movement magazine - issue 4

EDITORS LETTER

Hello everyone we know its been a while but believe us when we say we’re back and this time we’re never going away. In April this year we o�cially turned one year old and to celebrate that we have decided to give you this special anniversary print issue to say thank you.

It has been a wild year for us here at Movement and the best thing about it has been watching our tiny little world get bigger. Since we started we have been on this incredible journey, meeting some of the most influential people in the dance music world, past and present. We traveled to Croatia and met the likes of Kerri Chandler whilst losing our phones only to not meet Nina Kraviz and Subb An, whoops. Hosted several showcases bringing you a range of clothing brands and local artists.

We also made some new friends over the year to then become clubbing partners with the likes of Warehouse Project, Beacons Festival, Parklife and many more. It has been an incredible journey for us and we only look forward to all the things we have in store for you the readers.

In this issue we bring you a great mixture of interviews and features on some of the biggest festivals the summer has to o�er. Alongside this we catch up with some of Leeds finest in the form of Ste Roberts of Hypercolour and Basics resident/ 2020vision founder Ralph Lawson.

Across the Penines we catch up with Laura Jones at the Visionquest13 party at WHP as well as a few more Mancunian goodies. The magazine would not be complete without our expressed interest in fashion, lifestyle and art so be sure to see what we have in store for you there.

Its been an incredible journey and we hope you’ve enjoyed reading Movement as much as we enjoyed making it…..here’s to another year!!!

Kag, Dan and Kez

Editors x

Managing Director & Editor-inChief – Kag Katumba

Director & Editor-in-Chief – Dan McKenna

Director & Editor-in-Chief – Kez Iqbal

Graphic Design – Sam Hardcastle

Cover Art – Annita Rivera aka Plastica

Web Design – Ed McConville

Manchester Manager – Ed Norris

Fashion & Lifestyle Editor – Dan McKenna

Head Photographer – Ian Ramsey IGR:Photo

Photographer – Hannah Sunderland

Photographer – Alexander Bell

Head Writer - Joe Morris

Writers

Joseph Dent

Jordan Gray

Tom Girling

Rachel Monaghan

Charlotte Norris

Kag Katumba

Dan McKenna

Contributors

Soundchannel Ltd

The Warehouse Project

The Garden Festival

2020 Vision Recordings

www.movementmagazine.co.uk

Articles7 - FestivalsOnce again we take our pick of the plethora of festivals that are hitting our shores and beyond.

19 - Butterside UpThe night has brought it’s own feel and vibe to the city with a host Leeds debuts to boot. We find out how it to be.

24 - Mr Scru�A rare and wonderful chat we had with the man who loves his beats but loves his tea just as much.

30 - The GarageLeeds has been blessed with a venuethat has not only drawn the gaze of the city but the entire house music world.

34 - Ralph LawsonIt’s not everyday you get to speak to the man behind 2020 Vision and who played the first ever track at Back to Basics.

Features

6 - Ones to WatchThe latest tracks to check out before they become the soundtrack to your Autumn.

46 - Fashion & Lifestyle Our usual installment of your fashion and lifestyle needs. We meet with Made in Leeds & Zoe Lower, recommend our favorite items and review two of Leeds’ hidden gems.

55 - Festival PlannerKeep yourself organised this Summer with our ultimate festival planner

Across The Pennines38 - Girl Unit In our first trip to Manchester we speak to Phillip Gamble of Night Slugs and the man otherwise known as Girl Unit.

40 - Visionquest 13The star-studded crew of house heavyweights brings the Visionquest 13 tour to The Warehouse Project. No one quite knows what to expect so we sat down with our good friend Laura Jones to find out.

44 - Drop The Mustard- The team at DTM bring you night by night schedule of what they have in store for us over the next few months…..You won’t be disappointed!

Festivals

CONTENTS7

The Garage30

Zoe Lower49

Visionquest 1340

M O V E M E N T M A G A Z I N E | 0 4

Artist:Christophe Feat Danielle Moore

Track:Comeback

Label:Futureboogie Recordings

Futureboogie brother Christophe and the eternally cool Danielle Moore get it together for the next release on the imprint and deliver a surefire summer sensation. ‘Comeback’ has anthem written all over it sunshine boogie disco bounce and deep melodic keys alongside Danielle’s sultry voice, it’s a closing track for friends and lovers. On the remix front, hot London duo Casino Times strip back the vocal in a dancefloor builder while Christophe & Lukas stir it up with an old school bassline and anthemic synth stabs.

After four outstanding various artist releases, Hot Creations o�shoot Hot Waves is back with it’s first full artist release ‘It’s Over’ from Bristol sensation Waifs & Strays aka Amos Nelson and Rich Beanland. Jamie Jones and Lee Foss first snapped up the talented producers in 2011 with ‘Body Shiver’ for Hot Creations. This time they deliver two dancefloor weapons with infectious vocals and bouncing basslines just in time for summer sun.

Crosstown Rebels infamous Get Lost series returns with a new episode delving into the more obscure and rare choices from the award-winning crossover dance act and old friend of the label, Totally Enormous Extinct Dinosaurs. Get Lost VI is a double disc compilation full of rarities and cutting edge house and techno carefully chosen and collated by TEED aka Orlando Higginbottom, including a new exclusive track made by him together with Eats Everything that will be released as a single on the label.

A fixture of the underground scene in Leeds for over 15 year’s, Joe Morris’ turned his hand to production in 2010 and picked up releases and remix work for 3AM, Midnight Social and Nang Recordings. In 2011 he produced an exclusive track for Mat Playford’s ‘WeLove...’ mix CD. Earlier this year saw Joe’s first vinyl release with an EP on El Diablos. An original EP will be released on Paper Recordings this summer,

check out the lead track here: http://soundcloud.com/joemorris/over-my-head

Artist:Waifs N Strays

Track:It’s Over

Label: Hot Waves

Artist:Totally Enormous Extinct Dinosoaurs

Track:Get Lost VI

Label:Crosstown Rebels

Artist:Joe Morris

Track:Over My Head

Label:Paper Recordings

Right! It’s time for another installment in our “Ones 2 Watch’ series, where we select 4 artists or labelswho we think are doing a bit alright at the mmoment! Check em out!


ONES 2 WATCH


P.09 - Unknown When you have a festival brought to you by the creators of Hideout, The Warehouse Project and Field Day it’s hard to know what to call it.

P.11 - Garden Festival & Electric Elephant We really do have a soft spot for the Tisno based festivals as do their headline acts. We sat down with Prosumer and Psychemagik to hear their views on beach side matter

P.14 - Eastern Electrics As the London based festival really turned in its opening year in 2012, we are really excited to spend some time with its founders and find out what’s so electric about it.

FESTIVALS


UNKNOWN FESTIVALWords: Joe Morris


Earlier this year a series of teasers started to emerge online announcing a new festival taking place in Croatia in September. All that was given away was the dates, the location and that it was a new project from the people behind Hideout, Warehouse Project and Field Day. A bold move given that the competition within the Croatian festival market is starting to become more and more fierce with each season that passes.

When we met up with one of the lead organisers Dan Blackledge to talk about the journey from Unknown’s concept to delivery, it perhaps wasn’t such a bold move after all. Coming o� the back of two very successful years’ with Hideout, Dan and his team knew the appetite was out there, even if the first reactions were unexpected.

“The initial response when we made the announcement was incredibly negative; and we couldn’t work out why. But most of the negative comments we realised were coming from people who hadn’t got Hideout tickets and just wanted us to release more tickets, or put on Hideout 2! Then eventually the positivity came through as people caught onto the fact this was something entirely new and interesting aimed at a di�erent crowd, so we started to relax”.

However it could all never have happened. In 2008 after several successful year’s creating a strong brand with Wax:On, Dan attempted to put on his first festival; Wax:On Live. Like Hideout and Unknown, the concept of Wax:On Live was to create something unique; a diverse underground electronic dance festival catering for discerning music lovers that wanted to

experience something di�erent. But the UK that summer was in the grip of the credit crunch and more festivals than ever before were announced saturating the market, so the whole thing went south and Dan had to cancel two weeks before launch.

“It was a horrible time; lots of people were telling me to throw in the towel. But I still felt I had a strong brand that I had built up over a long time, and I knew that I was still good at what I did. Also there were lots of reasons why the festival didn’t work, it wasn’t just down to me. So I decided to sit down and work out how to continue”.

With ten year’s experience in promoting starting with running the weekly Central events in Newcastle before eventually creating Wax:On, you can understand..

..Dan’s reluctance to give it all up. Dan’s early success in Newcastle led to a long-standing relationship with Annie Mac; it was Wax:On who were one of the first events to give her a booking on the club circuit. With things going well in Newcastle Dan was persuaded to put on a Wax:On event in Leeds and it was here than Dan first met up with Mark Newton, who had been putting on Metropolis events in the city.

“We did a New Year’s Eve event together in 2007 and it felt really natural working together. It also helped having Annie on board who was sort of spanning both brands by playing electro and drum & bass on her shows and in her sets.”

Dan’s partnership with Mark eventually led to them merging Wax:On and Metropolis which then became Reclaim The Dancefloor, and after a couple of seasons running events in Ibiza with the Ibiza Rocks team, Dan and Mark came up with the idea early in 2010 to put on a festival in Croatia; an idea that ultimately became Hideout.It seems remarkable that in a relatively short space of time Dan and Mark’s weekly then monthly events led them to not only planning but ultimately executing a hugely successful festival on international soil. Especially when you factor in the huge disappointment surrounding Wax:On Live.

“Don’t get me wrong, we still take knocks. Hideout year one was a huge learning curve but we put those experiences into year two and there will always be problems and challenges that crop up”.

With this in mind it’s interesting to hear Dan talk about the booking process; we mentioned that when we spoke to Mark for our Hideout feature last summer he told us about the team’s wish list and how it didn’t quite come o�. As Dan expands

on this perhaps one of the lessons learned was to be quicker o� the mark with the bookings.

“We all had an idea of who we wanted to book, for example I’d been trying to get Richie Hawtin for years but we couldn’t make it work for Hideout and although he was really keen we managed to get him for Unknown”.

Hawtin is one of the few artists appearing at Unknown you could say have a crossover appeal from Hideout; as Dan explains the ethos for Unknown is to aim at a di�erent market.

“We could have easily done something similar with all the acts we couldn’t get for Hideout, but that’s not what we’re about”.

With acts like Moderat and TEED on the live bill it’s not hard to see where the intent lies. Moderat in particular are the kind of act you don’t normally see on a UK based line up and it’s this sort of forward

thinking booking that Unknown hope will set them apart from the rest.There is also the location of Unknown which raises curiosity. Every festival site in Croatia can boast sun-kissed coast lines in a beautiful setting, but Unknown has the advantage of taking place in a ready made camp site with four star apartments, swimming pools, restaurants, barbecue’s cooking fresh fish and hammocks dotted around a shady wooded glaze. Even tennis courts and scuba diving is on o�er if that’s your bag. It’s this kind of atmosphere coupled with what Dan promises will be bespoke design projects and surprise performances around the site which should make for a special kind of festival.

“There will be interactive structures and chill out spaces; we want to make it a really nice vibe for people to spend a week there. I think that’s another thing that gives it a unique selling point, it’s a week long festival so people can experience the whole site and everything it o�ers”.

Hearing Dan talk about these concepts and idea’s that will become reality in September makes you wonder how all this was pitched to the people that control an already used, and to all intents and purposes, working holiday site.

“They were open to the idea of hosting a festival but were a bit dubious because to be honest, they don’t need to. They already make a lot of money from tourism. So our pitch to them was basically a premium product based on arts, music and an experience aimed at a certain crowd, which they responded positively to”.

And how does it feel now, to come through an experience whereby you’ve nearly lost everything but to be in a position that you can be confident of not only selling out a festival, but start to plan the next one a year later and at the same time try and remain di�erent from the others?

“We’re now in a position whereby the artists that played Hideout want to come back and perform the next year, and hopefully that will be the same with Unknown. And as I said we’re hopefully going to be o�ering something di�erent from people like Outlook and the Garden events. They have their markets and do what they do well, but we’re going for a di�erent take on things”.

With the way things seem to be shaping up for Dan and his team and the positive response to what has been an astute marketing campaign in terms of design and programming, their vision of becoming a credible alternative to what’s on o�er in Croatia not only this summer but in the coming years, is on the verge of being realised.

You could say the future is bright; the future is Unknown.




























“There will be interactive structures and chill out spaces; we want to make it a really nice vibe for people to spend a week there.

A little over twelve months ago we reported in these pages that the Garden Festival, along with it’s sister event Electric Elephant, would be upping sticks from it’s hugely popular Petrçane location on the sparkling Adriatic coast and moving 30 kilometers south to a new site in the town of Tisno. Well, move they did and any trepidation the new location wouldn’t cut it evaporated in the blistering Croatian sun. It’s true Petrçane held many fond memories for everyone who partied there during the Garden’s five year residency, but a change is as good as a rest and Tisno does not disappoint.

Movement attended both festivals during July last year

and it’s amphitheatre style setting and on site accommodation, not to mention the marvelous new Barbarella’s club that for some of us old enough to remember will invoke memories of Ibiza’s Amnesia in it’s late Eighties heyday; are all welcome additions to the festival’s package. Sure, the after party may be located o�site and a ten minute ride away, but try telling us that a coach full of vibey party people crammed onto a Croatian inter-state cruiser hurtling around twisting village roads as the sun peeks over the mountains doesn’t add to the experience. Both events return for a second year at the new site this summer and while we raised concerns last year that competition in the region was

a welcome return, with a debut from DJ Nature who should both be particular highlights; the former has also been given free reign to play whatever he wants on his very own boat party. Of course, the infamous Argonaughty boat parties will return and will no doubt rival any showcases taking place back on dry land. Indeed, Garden are going one better this season by securing a second boat with new crews Krankbrother, Schtumm and Somethinksounds all staging parties along with regulars Louche, Futureboogie, Welove and more all back on the high seas for an afternoon of nautical hedonism. Electric Elephant will again invite Andrew Weatherall’s A Love From Outer Space onto the Argonaughty; a must in anybody’s party fixture. Horse Meat Disco will host their own boat for the first time. A mouth-watering prospect indeed. There is also a new area to discover; the East Stage which youwill find nestled in the olive and fig trees and promises an anything goes policy from Friday though to Sunday.

