in their wonderful studios!
Words by Yours Truly / Images by Olivia Williams X

Wednesday, 15 June 2016

Interview // Bok Bok for Complex UK

I spoke to Bok Bok for Complex UK about his new mix series Essentials, live radio and what is next for the 'Slugs - we also included an update on Essentials Vol 2 that was cut so you can read the original piece below or edited over here :)
Flicker your brain back over the last five years of daring underground dance music, and Night Slugs upfront brand of architectural club beats and made-for-the-basement bass will undoubtedly ignite a spark. With co-heads Bok Bok and L-Vis 1990 growing the imprint from late-00s London parties with the context of the club still central to its operation today, Night Slugs remains as original as it was when first created. Releasing seminal screamers from K W Griff's "Bring In The Katz" to Jam City's "Classical Curves"—as well as a whole slither of now-propelled names including Egyptrixx and Lil Silva—their LA-based sister label, Fade To Mind, has also left a lasting mark not only across the pond, but globally too.
 Not forgetting who we can also thank for a stunning introduction to Kelela via her "CUT 4 ME" mixtape, with production duties stemming from both collectives, what's next for one of the slugs that started this whole movement? Never one to stick to convention, Bok Bok announced his next foray in the form of a new mix series aptly named Essentials. Straddling US-driven pop and R&B influences with straight-up dancefloor originals, that remain cohesive to one vision belonging unapologetically to him, we sat down to talk next chapters, live radio, and why he's taking things Nyce & Slo. I’m really into the Essentials series so far! Where did the idea come from to do this as a sequence, rather than a stand-alone mix? 
Do you know what it is, it's because I feel like there are several aspects to the kind of music that I play and I guess I wanted to play it all out for people so it was really clear, you know? I always spend my time mixing it all up in a way, so for once I just thought - even though the last mix you can see there is a lot of variety in there - I just want each of these [installments] to be its own little world.

How does putting together something like this compare to the likes of compiling tracks for your show on Rinse, because it may seem obvious that radio is a lot more off the cuff - 
Definitely definitely! That's the nice thing about a studio mix, you can really take your time planning out every blend and thinking about how the whole thing flows, it’s like making a little album in a way. You know as a DJ that's the closest thing you can do to a make a good album, make a good studio mix. Compared to that radio is just like a jumper, you just arrive and most times there's no plan, you just get on with it! Two hours is a long time to fill in a way so if you plan and think about it too much, it's gonna go by really slowly and it'll be stress, but you should relax, play music and let yourself make mistakes. It's like a lot of my younger DJ friends or whatever that are getting into Radar Radio, things like that, they stress out about their shows being perfect or edited with this and that - whilst that’s fine and there is a time and a place for that, you've gotta relax man.

It seems like mistakes as necessary, even formative to the radio process. 
Exactly, that’s why it's all live you know, it's supposed to be exciting. I've been listening to a lot of old rips and radio shows on my iPod and those old Rinse and pirate sessions, they had all these amazing DJs’ making mistakes or tripping up live on air - being daring and trying shit out, that's how it should be.

Coming back to the mix, you’ve also said that Volume 1 is “…how to rave in the cold tropics” but how do you think the mix coveys this to the listener? Would you say it’s the process of your mixing, the running order, or something completely different? 
It’s more like that vibe, you know when you take a walk on a wintery day and its freezing but it's so bright the sun is out? There is that edge keeping you on your toes - it's difficult to say in words the exact feeling that I was trying to convey as, you know, it's a solid tempo but it feels like it races forward in the way UK music kind of does. That’s how it feels to me, that kind of wintery sunshine and we get that more times in this country don't we? Cos we don't even get a proper Summer anyway.

That is literally the epitome of the weather today.
 I was just out there enjoying it! You've got to get it while you can basically! So yeah it's kinda like that, that’s how it is right now with music for me too.

Well, how did you approach curating which tracks you picked for the first edition as you’ve got everything from Erykah Badu cuts, to new Night Slugs stuff and “Truffle Butter” edits?
It's basically all the stuff I wanted at a slightly slower tempo but as I said, what it all has in common is this feeling of rolling drums - the vibe is that it feels like a house mix to me. Even though a lot of the stuff on there clearly isn't house music, it's about trying to find a similar flow at this tempo that something like house music has. This one, the first volume, was all about trying to find that momentum slightly slowed down and you know, I think I found it...
I definitely get what you mean by keeping up that tempo because the flow of various genres across the mix is almost blurred, rather than sticking to straight-up house or just Jersey club stuff for example.
Yeah, hopefully it should all feel like one single piece of work, even though it is a lot of different stuff. You know there is a house track on there from Lil Louis called “Nyce & Slo” and that was really the ethos for the whole mix, where you take that kind of house groove, slow it right down and then there's room for all this r&b and hip hop.

How would you say this mix fits into the current landscape of the label?
I mean it does relate to it because there are a few things on there that we're about to be releasing, for example one of the tracks we dropped as a freebie called "Sands Tool", so with things like that it's nice to be able to showcase all the things coming out and forthcoming on the label. Yeah as I say, this whole Essentials series is gonna be all about representing one aspect at a time of the label, or what I do with my music.

But is there a certain aesthetic of creating something strictly not to be played out in the club, which you think influences the material?
Yeah, there is, because a lot of what I listen to now is a lot of stuff from US radio - you know r&b, rap, pop - whatever is really popping on the radio, especially at the kind of tempo that Volume 1 was at. There is so much stuff out there at the moment that is like pop music at that tempo and that has a similar production aesthetic, so yeah big influence from the radio world, big influence from the pop world, but it is still all stuff you can play in the club man. I still play that sound out and it definitely bangs - it's just a different groove. 