With more festivals announced in Croatia seemingly as every summer approaches, it’s clear that these new pretenders will need to be on their game and show the same dedication and quality if they want to become serious players in what is quickly becoming a busy European summer festival calendar.


GARDEN FESTIVAL &ELECTRIC ELEPHANTWords: Joe Morris

1 2M O V E M E N T M A G A Z I N E | M O V E M E N T M A G A Z I N E |

on the rise, both organisations have responded accordingly with strong line up’s for their 2013 programme. Garden have a slew of festival mainstay’s in the form of Crazy P, Greg Wilson, Futureboogie, Faith and Leeds own Louche who are all appearing again but there are some exciting acts announced on the live stage this time around. Land of Light should prove to be an interesting booking; Johnny Nash and Kyle Martin make up part of Tokyo’s Esp Institute collective presenting experimental, retro inspired synth sounds and should not be missed. Elsewhere in the live arena New York’s Metro Area will bring the boogie and Berlin’s Danny Berman aka Red Rack ‘Em performs his Hot Coins project which should be a journey through hip-hop, soul, house and techno.

Electric Elephant present perhaps their most impressive line up to date. Tickets are reportedly selling faster than ever before and it’s not hard to see why. The Godfather of House Frankie Knuckles has been secured for his Croatian debut along with another of dance music’s legendary DJ and producers Carl Craig. But not content with two greats from the history of underground dance, Danny Krivit will play the now customary last night of the Garden as they hand over the baton to Electric Elephant. Quite a coup. From the nu-school, arguably house music’s number one spinner of the moment Prosumer makes

a welcome return, with a debut from DJ Nature who should both be particular highlights; the former has also been given free reign to play whatever he wants on his very own boat party. Of course, the infamous Argonaughty boat parties will return and will no doubt rival any showcases taking place back on dry land. Indeed, Garden are going one better this season by securing a second boat with new crews Krankbrother, Schtumm and Somethinksounds all staging parties along with regulars Louche, Futureboogie, Welove and more all back on the high seas for an afternoon of nautical hedonism. Electric Elephant will again invite Andrew Weatherall’s A Love From Outer Space onto the Argonaughty; a must in anybody’s party fixture. Horse Meat Disco will host their own boat for the first time. A mouth-watering prospect indeed. There is also a new area to discover; the East Stage which youwill find nestled in the olive and fig trees and promises an anything goes policy from Friday though to Sunday.

With more festivals announced in Croatia seemingly as every summer approaches, it’s clear that these new pretenders will need to be on their game and show the same dedication and quality if they want to become serious players in what is quickly becoming a busy European summer festival calendar.

We talked to two of the most anticipated artists appearing at this year’s festivals to find out what they have in store and what else they have been up to recently. Psychemagik make their debut for Garden Festival this year and their sun kissed, cosmic sound with a heavy party aesthetic should prove to be a perfect booking as they play the Tiki Bar & Beach Stage on Saturday evening. Prosumer meanwhile returns for his second show at Electric Elephant after rocking the old Barbarella’s at Petrçane with a set that still ranks as one of their best ever.

Thanks for taking the time to talk to us. This is your first time playing out there I believe, how do you think your vibe will go down over there?

If it's anything like our recent

Yeah there are way too many substandard edits not just in terms of production, also the song choices. As long as we keep finding great old records that need help we'll keep releasing them. We like to add a subtle lift and keep some integrity to the original. They should just be fun and we don't take them that seriously. That said we are happy that some people get so much enjoyment from them.

And what is it that you look for when creating an edit or a remix? Does the track have to appeal to you in some way before you’ll work on it?

Yeah we only work on tracks we're passionate about, be it a classic AOR jam or some obscure disco, we have to love the track to make the edit.

Your Magik Cyrkles compilation last year sold out in a record 48 hours, and a similar response is expected for your forthcoming Magik Sunrise compilation released in April. What can people expect from Magik Sunrise?

Well it's a companion piece to the first one and very di�erent. The first one was more DJ friendly club jams and mostly disco orientated tracks. This one is the more chill out side of things, folk funk and Balearic

American tour it should be pretty wild!! You can't go too far wrong with the right crowd, suitably intoxicated and the sun shining!Your influenced by lots of di�erent sounds, how would you describe your sound when playing out. Does it depend where you’re playing?We have a pretty varied selection of music between us so we can go in any direction depending on the vibe at the time, a good Dj will have a connection with the crowd and play accordingly.

I think it’s fair to say you first came to prominence after your fantastically received edit of Fleetwood Mac’s ‘Everywhere’ and since then you have been responsible for many more well received edits. Where do you stand on the ‘edit scene’, if we can call it that. Are there just too many lazy and pointless one’s?


sunrise/sunset music. There are a few of the most requested tracks from our Test Pressing mixes on there. Some really beautiful music. We were really happy that Leng managed to track down all the artists, this time there are extensive sleeve notes with info on the recording processes and the stories behind the tracks, from the artists themselves.

Aside from the compilation, what else have you got coming up release or remix wise?

We have a new Discotheque Wreckers edits 12" out in a few weeks, two monster cosmic Italo tracks that we gave some help!! Proper dancefloor business. We have a brand new label brewing, releasing tracks form other artists, all 100% original material. Our first release is from Japan. Watch this space for more info!

You have been working on a Psychemagik full length LP over the last couple of years, when can it expect to see the light of the day?

When we stop remixing other people's music and get round to finishing it! It's been a long journey mainly due to insanely boring music business complications, but it is coming soon...

Where does the name Psychemagik come from and where is the Cosmic Forest, we want to go there!?

Psychemagik is from adapted from Jodorowsky's ‘Psychomagic’, which essentially takes a negative experience and turns it into a positive one. The Cosmic forest is our home. We live in the countryside and our connection to nature is essential to our music.

And what about playing a proper live set of original material, is this something you guys would be interested in doing?

Yes we will tour a live band in 2014!

Do you prefer playing larger events such as festivals or are you happier in playing at smaller more intimate spaces.

Smaller intimate places are always lovely because we love to connect with people and the sound systems are usually better in these places; that said we love big crowds too!

What advice would you give budding producers and musicians?

Make music that you love and don't let anyone tell you what to

GARDEN FESTIVAL &ELECTRIC ELEPHANT

Words: Joe Morris

do, especially not record labels, follow your soul.

If you could work with anyone on a track, alive or dead, whom would you choose?

David Bowie

What are your top five Balearic records?

There's too many to choose only 5 but these always work...'Slabo Day' 'Peter Green''High Tide' 'Batteaux'Night Flight' 'Quintus Project' 'Don't You Know' 'Jan Hammer' 'Warm Weather' 'Pieces of a Dream'

What are the most treasured records in your collection?

An EMI test pressing showcasing the unique e�ects of the EMI Harmony Vocoder, the music is INSANE! There's supposed to be only two copies in existence. One in the EMI vault and our one. The Japanese soundtrack for Harold & Maude is also very precious. The Original gatefold LP of Klauss Weiss's 'Niagara' with the naked cover is also pretty special. Really love the new Serge Gainsbourg 'Melody Nelson' box set with unreleased versions and beautiful artwork and book included, someone with real passion and vision put that together.

PSYCHEMAGIK


Yeah there are way too many substandard edits not just in terms of production, also the song choices. As long as we keep finding great old records that need help we'll keep releasing them. We like to add a subtle lift and keep some integrity to the original. They should just be fun and we don't take them that seriously. That said we are happy that some people get so much enjoyment from them.

And what is it that you look for when creating an edit or a remix? Does the track have to appeal to you in some way before you’ll work on it?

Yeah we only work on tracks we're passionate about, be it a classic AOR jam or some obscure disco, we have to love the track to make the edit.

Your Magik Cyrkles compilation last year sold out in a record 48 hours, and a similar response is expected for your forthcoming Magik Sunrise compilation released in April. What can people expect from Magik Sunrise?

Well it's a companion piece to the first one and very di�erent. The first one was more DJ friendly club jams and mostly disco orientated tracks. This one is the more chill out side of things, folk funk and Balearic

sunrise/sunset music. There are a few of the most requested tracks from our Test Pressing mixes on there. Some really beautiful music. We were really happy that Leng managed to track down all the artists, this time there are extensive sleeve notes with info on the recording processes and the stories behind the tracks, from the artists themselves.

Aside from the compilation, what else have you got coming up release or remix wise?

We have a new Discotheque Wreckers edits 12" out in a few weeks, two monster cosmic Italo tracks that we gave some help!! Proper dancefloor business. We have a brand new label brewing, releasing tracks form other artists, all 100% original material. Our first release is from Japan. Watch this space for more info!

You have been working on a Psychemagik full length LP over the last couple of years, when can it expect to see the light of the day?

When we stop remixing other people's music and get round to finishing it! It's been a long journey mainly due to insanely boring music business complications, but it is coming soon...

Where does the name Psychemagik come from and where is the Cosmic Forest, we want to go there!?

Psychemagik is from adapted from Jodorowsky's ‘Psychomagic’, which essentially takes a negative experience and turns it into a positive one. The Cosmic forest is our home. We live in the countryside and our connection to nature is essential to our music.

And what about playing a proper live set of original material, is this something you guys would be interested in doing?

Yes we will tour a live band in 2014!

Do you prefer playing larger events such as festivals or are you happier in playing at smaller more intimate spaces.

Smaller intimate places are always lovely because we love to connect with people and the sound systems are usually better in these places; that said we love big crowds too!

What advice would you give budding producers and musicians?

Make music that you love and don't let anyone tell you what to

do, especially not record labels, follow your soul.

If you could work with anyone on a track, alive or dead, whom would you choose?

David Bowie

What are your top five Balearic records?

There's too many to choose only 5 but these always work...'Slabo Day' 'Peter Green''High Tide' 'Batteaux'Night Flight' 'Quintus Project' 'Don't You Know' 'Jan Hammer' 'Warm Weather' 'Pieces of a Dream'

What are the most treasured records in your collection?

An EMI test pressing showcasing the unique e�ects of the EMI Harmony Vocoder, the music is INSANE! There's supposed to be only two copies in existence. One in the EMI vault and our one. The Japanese soundtrack for Harold & Maude is also very precious. The Original gatefold LP of Klauss Weiss's 'Niagara' with the naked cover is also pretty special. Really love the new Serge Gainsbourg 'Melody Nelson' box set with unreleased versions and beautiful artwork and book included, someone with real passion and vision put that together.

“Psychemagik is from adapted from Jodorowsky's ‘Psychomagic’, which essentially takes a negative experience and turns it into a positive one. The Cosmic forest is our home. We live in the countryside and our connection to nature is essential to our music.”


Thanks for talking to us Achim. So it’s your second time playing for Electric Elephant, how do you find the vibe out there? It seems to be picking up a reputation for an older, dare I say more discerning crowd. Does that suit your style?

I guess it is hard to go wrong in beautiful scenery like Croatia. I really liked it that there are actually people going with their kids on a holiday to a festival. Plus I really liked the day program as well, not in the style of ‘going on forever’, but starting the journey nice and relaxed and easing into the night, experiencing di�erent facets. I am not the biggest fan of endless parties but I love a journey.

You recently relocated to Edinburgh? How are you

It’s interesting that in the underground disco and house scenes, vinyl seems to hold a fondness where elsewhere if doesn’t have the same regard.Even with kids that didn't grow up with vinyl, when you ask them what the most significant medium for music is, their answer is vinyl. I just think that we hopefully have returned to music again being something we hold dearly enough to enjoy it on that medium that needs care when handling and is heavy and needs space. Other than fodder for the club that is fine to have as a file but you don't bother enough to buy it on record.

How is the pub quiz going with Tama Sumo!?Oh, it is fun; it is interesting to see how something that is so common here in the UK seems quite exotic in Germany. The night has been constantly growing since we started it last Autumn and we got a great crowd. Also the place where we do it, Südblock, is such a great venue for it, one of the few places left in Berlin where you have all kinds of people forming a pretty diverse crowd. I always have a headache the morning after but it is very worth it!

What do you like to do when you’re not DJ’ing or involved in music, where are you favorite places to take a break from that world?

I just was driving around Scotland for three days and have to say the stunning views I had have been a perfect break. For the rest, my armchair by the window with a book and my favourite blanket, the places of

some friends, hanging out with my friends kids. Reading, cooking, going for walks and finding as much time as possible to spend with friends.

What other gigs have you got coming up over the busy summer period, are there any places in particular that you are looking forward to returning to or playing at for the first time?

Returning to Zukunft, Plastic People and Pudel Club are highlights, also playing with favourite colleagues of mine like Murat is always a treat. Croatia of course will be a highlight, especially since I am travelling around the country a bit afterwards which I am looking forward to a lot. And going to Lisbon for the first time.

Are there any releases or remixes coming up from you, and do you have any plans to work with Murat Tapeli this year?

There is a remix in the works plus an EP with Murat.

Aside from Murat and Tama, which of your peers do you really respect and get inspired by, musically or otherwise? And can you tell us about any new producers or DJ’s that you think are really worth checking out?

Usually the people who touch me with what they do have been doing their thing for quite a while. So the "new" ones are just people I hadn't heard o� before.

finding the change, and was this a decision borne out of the need to get away from what must be a hectic atmosphere in Berlin? Have you found the move has benefitted your creativity and productivity?

The move is still too recent and I haven't unpacked fully, so I cannot talk about productivity yet. But I feel pretty inspired and relaxed in my new home. The decision came both out of having the feeling of needing to get away from Berlin but also being drawn towards a quieter life. Guess I just got to the point where I needed some change. I am getting older!

As a dedicated lover of vinyl, do you think that along with other champions of vinyl such as Move D you guys could be having an e�ect on the recent resurgence in vinyl?

PROSUMERWords: Joe Morris


Last year’s event was initially planned to take place on Clapham Common, but licensing issues meant that site was lost and the festival had to downsize and move to Greenwich so they were keen to avoid those issues this time around. After an exhaustive search for a suitable site within reasonable travelling distance from London, which was a conscious e�ort not to alienate their core crowd, they were o�ered the chance to use Knebworth.

It makes sense; Knebworth has a history of hosting large-scale events with no issues surrounding sound levels; something Rob marks out as clearly important for such an event.

Running dance music parties in London for over ten year’s, you might expect the team behind Eastern Electrics to know a thing or two about putting on a credible event specialising in bleeding edge house and techno. Last year saw them hold their first all-dayer as over 10,000 people descended on a slip of industrial wasteland in south east London, an event that can boast being the fastest selling electronic music festival of 2012.

This year however sees them branch out to a full weekender as they take over the iconic Knebworth Park estate; playing host to over 100 leading acts in underground dance and rising talent. We spoke with Rob Star and Yasmin Galletti, two of the

festivals main organisers to find out about their plans for becoming a firm fixture on the UK festival circuit.

“We’d always wanted to put on a festival,” Rob begins. “We did the event last year as more of an introduction to what we wanted to do, so our intention was never to have a big event in central London. We always wanted it to be a weekend thing and I think last year was almost a sort of step in between what we wanted to do and where we were at with the larger scale warehouse events. We always wanted to put on something close to what we’re going to put on this year but I think it’s quite a big step to go from doing a warehouse for 2,500 people to a big weekend festival. So we wanted to do something in between”.

to Burning Man, Secret Garden Party and Glastonbury, Rob explains they have took inspiration for ideas to create at their own events.

“It’s important to us that it’s an experience for the people that come, and it’s not just all about the acts and DJ’s. We haven’t talked too much about what to expect yet; once we have finished announcing the line up we’ll have a few surprises that we’ll be telling people about”.

Eastern Electrics line up’s have been announced in mouth watering fashion; their first wave saw Michael Mayer, Ben UFO, Blawan, Cassy and Roman Flügel, in addition to Dirtybird boss Claude Von Stroke, who will also host an arena along with Crosstown Rebels’ Damian Lazarus, Seth Troxler, Theo Parrish and Dixon. All of whom are a serious statement of intent. The full line up is a wealth of talent from the underground house and techno scenes, it would be easier to say who isn’t playing than who is. A rare occasion of quality and quantity.

EASTERN ELECTRICSWords: Joe Morris

so I do think we can provide for what I feel is a gap in the market”.

With talk about the market and the kind of crowd that Eastern Electrics are aiming to cater for, I wanted to know what their thoughts are on the recent explosion of interest in house and techno coming from a younger crowd. It seems that over the last couple of years there has been a notable rise of 18 to 25 year old’s attending house music events.

”Yeah I couldn’t agree more. During the first six or seven years of running mulletover our crowd was mainly my age thenabout two years ago, all of a sudden they dropped o� and stopped coming and we had a whole new breed of teens to early twenties starting to appear. It’s almost like there’s a new generation coming through. I think its great because to be honest, I don’t think we’d be doing what we do if it wasn’t for them”.

Mulletover is of course is Rob’s warehouse party concept that he has run with DJ Geddes since the early noughties. They were one of the first brands in London to start using unusual spaces again for their events, and now it seems there isn’t a weekend that goes by without a secret warehouse party happening somewhere in east London. I wanted to ask Rob and Yasmin if this was a reaction to the recent club closures, and has the disappearance of many of the capitals iconic club spaces a�ected the scene?

Yasmin: “I think it has undoubtedly led to people using warehouse spaces and car parks etc for their events, and while that’s great it does make it harder to put on things that are a bit more imaginative. mulletover and Eastern Electrics are now in a position where we want to think more about the production of the event and try and be a bit more creative”.

The production side of the festival is something that Yasmin and Rob clearly feel is important. After frequent visits

“I remember going to Renaissance and thinking they’d really got the sound right. Knebworth also gives us scope to expand year on year should we sell out, and look to introduce more stages and make the whole thing more exciting”.

Such ambitions don’t come without their challenges and with the festival market growing in competition, not only in the UK but from Europe, we wanted to know how they feel about that and is it something they feel the pressure of?

“Well I think the UK is lacking in a good credible, electronic music festival”. Rob enthuses. “You’ve got Creamfields and Global Gathering but they aren’t aimed at the market we are catering for. Of course places like Timewarp and Tomorrowland on the continent are amazing. Their production is really great and something that inspires us, but I think there will always be people who don’t want to get on a plane to go to an event of that nature,

to Burning Man, Secret Garden Party and Glastonbury, Rob explains they have took inspiration for ideas to create at their own events.

“It’s important to us that it’s an experience for the people that come, and it’s not just all about the acts and DJ’s. We haven’t talked too much about what to expect yet; once we have finished announcing the line up we’ll have a few surprises that we’ll be telling people about”.

Eastern Electrics line up’s have been announced in mouth watering fashion; their first wave saw Michael Mayer, Ben UFO, Blawan, Cassy and Roman Flügel, in addition to Dirtybird boss Claude Von Stroke, who will also host an arena along with Crosstown Rebels’ Damian Lazarus, Seth Troxler, Theo Parrish and Dixon. All of whom are a serious statement of intent. The full line up is a wealth of talent from the underground house and techno scenes, it would be easier to say who isn’t playing than who is. A rare occasion of quality and quantity.


Tory Clark, Alex "Beetle" Wall, Jonny Cade

W W W . H O U S E O F R H S . C O MHOUSE OF R .H .S .

H O U S E O F R H S H O U S E O F R H S

BUTTER SIDE UPWords: Tom Girling / Photos: IGRphoto

Butter Side Up is a Leeds based night bridging the gap between all things that make your feet shu�e and your body’s flex. They aim to bring you the widest spectrum of di�erent artists, o�er an unparalleled atmosphere, and in doing so, have you all leaving with a massive smile on your face. I met Hamish, Hugh and Jonny one lazy sunday afternoon in Friends of Ham, they turned out to be some of the nicest, down to earth guys I've met in a while……………….

When was the first night, and how did it all start?

Just over two and a half years ago now, but that wasn't the first one at Wire. We originally started in Hukaz in Hyde Park. We started it as students and it was just a way to play records to our mates. We had a few days to come up with a name, Hugh suggested Butter Side Up and with it being a sign of good luck it somehow just kind of stuck. So after two nights at Hukaz we then moved to Barakaz, also in Hyde Park, to put on a party in a bigger space. It was a pretty lawless territory, a no holds barred type vibe! It was fiver in and bring your own booze, which helped us get the students in and really created a house party atmosphere. In fact our third party had to be moved to the Hyde park social because Barakaz closed without them telling us! So we had to re-arrange the venue in just a couple of days, which was a bit of a nightmare, but it was still a great event. These venues had early closing times so every one got kicked out not long after 1, this was one of the things that spurred us to make it into a club based night.

This all took place from June 2010 onwards, but the night was nothing like it is now, we look back at and the branding and advertising we were using then and it’s amazing how far we've come. We never planned for it to turn into a proper club

night, it just kind of happened. We started playing and hosting back rooms for people like mono_cult & Louche and from there it was onto Wire for our now monthly, second Fridays. Whats the music policy? Well its very broad, in the beginning even more so, we like to play across the board from hip-hop, funk and soul, into disco, house and techno. We look to book DJ's that are gonna bring something a bit di�erent to the night. Even if people are great producers it's not always enough, we are more concerned about their talents behind the decks. We also really like to give people extended sets so they can really show us what they can do, take people on a musical journey and get right to the back of their crate. Our bookings include bringing debuts, fresh talent, pioneers of the industry and the odd curveball to the city. It can be hard and risky sometimes, but when you get it right

and they are playing to a packed room, it is very rewarding and you can’t wipe the grin o� our faces all night long! Your favorite night you've put on? There have been too many to count…Probably Hunee. Such an amazing DJ, everything about his set was great, he played for us in May last year and again last week. He has impeccable taste in music and he's someone we think everyone should know about. Other standouts were Alex Barck from Jazzanova for our 1st birthday and also Gerd Janson. More recently we had Amir Alexander who played on three decks till half six in the morning and that was a great start to the year. Why Wire? It's perfect for us; 300 capacity, low ceilings and a great sound system. We had to compete with about 6 other nights

for it but our test night with Cottam proved to be a success and we've been there ever since. Its like a family to us and we genuinely believe its one of the best intimate clubs in the UK. What have you got coming up over the next few months:

We have got a really exciting summer lined up…Starting with playing at Pleasure Principle in Cornwall and Gottwood in Wales. We are also very happy to be club partners for both Parklife in Manchester and new Croatian based festival Unknown. It's another step up from hosting our nights to be honest; something we have always dreamed of is being able to take our sound even further afield! After Party stories? We don't host o�cial after parties as such, but we're always up for the afters. It's quite funny because none of us actually own a

whole set up, so its a case of each of us going back and each grabbing a deck, mixer or some cables. Quite a lot of our artists have ended up having a bit too much fun afterwards! One particular artist who will remain nameless had to call his agent and cancel his flight back to Europe because he was having too much fun in the pub the next day! It seems that this reputation has been passed from the previous DJs to future bookings as well, so sometimes they know what’s in store for them! Are there any tracks that have become anthems for Butter Side Up (All laugh) We know it's a bit cheesy, but there was one….. Fleetwood Macs "Everywhere". It's always one that used to get dropped right at the end of our sets. It provides that risky moment when you knock down the volume and hope that everyone else is singing along and not just the three of us behind the decks which

has happened on a couple of occasions! We mainly play disco, house & techno in our sets, but when the vibe is right, we love to play a few classics to get the crowd going and singing along. The thing that makes it for us is being able to have that interaction with the crowd as they are as a big part of the night as any of the DJ's we book. Where are you going from here? We love what we are doing, so expect more of the same…Great music and fun times! We don't want to lose our intimate vibe and are really happy at Wire! We have got some great gigs coming up; lots of Podcasts coming out & more BSU TV episodes on the way so keep an eye out! So Butter Side Up, What kind of Butter do you guys like? Got to be salted, Country Life all the way, we’re all proper country boys, so its top

shelf butter for us. We won't compromise on this! (All laugh) And cheese to go on it? Hugh: Black Bomber! It's an awesome cheese from a cheesery, (is that the right word?) in Snowdonia. Jonny: A friend of mines dad makes a cheese called Scorpion which is one of the hottest cheese's known to man! Not for the faint hearted that's for sure. It's been the downfall of many a cheese lovers night when they don't realise the chilli content involved! Hamish: I'm not too keen on my cheese, I'm still maturing, its more a case of mild cheddar, cheese string or baby bell for me!


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Thank you very much for coming down and taking this time to come and talk to us ahead of your set tonight at Canal Mills, 5 hours is it?

Yes 5 hours tonight, the doors are open 9 till 3, there’s a guy Tom Smith who’s going to be on before me- he plays at a Leeds night called Cosmic Slot which is quite an underground thing. I really like his approach, he’s into quite a lot of interesting music and he’s a big vinyl head like me, he’s also really big on good quality sound systems and set ups, basically all the really geeky things that I’m into.

How did your paths cross was it just through word of mouth or?

Just through musical friends really, two friends of mine Kelvin Brown and John Kay from Manchester, they used to do a night called ‘eyes down’, they’ve told me about him as they’re all into laying a wide range of music and playing it on a system and in a manner which makes the music sound good and lets it breathe. I like music and I like to hear it played properly; it’s nice and rare to find people like Tom who have been putting together their sound system over years, it’s like a kindred spirit I suppose and it’s nice to discover these people who I have a lot in common with... So yeah I’m going to play after Tom 10 till 3. 10 till 3! A bit of a marathon set then, but then again for anyone who knows you well will know that that’s the way you like to do it, we’ll come back to that a little bit later but let’s go further back now. What we like to do here at Movement is to sort of humanise the people behind the name,

so how was it for you in the beginning? Obviously you studied in She�eld, was it a professional jump that you wanted to make or was it always something that you were happy to keep plugging away at with the intention of ‘whatever comes, comes’?

It was just a hobby, I started DJing around 1983-84 in my bedroom just using the families hi-fi and buying a lot of records using the money from my paper round. I lived in Stockport which wasn’t particularly noted for any music, it was literally just buying records, listening to the radio, buying magazines, and being quite isolated from any particular scene. I took what I could from listening to random radio shows, thankfully the pirate radio at the time could be broadcasted over to Stockport…I suppose from this I could piece together my own little imaginary musical world as I wasn’t going out at the time or going to any clubs, I also didn’t really know of anyone else who was into the same music as me.You could say Stockport in its restriction might have helped you out a little bit?Yeah, as when you’re listening to stu� you have to use your imagination a lot more, I would create my own scene in my head and imagine what music would be like when it were played in a certain place. The radio especially helped as you heard what people were saying about the tunes being played and you would get to know the certain culture around where the music came from, I wasn’t particularly musically set in my ways but everything just came together and sounded good, and a lot of that I would say came from listening to John Peel from a very early age for example. I think if you get that musical bug from an

early age you don’t get into that teenage trap of ‘right I’m 14 and I like what my mates like because if I don’t then I’ll be made fun of’ sort of thing.

So the pressure wasn’t really there for you, would you say it’s seemed to sort of help open up that diversity in your own music?

Yeah I basically created my own thing in isolation and then gradually started meeting lots of other people who had done the same sort of thing. I was going to Manchester quite regularly from the late 80’s to buy records and would obviously meet people in there, started to make mix tapes and that kind of thing. Then there were a few people who helped, the first is Barney who runs a creative organisation called doodlebug, for the past 20-25 years he’s been helping people with their first steps on the right paths, he got me my first gig, my first record deal etc. I would say the half of Manchester who are doing well today would be because of him, he was incredibly important- and still is!

With that push from someone who was more grounded in the scene at the time, how was that for you? Did you feel like it was going the way you wanted it to go or was it scary at all knowing people were going to hear your music for the first time?

No not really, I think every time you release a piece of music you’re going to get nervous because you’re confident up until that point, for me the first step I took outside the bedroom was just doing DJ gigs and stu� like that. Doing DJ gigs was

something I was very confident with because before my first gig I could already mix on 3 decks, had thousands of records and knew many genre’s inside out. I would know what music to play for which gig whether it be Latin, house, reggae and so on and there were also lots of mellow bar gigs where you could just free wheel it; there was a lot of that in the 90’s. Then as I was starting to release records you get more out of town gigs and start travelling abroad, I did a lot of gigs with Ninja Tune, Warp records and Ground Central because everyone knew each other. So yeah I was sort of technically all there anyway, it was just learning the whole thing about dealing with crowds and how you introduce yourself on each night in order to pull people in to what you were doing.