How would you say the running of the label from A&R’ing to signing releases and designing, has informed your own productions?
I'm lucky to have all these guys involved around me that are all so talented, you know? I do take influence from what they do, so that's been really good but to be honest with you, it can be quite distracting too! I try and keep my time on my own studio stuff and running the label does take up a lot, but it feels like a really good resource that teaches me so many things, I've basically learnt from the people that I work with cos they're all so talented. 

I get you, that's the best way to be productive, take inspiration from the people around you.
Absolutely yeah but it's a great crew to be part of, I'm lucky to have these friends and that we're able to do this together - you couldn't do this with strangers, it's a family thing.

So with what is sort of the next wave, tell us a bit about the Club Constructions series that you guys have been doing, how is it continuing on now? 
Yeah it's been a little quiet for a while actually but we're bringing it back, resurrecting it this year, hopefully we're gonna see the results. You know we put it out there for people to be able to contribute some tracks and that? Hopefully that will start to make its way out in the next few months. Also, a recent Club Constructions we released was a DJ C one - I previewed a couple of those tracks on Volume 1 as you said earlier - so yeah, it's starting to pick up pace again. Hopefully we're gonna show people that it's not just all about 4/4 or techno or whatever else is packaged as what club music is, the DJ tool is something that's a beat, it can take a lot of different forms and I think we're gonna start showing that with this next series.
And you've also been back in the studio doing production work for Kelela?
Yes and hopefully it's gonna come out soon! It's been a lot of work, it's been many months, probably more even and it's been really good, I've learnt so much from her. Again, you know saying that working around talented people and how much that can help you? Working with her has allowed me to consider song writing. Like, I'd never done that before and now that's become part of what I do and as a producer, I come from this with a completely outward prospective -

Approaching the whole process from a different angle, I love that!
You know what I mean! That's it, I'd never done anything like that before so being able to work with Kelela - like I'd met insane people that have written for crazy artists that I really respect, you know mad shit like that, working with writers that are really talented but working with her - she's a crazy inspiration to me. You know she's not trained musically and it's crazy because you've got this raw talent, she's really owned it to this record. You know the mixtape Fade To Mind released? That was all basically her jumping on beats that more or less already existed, whereas this is all stuff we're crafting from scratch - they're real songs, true pop songs so yeah I'm really excited about it, I can't wait for it to come out!

So you’ve just dropped Volume 2 featuring lesser known edits from DANNN on Tink’s “Treat Me Like Somebody”, over to Night Slugs originals dotted throughout – how does it differ from Volume 1 on the surface?
The first volume was all a bit slower at 105bpm, this second volume is at a more hectic 142 - more of a roll and less of a glide this time.

And when the listener digs a little deeper? 
Hopefully a world of cyborg romance, human emotions refracted through machines and made ecstatic.

With the previous mix you referenced listening to a lot of US radio and old school UK podcasts - what was your inspiration when you jumped in the studio to make this one?
To be honest, more of the same! I realised I stopped listening to music while out and about due to my phone being always full to the brim with crap - mostly bants and studio vids, ha! So I got a new MP3 player and have been revisiting a lot of my favourite radio pirate sets from across the years.

Yeah – like you said it rolls! Aside from the series, what else are you working on at the moment?
So basically I'm working on a lot of label stuff at the moment but as per usual, I kind of don't like to really talk about it until it's done. So let's just say that the thing with Night Slugs is that we'll have one strong year, then spend a while touring and living, working shit out, then we'll come back again. So, this should be another year where hopefully  that happens because there is quite a lot of nice things planned and yeah, again, I don't wanna talk it all up, I just wanna let it roll and for people to enjoy the surprise...

Bok Bok’s Essentials: Volume 1 and Volume 2 are both available for streaming and free download at www.bokbokessentials.com

Words by Yours Truly X

Friday, 10 June 2016

Review // Eton Messy: All Night Long

Went raving in Ardwick and wrote the lead live review in Mixmag recently! You can also read the full, unedited version below!
The follow-the-trail excitement of secret locations are getting the country’s dancefloors buzzing on the regular and as Manchester plays host to a returning Eton Messy, the boxes seem to all be ticked for the herds of house devotees preparing to sweat it out.
 Trekking to an unfamiliar Ardwick, a stretch from the bustling students of Oxford Road with mouths spilling chit-chat, cider and who knows what else, it’s the youth connection across the online social world that propelled Eton Messy to touring artist status, sharing smoked-out house and future garage for this ‘deep’ cohort of new heads via YouTube. It’s this notion that makes me want to believe that Eton Messy can transport their brand into the live game, as with almost 80 million views and a plethora of original artists blossoming on their roster, the facts surely speak for themselves.
The boys are well into the mix when we take to the dancefloor, bringing the bass from label mainstay Bodhi, Ten Ven edits and Waze & Odyssey screamers in what is an undisputedly stern effort - sometimes even anthems can’t resurrect a mood.
 The swarms of ravers may well be gyrating and bouncing to no end but as we flitter through, many are visibly reeling after disappointments casting a gloomy cloud. From a birthday couple met with rude door staff who jack it all in for another club, to the exasperating inclusion of not-enough portaloos that add little to the “secret warehouse” vibe and rather just feel like an inconvenience - paying a couple of quid for a glass of rolla cola blatantly poured out of a corner shop bottle, also adds insult to injury.
 As lazers bleach out the concrete cavern in swathes of red, green and blue with the pairing’s extended live lazer show, corkers booming off the decibel scale, it finally feels akin to the fully immersive experience that clubbing can be. Yet when the chips are down, it doesn’t feel like the Saturday night, on-a-level spectacle we hoped for, thanks to a setting that seems a whole lot better in theory than in practice.

Words & Images by Yours Truly X