Perception wise the PR, the marketing behind Mr Scru� is very laid back and welcoming, is that something you wanted

to have right from the start? You get the feeling that there’s no restriction or barrier into age or social background or anything like that, was that something that was always there?

Yeah, I think that just because of where I was from in Stockport, as far as a place it’s quite dull, but in terms of the group of friends I had we were all into di�erent things, I only had one friend Trevor who was into hip hop, all our other mates were like 40 year old punks or people who were into indie music, but we all found something in common. I’ve never particularly been in that situation where I’ve felt like I’ve had to do this or that to appreciate a certain kind of music. I’m one of these people who likes humour and not being too serious about stu�, even if I do need to be serious I realise that you still need to be able to make fun out of yourself, but by the same token I also love say underground resistance, you know like the militant Detroit people or say northern soul heads

who are really passionate about one thing and really know the roots of their style of music. Being someone who is detached from this you see that all these people have the same passionate and protectiveness about their own scene, I’m like that but just about everything- all the good stu�!

That sort of brings things back to the length of your sets, some DJ’s feel really restricted with a 1 and a half or 2 hour set, is that how you feel?

Oh yeah, if I had 2 hours I’d just get stressed, during a DJ set you kind of feel like you have to reach a certain peak of communal satisfaction, the way I look at it is that you reach out to di�erent people at di�erent points through the night and that will slowly have a ripple e�ect round their mates so you slowly start bringing them in. In two hours you’re under pressure to do that quite quickly, for me it just makes it a lot more relaxing having 5 hours for example, I’m not looking at my watch! I can play what I want because I have the time, this means I can also have a wonder

around and see what the atmosphere is saying, chat to people and see how everything is sounding. It’s been the journey of all journeys for you hasn’t it, do you think that it’s kept you grounded having come through with a steady upbringing through it all without the likes of social media to push your name out there very quickly?It wasn’t very big in the media at all, especially with records, they take on their own lives- people play them and they spread through word of mouth which in turn allows them to grow and grow very gradually. It’s good because you don’t get a massive influx of people who are just fixated on just one single tune for instance; it’s a nice gradual process which means you don’t have to take a step back musically and you can always push it wherever you play. The people who have been coming for years and the people who might be coming for their first ever time can both come up to me and say yeah I had a really good time.

So have you seen the ages go down at all through time or has it always been a tight knit group of people who have discovered you through their own means, regardless of what age they are?

Well with Manchester and Leeds for example there are a lot of students who might then continue with the specific scene and label or music that they’re into and might even continue to do their own creative nights. To be honest I think the average age stays the same, we always have that new influx of students every year, people obviously move on after 3 years and then people who stay on in the city get jobs and so on. Age really varies, some people bring their parents or even now parents are bringing their kids! You could have 18 year olds up to people in their 60’s which is great!

It must be good to feel that stretch of influence and how widely you’ve touched people with your music. When you’re back in the studio has this meant for you that you trust yourself when creating albums and producing?

With the tunes it’s kind of like the DJing, you play around with sounds to find something that you think will make people get o� on it as much as you do. You try and make something which makes sense on that day and then maybe come back to it later on for example, but it’s got to feel right, you can try new stu� but you’ve got to find out whether it sounds rubbish or not. I love all kinds of music but with my own production it’s got to be quite sturdy and live sounding, it’s got to be neither man nor machine but somewhere in the middle so that there’s a bit of ambiguity there. Anything you do creative whether it’s a meal or a picture, story or article, you should have a concept of the execution and you just know when it’s right.

Do you ever test your stu� beforehand or send it o� to any friends at all?

I normally test stu� at gigs yeah, I might send it o� to people that I might be collaborating with but I quite like the idea of keeping things under wraps and then being able to unleash it. For me it’s not really the actual tune itself it’s more about whether it sounds good when played along with other records, it’s all the little details that I’m interested in whilst I’m playing it out like whether the snare is too loud or perhaps if the kick drum is too in your face and so on and obviously the reaction from people as well! I will bring tunes back into the studio after playing them at gigs and alter them from what I can gather from playing them out, take them home, play it in the kitchen, try it on laptop speakers, play it in a club and test it out that way.

Moving away from music for a moment and onto the artwork side of things, for those who are not aware can you explain to us how the artwork came about, was the ‘potato’ look something that came of pure chance or?

Err well it was just the way we used to draw at school! Not in art class or anything but on our school books and when we used to

draw daft cartoons and so on, when I had my first record out in 94’ I thought well I got all these cartoons so I may as well do the artwork. It was nothing particularly planned it was just the way I drew and the way I made music, when I put them both together it just seemed to make sense!

It’s become quite iconic, the simplicity and the honesty behind it, and the humour as well. Is it a character you had in mind or is it just a general style which you’ve adopted from a young age that you’ve simply kept with?

Yeah! It was just a cartoon style, it’s very versatile so I could apply it to whatever I wanted. I’ve been careful though to only illustrate my own music to it, because it’s so stylised if it gets everywhere it could easily lose steam. It’s quite nice because I don’t have to put a lot of thought into it, it’s nice to have a creative side which I don’t have to think about too much, I just do it and it’s done! There’s no worry or stress about it, I might mess around with colour and photo shop but that’s pretty much it. It’s sort of like a signature and it’s nice to pair music with some sort of iconography or imagery, all of my favourite labels or records have some sort of similar pairing. It brings people in and creates a sort of ambiguity or suspense of what the music will sound like behind that image.

Do you feel like the complete control over playing from front to back like you are tonight is something which is inbuilt to you, is it something that you take into other parts of your life like cooking for example?!

No to be honest there’s nothing else that I’m obsessed about asides from music, I like cooking but I’m not like this is my kitchen get out of it sort of thing. But what I really like is I like being in the company of people who are like me with music but in other areas, I also quite like letting go in other areas or even in the studio because

people haven’t paid to come and see me in the studio.In regards to the technology behind the shows I’ve been working with the same tech guys for about 12 years now and I know what can be done there, I don’t necessarily have to do it myself but because I know what can be done with the technology I’m able to understand whether there’s something not right, whether it be the visuals or the sound for example. Everything’s got to be perfect and it’s good because everyone’s working together, it helps that we’ve all been working together for years and everybody’s always relaxed, we always have banter together especially when we’re on tour and we all have a good gig in mind to create together. We don’t want to create an event which people are going to leave thinking that was good but…we want everything to be right whether it be the toilets, the temperature, the queuing and so on, when I go out I don’t want to be queuing for 2 hours to get a drink or go to a toilet which is overflowing with urine so yeah there’s a lot of obsession there but all for the right reasons!

Is there anybody at the top of your list at the moment that is really doing it for you?

Yeah there’s a few people, I like floating points and what he plays, he’s a good DJ and I’ve played with him a few times. Kelvin Brown and John Kay in Manchester, Tom from Cosmic Slot… Ade at Plastic People in London- to be honest a lot of my favourite DJ’s aren’t particularly household names but people who are just playing fine tunes on good sound systems.So would we more likely bump into you at a gig more underground with a name which is sort of floating around not in the forefront rather than at the bigger nights you find in Leeds or Manchester?To be honest I very rarely go out clubbing now because I’ve got a kid and I’m always away- I have enough late nights as it is! Generally I just enjoy my own events but yeah if I go out it will generally be to a little

gig because I’m not a massive fan of huge venues, as you get older you tend to want to be in a smaller capacity venue with people you can chat to for the night with a great sound system. With smaller gigs I feel the DJ’s can let loose a lot more and go all over the place whereas with the larger venues you have to be a lot more linear to a certain extent. I love having a monthly night because it keeps me obsessive, there are people that come every month so it keeps me changing my records and keeping things di�erent.

If we could move on to your love of tea lastly…is tea your secret weapon through everything you do?

The thing is with British people they like a brew and get obsessive about it, I just drink a lot like everyone else! The main thing with me is I suppose it fits in with the triangle- with the music, the images and the tea… people like to drink it at gigs and that was just another thing I thought I would try! There wasn’t much thought there again, I put brews in at my residence say 13 years ago and lots of people went ‘what you doing?’ and the other 20-30% went ‘brilliant I need a cup of tea’! It may be perhaps they don’t drink or they may be driving or they might just fancy not drinking beer anymore and therefore might want to move onto tea… It’s the whole reaction to it, even if you’re not drinking it it’s a memorable thing which you can take away with you, it’s disarming! I’ve noticed consistently that I’ve always attracted a very nice group of people, people who are open minded and who make loads of new mates on the night, the sta� and security react well to that which in turn is great because then they know what to expect every time we go back there and they know the stress level for them can be turned down a notch. It’s all these mad little connections you make which are really important and it’s important to try and get that every time because you never know how that’s going to come back to you.

MEET MR SCRUFFWords: Nilufer Alan / Photos: Hannah Sunderland







































“The thing is with British people they like a brew and get obsessive about it, I just drink a lot like everyone else!”


"It was an exciting time, you felt like you were a part of this secret cult. It really was an underground scene in the true sense of the word"

"It was an exciting time, you felt like you were a part of this secret cult. It really was an underground scene in the true sense of the word"

- Ralph Lawson


venue idea it was always going to be something a bit more interesting with a few dynamics to it, bar and boutique record shop that could convert into a club when we wanted it to. We had our eye on a venue in town that would have made it a di�erent kind of thing but then Steve noticed that the garage where he parked his car everyday would be a good option, when the three of us got together we shared Steve's vision straight away. It had the toilets already, the intriguing long entrance at the back for the club and the front entrance to Waxwerks, which was a private Karaoke room. It couldn't have been more perfect and actually meant we created something bigger and badder than what we originally had in mind. The space definitely influenced what we did with it, as you can tell by the

The Garage and Waxwerks is a new creative space that has taken Leeds by storm, an intimate city venue that o�ers the best in underground music with a cosy record shop at the rear of the venue. Why did you guys decide to get together and start a new club? Was it something you’ve always planned or was quite a spontaneous decision?

Frenchy and myself were close friends already, doing a lot of DJ’ing together and putting out our online show Throwing Shapes. We had a chat and decided we wanted to take it a step further and start a record label. We knew Steve was a firm supporter of what we were doing so decided to see if he would be interested in backing us. Steve's keen eye for a good opportunity made him come up

with the idea of "I’ll help you with the label and you guys help me with a venue, bringing our creative minds, musical knowledge and good contacts to the table.

It was a spontaneous decision for us to do the ‘Garage’ and ‘Waxwerks’ as you see it now, but a decision that felt so right, nothing was going to get in it's way. We had our targets set and from when we decided to do it in February 2012, it was opening its doors 6 weeks later.

It’s quite a distinctive space, perfect for what you have actually structured out of it. Were you guys on the look out for that kind of area or was it di�erent to what you had originally planned?

When we discussed doing the

name ‘The Garage’. Exactly what it says on the tin.

Leeds has some famous new/old venues and is certainly known for its party scene. Do you think the ‘Garage’ has added something a little di�erent or diverse to the area?

I think I’ll answer that question with another question. Is there anywhere like ‘The Garage’ and ‘Waxwerks’ anywhere in the world let alone Leeds? If so, I have never been there or seen anything like it. A club with a record shop and with a bar that looks like an art gallery, it is totally unique and has definitely brought something fresh to a city that has a lot of choice. There's something magic about what we have created and people feel that instantly when they spend time in our underground

Synth-Machine wallpaper in the entrance of Waxwerks, which is insane.

The venue has been a huge success. A lot of people have said it’s already their favourite venue in Leeds and it’s already hosted some very memorable parties. Could you give us a top 3 parties that have stood out for you guys so far?

To be honest, I could do a list as long as a toilet roll with all the fantastic parties we've had and it would be unfair to mention only 3.

Our first opening parties were exciting with Illusion Recordings party feat Gerd and Nicholas, both live. Ste�, Prosumer & Virginia at Lowbrow. Basics is always up there at the top spot with ‘My Love Is Underground’ residency, Andrew Weatherall, KiNK and Neville Watson live and their The 21st Birthday. Nest opening was awesome as was De Sluwe Vos, Disco till I Die with Maurice Fulton. Set One Twenty packing out 2 floors on Wednesdays, Beat Street's Music is Love party and Selective Hearing and Hush House both opened with strong parties too. I'll stop there, but I really could go on and on.

What do you believe truly sets it apart from other venues in Leeds? There’s a certain family feel vibe to the venue, is that something that you all feel adds to the atmosphere of the ‘Garage’?

We all put our hearts into the place, from the door sta� to the bar sta� and the management.

That is where it starts to set itself apart from other places I think, it sounds corny but it really is a place where people can come and feel free and safe to be who they want to be. Add to that the unique underground environment, the awesome regulars, the music that gets showcased and the artistic interiors. I might sound biased but I think the atmosphere is second to none in the city. I think these factors are why it's found favour with the majority of people who have been so far.

‘Waxwerks’ is one of the few physical outlets where you can find quality vinyl in the area. It has a unique social feel in the shop; in what ways do you think that’s been created?

The well stocked bar in ‘Waxwerks’ definitely helps give it even more of a social feel. At night it feels like a jazzy speakeasy during prohibition and in the day it feels like a relaxed living room. Then when we have in stores from the likes of Apollonia, MCDE, Andrés, and My Love Is Underground, it turns into a house party. It's got a life of it's own as a space and is without a doubt one of my favourite places in the world to hang out in and play. I've had some mind boggling times in there, where I just sit back feeling very proud and think - just look at what we have created.

You all have a chunk of experience between you within the music scene, what were your aims when you started this journey and has it exceeded your expectations?

It has blown our expectations o� the planet and into the cosmos. The experience so far has ticked so many boxes. Being able to flex our creative minds, hooking up with Victoria Topping, book all the DJ's and artists we admire and who inspire us, Supporting the scene with a record shop in a time when no other shops were opening, dancing all weekend with the best people to the best music and making new friends every week.

The response from the public has been overwhelming. I can only equate it to scoring a killer goal in a big football match or making a track and watching it massively go o�. It feels like that but on a social scale. The support from everyone is really encouraging and what makes it all worthwhile really, without the amazing party people there really would be no point.

‘Best UK Small Club’ in the highly rated ‘DJ Mag’ awards and you were voted 74th out

of 100 in the best clubs in the world by Beatport in March, To say you have been going just over a year, that is quite impressive. Honestly, did you think that you would achieve that could of success in such a short period of time?

When we opened and we knew what a special thing we had created we joked saying, "yeah, best small club this year" half joking but half believing in what we had, so we knew it wasn't out of the question. Nine months later we found ourselves nominated for ‘Best Small Club’ and ‘Best Music Outlet’, thousands of public votes later we were at the ‘Best Of British’ awards, picking up the award. We were laughing to ourselves thinking we didn't even try to be the best or win anything, imagine what's going to happen when we really put our minds to it. The award was a great reward for all the hard work we put in to it and really encouraging to be internationally recognised

alongside institutions like ‘Fabric’. Finding ourselves in the top 100 clubs in the world was the same too. There are so many amazing places in that chart, its nice to be one of them.

Finally, what are your plans as a venue for the future? Any major alterations or additions you have in the pipeline that you could maybe leak?

Now we are a year old, we have been talking about stepping it up a gear recently. The way we work is very organic and progressive, we like to make changes when it feels right not for the sake of it and when we make them they have to really compliment what we already have, which has served us so well.

We like to surprise people so leaking things would spoil the fun, all I can say is it will be as good as everything else we've done. The benchmark has been set high.

THE GARAGE &WAXWERKSWords: Jordan Gray / Photos: IGRphoto

labyrinth. Musically I feel we more than contribute to the weekly happenings with good bookings and nights and the only places to buy new underground house and disco music in the city.

As far as décor is concerned, it has a few defining features. What was the inspiration behind the distinctive truck DJ booth? Could you also explain the artwork that’s being displayed within the venue?

Well when it came to the DJ booths in both sections of the club, we knew we wanted them to be the cherry on top. We knew we wanted a vehicle as a booth in the ‘Garage’ as it seemed like the perfect setting for such a thing. The real 1950's ones we originally wanted were a fortune and seemed silly to pay all that money to cut it in pieces. Then we found the 1980's red chevvy for a really good price in good condition and we fell in love with it instantly. It used to be a New York fire truck, which made it

even more perfect as the ‘Garage’ used to be Leeds' original fire station in the 1800’s. The boom box booth in ‘Waxwerks’ was custom made for us by Hot Soup and designed by Victoria Topping and myself. She's our secret weapon and is the supreme talent that is behind all of the artwork you can see in the venue. It was important to us to have a strong look and unique image that reflected our love of music and playful nature. We also wanted to have a resident artist that did everything for us so it was consistent, that way everything would be congruent and have a nice thread running through the whole thing. From flyer and poster designs, wallpaper designs, slip matt designs and club interior. She went to town with it and it looks and feels like a living breathing gallery. All the pictures in the venue are for sale as well, we are always adding new bits here and there to keep the creative juices flowing and improve the feel. Including our new

name ‘The Garage’. Exactly what it says on the tin.

Leeds has some famous new/old venues and is certainly known for its party scene. Do you think the ‘Garage’ has added something a little di�erent or diverse to the area?

I think I’ll answer that question with another question. Is there anywhere like ‘The Garage’ and ‘Waxwerks’ anywhere in the world let alone Leeds? If so, I have never been there or seen anything like it. A club with a record shop and with a bar that looks like an art gallery, it is totally unique and has definitely brought something fresh to a city that has a lot of choice. There's something magic about what we have created and people feel that instantly when they spend time in our underground





















1. What made you guys start something like this? Did you feel there was a need for it or did you just want to have a go?

Tom: I was spending loads of time trawling blogs, mixes etc, yet still felt pretty disconnected from the Leeds music scene. It was always a struggle to get my mates to head to any of the nights I was up for, so had no real outlet for it. Joe was a friend of a friend but about the only person I knew who was into similar stu�.

Joe: We initially planned just to meet every couple of weeks for a mix, but Tom had just moved into a house with this huge grimey basement, so he suggested we broadcast the mixes. It was predominately a space to share new tunes, practise mixing and have a couple of beers – but if anyone tuned in that was a bonus!

2. How hard was it to take it from an idea to a physical thing?

Tom: Not too hard I guess, I mean it's literally a blog and a few friends. But had we not been granted such a rugged

downstairs space, I doubt we would have bothered with the live streaming. We just felt the rawness of the basement made for a fitting backdrop, especially when it was filled with people who you probably met at a house party the week before. It all grew pretty organically from there.

3. What is your main ethos at Vic53?

Nathan: We don’t want it to be something that is too ‘in your face’, some of the best sessions we have had have been rather low key – Fullbarr Records and E.A.R in particular. We just like whoever is playing to bring an honest selection to the table and take the opportunity to play some records in a slightly di�erent environment.

4. Boiler Room is the obvious similar brand. Do you try to emulate them or stick to your guns?

Tom: The Boiler Room guys started o� the back of Platform magazine with a unique idea and the connections to make it something special. Of course

we've taken influence, but for us the streaming aspect is simply another format. Once the first pirate radio station cropped up, it not as though that void was then filled - it just gave way for more. That said, it's incredible to see Boiler Room continually develop and expand.

5. Have you thought about taking it to the next level and filming events as well?

Nathan: It is something we’ve experimented with and definitely something we are looking to do properly in the future. The logistics involved can sometimes be a little tricky but if the right opportunity comes up then we would be keen to try and make it work.

6. The basement o�ered an underground feel. Since moving to Waxwerks, has the vibe changed do you think?

Tom: It has changed yeah, but not in a bad way, only di�erent. House party culture is well ingrained in the fabric of the city. The feeling of exclusivity for those there and, for those watching, the thought that this

party could in fact be happening on your street obviously added to the allure of the basement broadcasts. But it seemed like a shame to stop everything simply because our time at university was coming to an end.

We're just happy to be able to continue showcasing the people that make Leeds such a rich musical Mecca and to be able to do it from an award-winning record shop, adjoined to an award-winning club, is of course pretty special. We’re grateful to Frenchy and the others for giving us the opportunity.

7. What's you're favourite memory of the basement era?

Tom: The two masked females who managed to break into our house to bare flesh during the Louche show was pretty funny. That, or just the general contradictions you encounter when using your house as a venue. We had around sixty heads crammed into one of our basement rooms for the Fullfat DJ competition and I remember going upstairs to grab a lamp from the living room. I found my

housemates in slippers and pyjamas enjoying dinner and a game of FIFA, completely indi�erent to the situation downstairs.

Have you got any big acts lined up over the next few months?

Tom: It depends who you class as 'big'. The majority of people we invite down have got tune selections that warrant them, at least in our minds, as big. It's never been an intention of ours to showcase established names. There's more than enough musical talent in Leeds regardless of the high-profile bookings that pass through each week.

We recently showcased Transmission Collective, all of which are gaining support in their own right and before long will be deemed as 'big' acts. Label bosses - E.A.R's Jacob Kelly and Fullbarr's Arthur Barr for example, naturally have a unique o�ering. We look forward to showcasing a few more of those characters.






















1. What made you guys start something like this? Did you feel there was a need for it or did you just want to have a go?

Tom: I was spending loads of time trawling blogs, mixes etc, yet still felt pretty disconnected from the Leeds music scene. It was always a struggle to get my mates to head to any of the nights I was up for, so had no real outlet for it. Joe was a friend of a friend but about the only person I knew who was into similar stu�.

Joe: We initially planned just to meet every couple of weeks for a mix, but Tom had just moved into a house with this huge grimey basement, so he suggested we broadcast the mixes. It was predominately a space to share new tunes, practise mixing and have a couple of beers – but if anyone tuned in that was a bonus!

2. How hard was it to take it from an idea to a physical thing?

Tom: Not too hard I guess, I mean it's literally a blog and a few friends. But had we not been granted such a rugged

downstairs space, I doubt we would have bothered with the live streaming. We just felt the rawness of the basement made for a fitting backdrop, especially when it was filled with people who you probably met at a house party the week before. It all grew pretty organically from there.

3. What is your main ethos at Vic53?

Nathan: We don’t want it to be something that is too ‘in your face’, some of the best sessions we have had have been rather low key – Fullbarr Records and E.A.R in particular. We just like whoever is playing to bring an honest selection to the table and take the opportunity to play some records in a slightly di�erent environment.

4. Boiler Room is the obvious similar brand. Do you try to emulate them or stick to your guns?

Tom: The Boiler Room guys started o� the back of Platform magazine with a unique idea and the connections to make it something special. Of course

we've taken influence, but for us the streaming aspect is simply another format. Once the first pirate radio station cropped up, it not as though that void was then filled - it just gave way for more. That said, it's incredible to see Boiler Room continually develop and expand.

5. Have you thought about taking it to the next level and filming events as well?

Nathan: It is something we’ve experimented with and definitely something we are looking to do properly in the future. The logistics involved can sometimes be a little tricky but if the right opportunity comes up then we would be keen to try and make it work.

6. The basement o�ered an underground feel. Since moving to Waxwerks, has the vibe changed do you think?

Tom: It has changed yeah, but not in a bad way, only di�erent. House party culture is well ingrained in the fabric of the city. The feeling of exclusivity for those there and, for those watching, the thought that this

party could in fact be happening on your street obviously added to the allure of the basement broadcasts. But it seemed like a shame to stop everything simply because our time at university was coming to an end.

We're just happy to be able to continue showcasing the people that make Leeds such a rich musical Mecca and to be able to do it from an award-winning record shop, adjoined to an award-winning club, is of course pretty special. We’re grateful to Frenchy and the others for giving us the opportunity.

7. What's you're favourite memory of the basement era?

Tom: The two masked females who managed to break into our house to bare flesh during the Louche show was pretty funny. That, or just the general contradictions you encounter when using your house as a venue. We had around sixty heads crammed into one of our basement rooms for the Fullfat DJ competition and I remember going upstairs to grab a lamp from the living room. I found my

housemates in slippers and pyjamas enjoying dinner and a game of FIFA, completely indi�erent to the situation downstairs.

Have you got any big acts lined up over the next few months?

Tom: It depends who you class as 'big'. The majority of people we invite down have got tune selections that warrant them, at least in our minds, as big. It's never been an intention of ours to showcase established names. There's more than enough musical talent in Leeds regardless of the high-profile bookings that pass through each week.

We recently showcased Transmission Collective, all of which are gaining support in their own right and before long will be deemed as 'big' acts. Label bosses - E.A.R's Jacob Kelly and Fullbarr's Arthur Barr for example, naturally have a unique o�ering. We look forward to showcasing a few more of those characters.

www.vic53.co.uk

VIC53

Words: Jordan Gray


Having moved to Leeds from London in the late 80’s Ralph Lawson was around at the very birth of the house scene. From 100 capacity house parties in Chapeltown to the vibrant and ever expanding nightlife we know today he has seen and done it all, from his 21 year residency at Back2Basics to starting 2020 Vision Records and most recently Beat, a pop up restaurant & loft party. We sit down and take him right back to the start of it all.

How inspiring was Leeds and the music scene here when you first moved to the city?

When I first came to Leeds it wasn’t inspiring at all, it was a bit of a dump to be honest. I came from London, which at that time had people in smiley faces everywhere because of the Acid House revival. The scene was still very dark and “Goth” in Leeds but eventually I started to find the house crowd as well as the people travelling here from Manchester and London.

It was an exciting time, you felt like you were a part of this secret cult. It really was an underground scene in the true sense of the word. You’ve got to remember that this was during the “Madchester” period and that had an influence on music globally not just here. A lot of the Leeds crowd were going across to Manchester but saying, ‘listen we should be doing this here, I want to open a bar or a club and I want to start a record store’ and that’s

what happened in my eyes and then suddenly you had a scene.

What do you feel was the catalyst that got the ball rolling for Leeds’ house scene?

I remember seeing people like DJ Ease at The Warehouse, which had been going for years but for me it was the afterhours parties or ‘the blues’ as we called them. These were like house parties where they would charge an entry fee and run a bar with great systems in the living room.

The one I used to go to was on Francis Street in Chapletown called Twilight Zone but there was also Sonny’s just up the road and these were just pure acid house; 100 people, a strobe and decks. I lived out that way at the time too so I’d just walk down, usually on my own, at 2am until 8am and this is at a time when no clubs where open after 2am so in that way it was similar to the Northern Soul clubs of the seventies. DJ Drew (Drew Hemment), who ended up running Futuresonic Festival in Manchester, would DJ for the whole 6 hours so I’d just hang with him by the decks, because I didn’t know anyone.

The best part of Twilight Zone for me was the upstairs chillout room, which was basically a bedroom but you could still hear the beat, I met some of the funniest people I’ve ever known in there and a lot of the people who went on to shape

the scene. I met Huggy who became my DJ partner at back to basics around that time too. Simon Scott, who runs Tribe and does the bookings for Dimensions festival was around from day dot too and a guy called Mark who was known as DJ Task. And then I met DJ Marshall who became a resident with me at Joy.

So can you tell of how you met Dave Beer and the late Ali Cooke?

It’s actually quite a weird one as chronologically I met Dave first but I got to know Ali better. I was at The Warehouse with some friends and I remember being introduced to Dave, he shot out his hand,“Hello mate, Dave Beer”He was wearing a leather jacket, Kangol hat and Vivien Westwood clothes. He was the only one around wearing anything like that so he really stood out of the crowd.

Ali I got to know when he was working in Kick Flip records. He intervened in a row over a white label once and we got chatting. I was running a Wednesday night called Clear by then. I remember Ali asking if he could play, I gave him a gig and he brought Dave down to night. Dave said, “We’re working on this new club and wanted to see if you want to get involved?” Turned out that was back to basics

So I suppose the next thing to talk about is the Basics years and how they were for you?

Steve Proctor from London, guestd at the first ever back to basics alongside Martin Lever from Blackpool. It was Ali’s night and he wanted to play last which meant I went first, but that wasn’t a bad thing as it meant I played the first ever record at back to basics.

From there things really accelerated quickly as B2B had e�ectively taken the torch from a rapidly declining Hacienda. It was a much more intimate vibe compared to the large-scale raves. Things just exploded for us and within a year we had won best club at the DJ magazine awards and we were invietd down to the Albert Hall to receive the award, it was crazy.

I’ve been lucky to have some incredible gigs at basics. I warmed up for Daft Punk on their very first UK club tour. They were always a bit special. I have the claim to fame of jogging Thomas Bangalter’s record as I was climbing down the ladder from the booth. He is a very cool guy and didn’t get too phased. I’ve also taken o� one of Andy Weatherall’s record when it was playing and did exactly the same to Danny Tenaglia. I’d already played a great set, then I’d do something really stupid!

Can you tell us a little more about your latest venture, ‘Beat’ and how it came to be?

Beat is the mixture of music and food. I travel a lot with my job and I’m really into my food so I’ve picked up a lot from restaurants around the world. There seems to have been a food revolution in the UK over the past few years, the standards have completely changed and I’m just pleased to be a part of it.I met Tom Van Zeller through a mutual friend who recommended I try his restaurant. The food was amazing, we got talking afterwards and it turned out he was really into his house music so we started playing with the idea of doing something together. We organised a little house party, which went really well and we decided more people must be into the concept. The first one was in March at Munro House and sold out in a week so we added an extra night. We then did two more in May. I think now we need to take the idea to London as well as continuing to push it in Leeds too.

Leeds is really making it’s presence in the scene known more than ever, how is it for you seeing it after all these years?

I’m more than impressed with what I see Leeds producing these days, in fact I’m really proud to say that I’ve been a part of it. Being a smaller city means that we have had to

club together, but at the same time bringing in our own individual styles.

The things that guys are doing who have started in Leeds these days is amazing. The Garage had an incredible year, nights like back to basics, Technique & Asylum, Louche, Mono_cult and Wax have all helped make Leeds what it is today. I think the support and respect the Leeds scene shows each other is the reason it is what is today.

So what projects are you working on?

Musically it is all change as I have recently finished the live project I have been working on for 10 years – 2020Soundsystem. I am now concentrating purely on my DJ sessions. I started as a DJ and I’m going back to my roots now. I am kicking things o� with a project called Dusty Dubs and Gold Dust which is a selection of unreleased, rare and sought after productions I found gathering dust on DAT tapes in my garage. Then I will focus on the new and work alongside my original production partner Carl Finlow to create new electronic music for the danceloor.

Ralph Lawson presents Dusty Dubs and Gold Dust is out now.

RALPH LAWSONWords: Dan McKenna


Having moved to Leeds from London in the late 80’s Ralph Lawson was around at the very birth of the house scene. From 100 capacity house parties in Chapeltown to the vibrant and ever expanding nightlife we know today he has seen and done it all, from his 21 year residency at Back2Basics to starting 2020 Vision Records and most recently Beat, a pop up restaurant & loft party. We sit down and take him right back to the start of it all.

How inspiring was Leeds and the music scene here when you first moved to the city?

When I first came to Leeds it wasn’t inspiring at all, it was a bit of a dump to be honest. I came from London, which at that time had people in smiley faces everywhere because of the Acid House revival. The scene was still very dark and “Goth” in Leeds but eventually I started to find the house crowd as well as the people travelling here from Manchester and London.

It was an exciting time, you felt like you were a part of this secret cult. It really was an underground scene in the true sense of the word. You’ve got to remember that this was during the “Madchester” period and that had an influence on music globally not just here. A lot of the Leeds crowd were going across to Manchester but saying, ‘listen we should be doing this here, I want to open a bar or a club and I want to start a record store’ and that’s

what happened in my eyes and then suddenly you had a scene.

What do you feel was the catalyst that got the ball rolling for Leeds’ house scene?

I remember seeing people like DJ Ease at The Warehouse, which had been going for years but for me it was the afterhours parties or ‘the blues’ as we called them. These were like house parties where they would charge an entry fee and run a bar with great systems in the living room.

The one I used to go to was on Francis Street in Chapletown called Twilight Zone but there was also Sonny’s just up the road and these were just pure acid house; 100 people, a strobe and decks. I lived out that way at the time too so I’d just walk down, usually on my own, at 2am until 8am and this is at a time when no clubs where open after 2am so in that way it was similar to the Northern Soul clubs of the seventies. DJ Drew (Drew Hemment), who ended up running Futuresonic Festival in Manchester, would DJ for the whole 6 hours so I’d just hang with him by the decks, because I didn’t know anyone.

The best part of Twilight Zone for me was the upstairs chillout room, which was basically a bedroom but you could still hear the beat, I met some of the funniest people I’ve ever known in there and a lot of the people who went on to shape

the scene. I met Huggy who became my DJ partner at back to basics around that time too. Simon Scott, who runs Tribe and does the bookings for Dimensions festival was around from day dot too and a guy called Mark who was known as DJ Task. And then I met DJ Marshall who became a resident with me at Joy.

So can you tell of how you met Dave Beer and the late Ali Cooke?

It’s actually quite a weird one as chronologically I met Dave first but I got to know Ali better. I was at The Warehouse with some friends and I remember being introduced to Dave, he shot out his hand,“Hello mate, Dave Beer”He was wearing a leather jacket, Kangol hat and Vivien Westwood clothes. He was the only one around wearing anything like that so he really stood out of the crowd.

Ali I got to know when he was working in Kick Flip records. He intervened in a row over a white label once and we got chatting. I was running a Wednesday night called Clear by then. I remember Ali asking if he could play, I gave him a gig and he brought Dave down to night. Dave said, “We’re working on this new club and wanted to see if you want to get involved?” Turned out that was back to basics

So I suppose the next thing to talk about is the Basics years and how they were for you?

Steve Proctor from London, guestd at the first ever back to basics alongside Martin Lever from Blackpool. It was Ali’s night and he wanted to play last which meant I went first, but that wasn’t a bad thing as it meant I played the first ever record at back to basics.

From there things really accelerated quickly as B2B had e�ectively taken the torch from a rapidly declining Hacienda. It was a much more intimate vibe compared to the large-scale raves. Things just exploded for us and within a year we had won best club at the DJ magazine awards and we were invietd down to the Albert Hall to receive the award, it was crazy.

I’ve been lucky to have some incredible gigs at basics. I warmed up for Daft Punk on their very first UK club tour. They were always a bit special. I have the claim to fame of jogging Thomas Bangalter’s record as I was climbing down the ladder from the booth. He is a very cool guy and didn’t get too phased. I’ve also taken o� one of Andy Weatherall’s record when it was playing and did exactly the same to Danny Tenaglia. I’d already played a great set, then I’d do something really stupid!

Can you tell us a little more about your latest venture, ‘Beat’ and how it came to be?

Beat is the mixture of music and food. I travel a lot with my job and I’m really into my food so I’ve picked up a lot from restaurants around the world. There seems to have been a food revolution in the UK over the past few years, the standards have completely changed and I’m just pleased to be a part of it.I met Tom Van Zeller through a mutual friend who recommended I try his restaurant. The food was amazing, we got talking afterwards and it turned out he was really into his house music so we started playing with the idea of doing something together. We organised a little house party, which went really well and we decided more people must be into the concept. The first one was in March at Munro House and sold out in a week so we added an extra night. We then did two more in May. I think now we need to take the idea to London as well as continuing to push it in Leeds too.

Leeds is really making it’s presence in the scene known more than ever, how is it for you seeing it after all these years?

I’m more than impressed with what I see Leeds producing these days, in fact I’m really proud to say that I’ve been a part of it. Being a smaller city means that we have had to

club together, but at the same time bringing in our own individual styles.

The things that guys are doing who have started in Leeds these days is amazing. The Garage had an incredible year, nights like back to basics, Technique & Asylum, Louche, Mono_cult and Wax have all helped make Leeds what it is today. I think the support and respect the Leeds scene shows each other is the reason it is what is today.

So what projects are you working on?

Musically it is all change as I have recently finished the live project I have been working on for 10 years – 2020Soundsystem. I am now concentrating purely on my DJ sessions. I started as a DJ and I’m going back to my roots now. I am kicking things o� with a project called Dusty Dubs and Gold Dust which is a selection of unreleased, rare and sought after productions I found gathering dust on DAT tapes in my garage. Then I will focus on the new and work alongside my original production partner Carl Finlow to create new electronic music for the danceloor.

Ralph Lawson presents Dusty Dubs and Gold Dust is out now.

“I warmed up for

Daft Punk on their

very first UK club tour.

They were always a

bit special.”

www.movementmagazine.co.uk


P.38 - Girl UnitIn our first trip to Manchester we speak to Phillip Gamble of Night Slugs and the man otherwise known as Girl Unit.

P.40 - Visionquest 13The star-studded crew of house heavyweights brings the Visionquest 13 tour to The Warehouse Project. No one quite knows what to expect so we sat down with our good friend Laura Jones to find out.

P.14 - Drop The MustardThe team at DTM bring you night by night schedule of what they have in store for us over the next few months…You won’t be disappointed!

ACROSS THE PENNINES

still has that energy and directness. It may go through phases but I feel as though they will always be in DJ sets.

Tell us a bit about how you got into music to begin with?

I always did from my A-Levels onwards. The whole time I was doing music on the side in my spare time. I never thought I would do it properly. It wasn’t until my second year of university when I went to Finland to study. There wasn’t really much to do there and it was pitch black at 3pm. So I stayed in and boned up on how to produce music properly and when I got back I met up with Alex Sushon, AKA: Bok Bok. He had heard my IRL demos and wanted to put it out straight away. After that I sent him Wut which I made back in 2009. At the time I was working full time and DJing at weekends. It got to a point where I couldn’t continue both so I decided to give up my day job. I remember quitting when I had to do a 3 week tour of the US. Since then things have been going well.

Vicious bass lines, gyrating loops and kicks to floor anyone within a 1 metre radius of the speakers. These are all ways one could describe the aural plethora of spectral sounds Philip Gamble aka Girl Unit produces. He is a member of the notorious Night Slugs who have been causing waves on the underground since they started putting on their parties back in 2008. The label o�cially formed in 2010 and Girl Unit has released several stellar EPs with them since including Wut and Club Rez. We caught up with Gamble at Coded Rhythm, in Manchester.

How would you describe the Girl U No It’s True sound (reference to Milli Vanilli)?

I really like a lot of regional US music. It’s really about bringing sounds from overseas and showing how they blend so well with what’s going on in the UK. I like a lot of bright synths and I’m well known for my 808 kicks that feature a lot in the music I play.

Regional US music like Jersey club and

Detroit ghetto house has a really unique sound and have been around for a long time. Every day I’m hearing more and more samples from the original Chicago house labels like Traxx etc.

Why do you think there has been resurgence recently?

In house music there are connections between what has been going on here in the underground for ages and Jersey club for example. I think grime and Jersey club go together so well in the sense that they’ve got these cut up, raw sounds. Everyone in the label has always tried to show them together despite them being from opposite ends of the world and it appears in DJ sets in so many di�erent forms. I can remember it being played back in 2001. The tracks are so simple that they’re versatile. For example Miss Kittin, who does more of a Techno set, could drop a ghetto house track because it’s just a beat and a vocal a lot of the time. But the feel of it goes more with her type of music. Whereas with us guys we may play something more syncopated but it

You recently toured LA, Brooklyn and Austin doing the Night Slugs versus Fade To Mind showcases. Fade To Mind is the US extension of Night Slugs being led by Kingdom?

He used to live in NY then moved to LA as he’s got a number of connections out there including Nguzunguzu and Total Freedom. When he moved they all started working together so it was natural for him to start a label. He joined Night Slugs as a sister label. They’re very much in control of their sound and doing their own thing. For the last US tour, especially South by Southwest (SXSW), we wanted to do something that showed the two labels together in synergy. There were shows at SXSW and we did an after party on the final night that was a great. We all get on with each other really well so it works.

Recently you did a Boiler Room and like you just said you’ve got the Rinse shows. How instrumental has the internet been with the rise of Night Slugs?

I’m always surprised by how many people watch the Boiler Room. The first time we weren’t sure what we were getting ourselves into. It went up on youtube and loads of people were watching it. By the time we did the second one the pressure felt a lot more real as we knew how many people would be tuning in.

Do you find with the Boiler Room, which focuses on you as a person, that there’s more pressure to perform?

I can’t speak for everyone but I’m always waiting in anticipation for the next Night Slugs collective mix or release. When can we expect your next EP?

My next record will come out in June. It’s a bit darker than the last few I’ve done purely because it’s the product of a bunch of experiments I was doing in the studio with all this equipment. I didn’t want to release it as Girl Unit so I put it out under a di�erent name, Hysterics, on the Night Slug’s Club Construction series. It’s a more techno club tool rather than the melodic type thing I do with Girl Unit. I wanted to feel a little less conflicted. With this new project I can be more experimental and there’s less pressure. It also keeps things fresh and interesting for me. I’ve just put out a new Night Slugs mix with a new track from that record ‘Pleasuredrome’ as well as a new Girl Unit track ‘Praise Dance’. I’m also doing a mix for DiS magazine at the end of May which outlines how Hysterics is di�erent to what I’m doing now.

Musically, what has been keeping your appetite at bay recently?

All sorts of stu� really. I always have to escape from contemporary dance music. I like some of the newer RnB stu� as it’s come out of the 4x4 euro trance phase. Producers like FKi and Mike Will are making amazing RnB tracks.

Words: Joseph Dent

GIRL UNIT


still has that energy and directness. It may go through phases but I feel as though they will always be in DJ sets.

Tell us a bit about how you got into music to begin with?

I always did from my A-Levels onwards. The whole time I was doing music on the side in my spare time. I never thought I would do it properly. It wasn’t until my second year of university when I went to Finland to study. There wasn’t really much to do there and it was pitch black at 3pm. So I stayed in and boned up on how to produce music properly and when I got back I met up with Alex Sushon, AKA: Bok Bok. He had heard my IRL demos and wanted to put it out straight away. After that I sent him Wut which I made back in 2009. At the time I was working full time and DJing at weekends. It got to a point where I couldn’t continue both so I decided to give up my day job. I remember quitting when I had to do a 3 week tour of the US. Since then things have been going well.

It was the first time as no-one was into the format. People just standing behind you and no-one in front so you couldn’t see how they were reacting to the music at all. Since then they’ve changed the format and at the last one we did the camera is there but you’re in the centre of people and you can see people in your peripheral vision dancing. It feels much better than feeling like you’re just being spectated on by the internet and people behind you.

How do you maintain that underground aesthetic whilst still trying to promote yourselves and get your stu� out there

I think keeping it strictly to music channels helps and a few stream things here and there. A lot of stu� goes out on Soundcloud now although the label was quite late to get on there as we didn’t want to do it till we really felt it was necessary. We don’t put our faces around much so it’s only the music out there, people don’t really know much about us as artists. The big parties are always good. Alex has always specified a decent sound system and no lights. No one can see you so you can be as un-inhibited as you want. I remember at the first NY show we did that L-Vis organised, we got to do up the club how we wanted. We had two huge smoke machines, no lights, palm tree type things on the stage, it was perfect. Things like that help bring up the mystique of our parties.

Bok Bok himself has said that Night Slugs don’t have a formula which makes sense seeing as the label produces some of the most unique electronic music out there at the moment. How does one work without a blueprint?

We’ve got a studio in East London and we have all of our gear there. It’s easy enough to hook everything up into the mixer, start pressing buttons and experimenting. I tend to get tipped o� by listening to something and if I like the tone or certain sounds in it then I start trying to emulate something and eventually, when the wheels start turning, it goes o� in a completely di�erent direction.

How do you strike the balance between analog and digital? What equipment do you use to produce that timeless Girl Unit sound?

The first few things I bought were a Drumtraks which copies sounds of the LinnDrum which Prince, Human League and all these other people used. That’s what I made the drums for Ensemble on. I also bough the X100 which is a tiny synthesizer and I made the bass line for Ensemble on that. We all share stu� in the studio. Bok Bok uses a 909, has a massive Polysix, Juno and all these really nice synths. Double Take Part II is really digital with all those trance sounds and analog with the drum machines. I try to keep it 50/50.


You recently toured LA, Brooklyn and Austin doing the Night Slugs versus Fade To Mind showcases. Fade To Mind is the US extension of Night Slugs being led by Kingdom?

He used to live in NY then moved to LA as he’s got a number of connections out there including Nguzunguzu and Total Freedom. When he moved they all started working together so it was natural for him to start a label. He joined Night Slugs as a sister label. They’re very much in control of their sound and doing their own thing. For the last US tour, especially South by Southwest (SXSW), we wanted to do something that showed the two labels together in synergy. There were shows at SXSW and we did an after party on the final night that was a great. We all get on with each other really well so it works.

Recently you did a Boiler Room and like you just said you’ve got the Rinse shows. How instrumental has the internet been with the rise of Night Slugs?

I’m always surprised by how many people watch the Boiler Room. The first time we weren’t sure what we were getting ourselves into. It went up on youtube and loads of people were watching it. By the time we did the second one the pressure felt a lot more real as we knew how many people would be tuning in.

Do you find with the Boiler Room, which focuses on you as a person, that there’s more pressure to perform?

I can’t speak for everyone but I’m always waiting in anticipation for the next Night Slugs collective mix or release. When can we expect your next EP?

My next record will come out in June. It’s a bit darker than the last few I’ve done purely because it’s the product of a bunch of experiments I was doing in the studio with all this equipment. I didn’t want to release it as Girl Unit so I put it out under a di�erent name, Hysterics, on the Night Slug’s Club Construction series. It’s a more techno club tool rather than the melodic type thing I do with Girl Unit. I wanted to feel a little less conflicted. With this new project I can be more experimental and there’s less pressure. It also keeps things fresh and interesting for me. I’ve just put out a new Night Slugs mix with a new track from that record ‘Pleasuredrome’ as well as a new Girl Unit track ‘Praise Dance’. I’m also doing a mix for DiS magazine at the end of May which outlines how Hysterics is di�erent to what I’m doing now.

Musically, what has been keeping your appetite at bay recently?

All sorts of stu� really. I always have to escape from contemporary dance music. I like some of the newer RnB stu� as it’s come out of the 4x4 euro trance phase. Producers like FKi and Mike Will are making amazing RnB tracks.


‘Wow, £14!’. At the time it felt like a lot to spend on a vinyl. Now I wouldn’t think twice about spending that. Most recent vinyl purchases were Rhythm Plate ‘Lean’ (#MANT018 and repressed #PFTV001) and Point G aka DJ Gregory ‘I’m Fine’.

Final question. We’re big fans of the inner animal here at Movement Magazine. If you could be any animal what would it be and why?

An eagle I guess as I recently found out that it is my animal spirit and I’m willing to roll with that one...


Noir and Turquoise Blue. At present she is a resident and part of Back to Basics family.

So you just came back last night from playing Lavalava at Corvintető in Budapest, Hungary. Looks like a great little rooftop venue. How was it?

It was my first time out there. Really cool people, good hosts and space. There’d been some DJ competition on just before I played so they had to announce the results in between the resident DJs set and me starting mine.

How do you balance the crazy schedule you have with studio time? You were playing at Juice Club in Bergamo, Italy previous to Hungary and later on tonight you’re playing Back to Basics at The Garage in Leeds!

Right now I’m not finding enough studio time which I’m trying to address at the moment. I’m also trying not to cut back a little on gigs to spend more time in the studio; last year got a little out of hand. I am working on a few EPs and remixes at the moment though and that’s my priority really.

Could you give us some details?

I have a remix out soon of Dusky’s ‘Every Day’ on Dogmatik and I’ve just finished a remix of ‘Yellow Jacket Girl’ by Burnski and MANIK for Culprit LA. There are a few more remixes in the pipeline, and I’m continuously working on music for Leftroom and Visionquest. I try not to force the creative process because I find that I don’t get anywhere and end up ..

So it’s the final WHP of the season. Ending on a high with the Visionquest Thirteen project just seemed like the natural thing to do. With a tantalizing line up including: Seth Troxler, Lee Curtiss, Shaun Reeves, Ryan Crosson, Tale of Us, Dinky and Laura Jones there was no way the team here at Movement Magazine were going to miss it. One final end of year pilgrimage to keep us all going till the whole series begins once again in September. I have to say they really pulled out all the stops for this one. Fully robed and hooded night crawlers greeted revellers upon entry performing a ritual to prepare everyone for the onslaught of sound ahead. Swooping their way through the dark, smoke filled warehouse one couldn’t help feeling at one with the ghosts. To makes things even better we managed to get a few words in with Laura Jones after her atmospheric set in Room 3.

She truly fell in love with house and techno following a trip to Ibiza’s DC10 in 2005. She first met Seth at Winter Miami Conference 2007 and later in the year warmed up for him and Ryan at Mint Club. In 2010 she sent some of her first tracks to Matt Tolfrey, owner of Leftroom. He decided to sign ‘Intentions’, which went straight to no.1 in the beatport deep house chart, and played some of her tracks during Detroit Electronic Music Festival. The Visionquest crew really liked ‘Live A Little’ and decided to release it the following Summer in 2011. She’s also had original releases on Crosstown Rebels and remixes on




Words: Joseph Dent / Photos: Prankin’ Photography

VISIONQUEST 13

that’s why I say I haven’t got a huge amount of free time. I don’t work as fast and productively as I did before. I have to work all hours of the day to get everything done. I’m managing and adapting though. The human body is an amazing thing. And at the end of the day, it’s not life threatening or terminal. It’s a sense and I’ve got another four, including my ears – the most important.

It’s funny being in this room. Recently interviewed DJ Heidi here. Another prominent female in a male dominated industry. What advice would you give to the female DJs and producers out there?

My advice would be if you feel it and want it then go for it. That’s what I did and it seems to be working. You have a slight advantage when you’re female as there aren’t as many out there and in some cases, have more of a chance of making it than a guy does as a result. You still get the whole ‘you’re only getting gigs cos you av tits’ and all that rubbish. You sometimes get the bitterness from the frustrated bedroom DJs who haven’t made it yet too but you’ve just got to want it enough and it will happen.

You’ve travelled all over the world. Where has been your favourite place to play?

Everywhere is so di�erent. I love Italy and play there regularly. Circo Loco is particularly special to me as it’s where it all clicked for me. Similarly Fabric holds a special place. I used to rave there and

..with creative block.

A lot of producers I’ve spoken to have said the same thing.

It’s great to have deadlines to keep you in check but I’ve had to turn down quite a lot of o�ers. I physically can’t promise things to people at the moment. I’ve had to make my own deadlines!

End this sentence. I’m a proper techno head because…

Can’t say I’ve ever really thought about it to be honest. I like beats. Simple!

How do you like to chill out at the end of the day?

I don’t really chill out a huge amount at the moment. I’m working on it though. Recently I was getting into the HBO series ‘Oz’. It’s quite satisfying to watch and a bit of a release bizarrely. I like prison dramas. Also ‘The Sopranos’. Bit late in the game but had to be done. Watching TV isn’t the easiest what with the eyes the way they are so I have to stick to slow-paced dramas where I can follow the plot a bit more easily.

I saw your friend Gill Dalton was running the marathon to raise money for ‘Fight for Sight’ as they fund research into Stargardt’s disease. I know it’s quite personal but how have you been dealing with that and everything else in your life? https://www.justgiving.com/gilly-marathon/

Yeah she did bless her, such an amazing thing to do. I guess





now I’m on the other side of the booth, it feels pretty bizarre still.

I remember my first time at Fabric falling in love with electronic music. Seeing Layo & Bushwacka dropping Love Story. It’s amazing how much that one club has given to the people.

It’s really special when you start raving and you discover something new and then, however many years later, you end up becoming that person who might’ve inspired you on the dance floor. It’s hard to put into words. I have people coming up to me saying they’ve been touched and that was me years ago. To be that person doing that to other people, it’s why I do it. That’s when it all makes sense.

Where you looking forward to playing most over the next few months?

I’m staying in and around Europe over the next few weeks then I’m o� to Canada and the US. I have my debut at Detroit’s Electronic Movement Festival on the beatport stage at the end of May. DC10 in Ibiza again in July. There are a couple of other Ibiza things coming up which I’m not allowed to announce just yet, a North American tour in July, Eastern Electrics Festival in August. Lots to keep me busy.

First and most recent vinyl purchases?

First was DJ Buck ‘Make It Hot’ (#SM024). Remember buying it o� eBay for £14 and thinking




You still get the whole ‘you’re only getting gigs cos you av tits’ and all that rubbish. You sometimes get the bitterness from the frustrated bedroom DJs who haven’t made it yet too but you’ve just got to want it enough and it will happen.



complicated in the overwhelming sea of information, which is exactly why we wanted dropthemustard.com/ to be a unique and user-friendly experience. Our fair underground community should expect nothing less, which is exactly why we’ve built you an interactive web platform, binding music and social media into one integrated space. This curated space will create a greater sense of connectivity between you, the music and us. Where at any one time, you can surf our Youtube channel, Soundcloud player and Twitter stream all in one convenient place. Our channels are curated by DJs for ravers, so if you want to know what the likes of Alex Blaxx, Timmy P and Croz are listening to, then tap into our Youtube to get the inside dig on their digital crates.

Have we tickled your whiskers yet? Well then maybe you should consider joining the o�cial Drop The Mustard writing team?

From the speaker of our land yacht, we’re calling out to you and your playground, looking for the best electronic music journalists the field has to o�er. So if music punditry is your vocation, then get in contact

and get involved – and we’ll make sure you’ll be partying a plenty for free.

Still not sure if you like your Mustard buttered on both sides? Well then ask yourselves these simple questions…

Do you secretly moonlight at techno karaoke bars? Do your words breath harder than a depth charge to the soul? In a world of digital technology, do you still believe in analog funk? Do you mix your tunes with wineglass accompaniments? Is yours the extra long organ solo? Do you soft talk with disco? Can you not sleep until you cause mischief in club-land? Are you already a well-seasoned member of the online bloggerati? Is your iPod way more “relevant” than everyone else’s? Are you sooooo subterranean, that even the underground seems pretty over ground these days? And is it possible that you enjoy the occasional self-indulgent opinionated rant as much as we do?

Well if the glove fits, then email us right here and tell us exactly how and why you want to join the team: [email protected]

With a week-in-week-out party schedule this summer, things are looking busy for the Drop The Mustard boys. And with the newly refurbished dropthemustard.com ready to go live, it doesn’t look like things will be slowing down any time soon…

DROPTHEMUSTARD NEEDS YOU!

It’s been nearly five years since we first got our party a�airs in order, so we just wanted to give all of those who we’ve partied with, a regal ‘thank you’, for making each and every night a throw down of electronic excess.

As we now look ahead to the rest of the season, we’ve decided that the summer of 2013 will mark the launch of our brand new magazine: dropthemustard.com/

Our online Mustard Pot will be dedicated to in depth spreads, interviews, special guest podcasts and mpfree giveaways, plus all the latest updates from Mustard endorsed events.

And that’s not all…

We appreciate that life has become more

Words: Charles Darkly / Photos: Jason Yang

Drop The Mustard

July 2nd 2013:Drop The Mustard Boat Party @ Hideout Festival, Croatia. w. / Huxley / Alexis Raphael / Death On The Balcony / Oli Hackett

What happens when you swop the lingering humidity of a nightclub for a floating waterborne breeze? Well in the sense of design, you’ve gone and trumped yourself, and boarded a boat party. And what happens if you add Huxley, Alexis Raphael and Death On The Balcony to the on deck crew? Well then you have a boat powered by more than horsepower, and just to be totally clear, you’ve also landed yourself on a Drop The Mustard boat party at Hideout Festival.

This year, the highly sought after Huxley shall be serving out the headlining set on board the fun palace. Huxley has become renowned for the intangible understanding of the peak hours, always bringing a fresh sense of house music righteousness to the party. If you don’t already know, his latest chart hopper is out on London’s notorious Rinse FM imprint. As one would expect, the release sounds like the gritty underbelly of London - carefully crossbred with a bit of garage fused house, and a dose of the staple Huxley trademarks.

Also joining us on the bay, we have Alexis Raphael, a DJ who is no stranger to the DTM party ranks. He’s headlined our northern frat parties a few times now, and you’ll soon see why we always ask him back. This year, fellow Culprit LA buddies Death On the


Balcony join him on deck, which makes our floating palace of DJ royalty complete. Not forgetting our defacto ship mascot, and DTM resident Oli Hackett, who’ll be guiding us to warmer waters.

In a nutshell, the anticipation for this year’s DTM Boat Party has been on a par with a Virgin Galactic space voyage – with all tickets sold out in less than 4 hours! Oh and a note to Captain Buzzkill and any cooler than thou attitudes out there…this ain’t no EDM inspired mobile phone advert! This is a pro yacht music masterclass, so bring your fist pumps, air salutes and factor naughty, and Mustard HQ will keep the rest of your party a�airs in order.

July 13th 2013:Drop The Mustard @ Gorilla, Manchester.w./ Gui Boratto, Oli Hackett & Ed Norris.

Hailing from the concrete jungle of Latin America, many have cited his music as their first critical encounter with the techno genre. Drawn from a working background in architecture and design, Gui’s precise nature is exercised through his live laptop sets, guiding the crowd through an ordered universe of multi faceted techno scores and paper tearing drum-scapes. The Sampa City icon rarely appears in the UK, so for the dedicated disciples amongst you, Gui’s Manchester debut at Gorilla is set to be all the more special.

In a world of inter changing musical memes, Gui Boratto is one travelling magician that

has stood the test of time. Signing his first ep to Kompakt Recordings in 2005, he has since seen his music reach an anthemic status, with tracks such as ‘Beautiful Life’ becoming a main stayer in the midst of the techno paradigm. It’s Boratto’s melodic drama that sets him aside from his more minimalist peers, leaving our ears with a distant impression of tropical Brazilian warmth, often led by whispering indie vocals, found on the likes of his Massive Attack remix of ‘Paradise Circus’.

Joining us on the night will be the incorrigible DTM DJs, who’ll be bringing their usual blend of wayward electricity to the decks, only to be grounded by the usual crowd of floor charging theorists.

17th June 2013Drop The Mustard Boat Party @ Awaken, Ibiza.w./ Ed Norris aka ‘The Saxo�ender’

As we already know, it ain’t no party without a boat party. So join us again, this time on the Balearic waters of Beefa, for an unforgettable sundowner session with The Mustard’s very own Saxo�ender. There’s still an extra special head lining guest to be announced, so stay tuned to the feed to hear more…

After that the island is yours…and truth be told, there’s really no other party island state like it. So enjoy the four to the floor Mecca wherever you go, and may the high end beach dream be good to your soles.

Huxley Alexis Raphael Gui Boratto

Get ready for the summer and grab yourself some new shades from Dirty Girl store in The Corn Exchange, Leeds. These are not just any sunglasses, every pair of old school style AM Eyeware frames are handmade with meticulous attention to detail over a 14 hours process and sold in fine optical and fashion boutiques around the world. Get yourself down to Dirty Girl now, pick up a pair and get ready for the Sun.

Dirty Girl Store | Male BoutiqueUnit B4, The Corn ExchangeCall LaneLeeds


AM Eyeware at Dirty Girl

P.47 - Food Review Little Tokyo & Kendall’s Bistro are on the menu for issue 4

P.48 - Zoe LowerWe meet up for a chat with one of fashions most exciting photography talents

P.51 - Made In LeedsWe sit down with the guys to discuss the success of their pop-up shop and what we can expect next

P.52 - Street StyleWe take to the street once again to check out your style

FASHION & LIFESTYLE

MOVEMENT RECOMMENDSNikeSB Koston 1 SE

£62

Welcome Skate Store

22 Thorntons Arcade, Leeds

Hand Cut Papercut by Mr Yen

£35

Mr Yen

www.shop.mr-yen.com

Mr Natty Beard Elixir

£8

Open Lifestyle Store


Best Skully Hat

£18

Best Leeds

22-24 Newmarket Street, Leeds

Vintage French grain sack cushions

£30 made to order

Fabrication

The Light, Leeds

Linen bound limited edition books

£38.50 to £65

Village Bookstore

8/9 Balcony Level, Corn Exchange

See www.movementmagazine.co.uk

for our interview with the ‘Village’ guys

Crown Ring, Luna Jewellery Collection

£8

Junk Shop

2 Dale Street, Manchester

Teapot & Don’t Mess with Yorkshire

£20 each

Welcome Skate Store


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Kendells BistroKendells Bistro is another of Leeds’ hidden treasures located in art district near West Yorkshire Playhouse. This restaurant delivers an all round great dining experience. When was the last time you looked at a menu and wanted absolutely everything on it? Making a decision was challenging but for the right reasons.

The buzz of the already-seated diners hits you when entering the restaurant. We receive a sincere front of house welcome by one of the owners, while her partner creates the magic in the kitchen. The menu is written on a blackboard taking up a whole wall which emphasises the fact that they only serve fresh ingredients and binoculars are available to read the menu for those that are visually challenged or just for fun.

The Croustade starter was delightfully impressive, topped with mushrooms, a poached duck egg and béarnaise sauce. If the chef can make what seemed like an ordinary starter so delicious then bring on the main course! We also tried the fish soup which was a smooth, thick consistency with a rich taste, served with a French rouille sauce on the side.

This was followed by an old favorite, calves liver served with mash and crispy bacon which never fails to disappoint. My guests main course was a waist expanding serving of Côte de Boeuf smothered in a rich gravy, with such delicious deep flavors of beef, red wine and onions.

We savored every last mouthful until it was closing time, at which we had the opportunity to witness just how great the work environment and relationship between

the owners and the sta� is. Perhaps the key to Kendells vibrancy is the balance of happy sta�, a passionate chef and great quality ingredients leading to customers having to be rolled out of the restaurant.

Kendells Bistro3 St Peter's Square,LeedsLS9 8AH0113 243 6553

Little TokyoLittle Tokyo looks more like a cafe from the outside, however once you’re inside this award winning restaurant their impressive e�orts really come to life. With beautiful traditional decorations, including a mini Japanese style bridge over a small pond full of Koi (carp), you’re almost transported to Japan.

The menu was very appealing so we decided to be unconventional and we ordered a variety of dishes. The six pork gyoza under the ‘munchies...extra-ordinary’ section, which described them spot on, were the largest and tastiest gyoza we’ve tried; succulent, meaty and not greasy. If you’re an avocado lover then don’t hesitate to try the avocado tempura which seemed an unusual combo but was impressive with a crispy light

batter on the outside but with a smooth texture on the inside. All starters are under £5 which is very good value.

If you’re looking for a dose of super healthy then we recommend the ramen soups which are very fresh, and our choice of seafood ramen was full of seafood and light vegeta-bles. Healthy, filling and good value at £7.45. For those that enjoy sushi, the sashimi selection was also very fresh and beautifully presented in their signature tableware.

Little Tokyo provided a real sense of Japan with their broad selection of traditional Bento boxes. We had Ton Katsu (pork cutlets) which, as with all their Bento boxes, comes with the sides divided into individual sections of a black lacquered box. If you can’t make it to Tokyo anytime time soon then this might just do the trick.

Little Tokyo24 Central Rd Leeds LS1 6DE0113 243 9090


FOOD REVIEW Words: Charlotte Norris / Photos: Hannah Sunderland


Zoe Lower is one of the country’s brightest fashion and music photography talents having already amassed a more than impressive portfolio. Not surprising having assisted Jez Tozer for seven months. We met up with her to discuss her inspiration, Nova Collaboration and what the future holds.

What was it about photography that enticed you and what are yourfavourite things about your job?

I come from a fine art background and have always been intrigued by the idea of elaborate settings and art direction, which I feel is an important feature in my fashion work. It’s the endless opportunities to transform my imagination into images that excites me. I could work from anywhere in the world - there’s always an untapped resource of fashion, culture and beautiful compelling people that awaits, all to be drawn together through the eye of my lens. It’s an empowering feeling but more importantly it’s the collaboration that makes my job – it would be nothing without people to share in it with. When you’re on a shoot surrounded by people who love and crave what they do as much as you do, the energy you get is electrifying. I am forever meeting people who inspire me and I dream of working with. Recognising the value of building ideas with others is one of the most important things I’ve come to realise.

What photographers or photographs inspire you?

Paolo Roversi and Tim Walker are two of my favourite fashion photographers. Paolo Roversi’s work is hauntingly beautiful – the way he paints with light is pure magic, creating such soft, whimsical textures and tones. Tim Walker has an imagination that dwarfs all others and his work is so easy to

fall in love with. The way he manages to transform fashion into fairytales so elegantly never fails to amaze.

You've taken photos for Flux and other club nights for some time now; how do you find music and club photography compared to your fashion and beauty shoots?

I think fashion will always be under my skin and where my focus lies, as it’s my creative outlet and lets me run with ideas in a way that you just can’t compare to event photography. However, doing the events such as Flux has opened up another dimension to my work and made it accessible to a much wider audience. The platform it’s given me to access the contacts I’ve made and, for example, the DJs I’ve gone on to photograph, is something I am very grateful for. But more than anything it’s the atmosphere that keeps me hooked – capturing candid shots at festivals or on the beach in Ibiza allows me to strip my work back and document the realness of people and remember that sometimes it’s just about being in the moment. There’s no better feeling than knowing you’ve touched someone with a photograph, when there’s a tangible emotion that’s been caught in the shot forever – I find it really special.

Can you tell us some more about Nova and how it came to be?

Nova is a collaboration I formed with a very close friend, Sarah Speechly. It came about at a time when we were both trying to find a way to break into the scene, without many contacts and struggling to find like-minded people with a similar need to create. Working with someone who brings that fire out in you is the most rewarding feeling and essentially that’s our brand and the energy that we present to our clients as something

they can tap into and be part of.Nova represents the uninhibited – working with young, fresh, talented creatives who share our drive and the desire to promote the incredible talent that’s right under everyone’s nose. Our aim is to only work with upcoming designers, stylists, make-up artists.

We know you're always busy working on something so what else can welook forward to in 2013?

Hopefully more published editorials! I just want to see my work out there more now, so I'm going to focus my attention on fashion editorials next. I think the collaboration I’m most excited about at the moment is with Spangled by Sjstylee – I recently shot her S/S ’13 lookbook & campaign and we seem to have clicked together instantly. There are already lots more shoots in the pipeline for summer, which I can’t wait for. Her collections are everything I love about jazzing up for festivals and generally just peacocking through life! Check them out –www.sjstylee.co.uk

Of course I can't forget my trip to Ibiza with the Flux boys, last year was honestly one of the best weeks i've had so looking forward to reliving the memories!

For the rest you'll have to check back and see...

Read the full interview with Zoe on the Movement Magazine website:www.movementmagazine.co.uk

See overleaf for a collection of Zoe’s work.For more information:http://www.zoelower.com/http://zoelower.wordpress.com/

ZOE LOWERZOE LOWER Words: Dan McKenna


Born from the minds of a collective of Leeds designers, musicians

and marketeers, Made in Leeds first sprouted from its seeds

three years ago, when Hebe Media took the group to Barcelona

with the idea of exchanging culture within the two cities. It was

then that the group realised the promotion of Leeds talents could

be something more, with the right sources and timing.

The group dub themselves “big champions of local business”,

always striving to persuade big brands to stock products by local

designers. Then, along came Trinity Leeds- already a client of the

creative cluster- who helped them to open a pop-up store

stocking only the finest art, music and design, all crated and

made by Leeds’ own designers, makers and doers.

“We find the Trinity footfall amazing, the first week was

unbelievable. Trinity is THE destination at the moment,” the group

say of their new tangible presence, “a physical shop is something

none of us had experience of,” yet they have exceeded in creating

a hub for locally-sourced curiosities. Squeezing in the time to

open a spacious, contemporary store between being the people

behind The City Talking monthly newspaper, working on a city

app called Solomon and now an online shop, the group have

certainly been immensely engaged.

On top of this, through their relentless networking, research and

engaged attitudes toward the creative industry, Made in Leeds

have been able to have some “influential Leeds designers,

musicians and artists in store including James Steward Couture,

Antiform, Dots Printhaus, Gem Smith, Pulled Apart By Horses, I Like

Trains, Back to Basics and more.”

An open call for local creatives led to more amazing talents, such

as Kitchen Sink, Belles Bejewelled, Stu� and Things, Tommy

Davidson and Guiseppe De Luca, to name a few.

Not surprisingly, the Made in Leeds crew struggle pick favourites;

“I love them all. I love our Made in Leeds tee, it’s designed by our

local branding agency, Rabbit Hole. I also love our two best sellers,

Belles Bejewelled’s ‘Damnation’ statement necklace and Gem

Smith’s ‘Bubble Gum Knot’ necklace.” But it doesn’t stop there,

another pick of the crop includes the book ‘How Leeds Changed

The World’ by Mick McCann.

Sadly, the “pop-up shop” is just that - a beautiful, fleeting

moment in the ever changing landscape of Leeds city centre -

and will only with us until the 30th of May. However, seekers of

local finery need not fear, Made in Leeds (being the innovative

souls that they are) have already been working on an online shop

and also a showroom in their new o�ce; creating a specially

designed space for bloggers and press to soak the atmosphere

and vibe of the brand, “we really want to invest our time into the

online shop. We realised how much a physical shop can take over

your life, after the pop-up store we can finally unwind and think

about what else we want to do.”

Speaking of future plans, the group said that “one of the good

things of being young professionals is that we do things very

spontaneously. Both the newspaper and the store were decided

early this year, so you’ll never know what we have next for you” and

with more collaborations from cool Leeds brands for new

merchandise up their sleeves, I think that we will be hearing a lot

more from the Made in Leeds group in the not-so-distant future.

Good luck guys!

For Made in Leeds online store & more information go to:

http://madeinleeds.co

Words: Rachel Monaghan / Photos: Hannah Sunderland


Amber Nifaut – 23

Hat – Jd Sports

Jacket – France

Boots – France

Denim Shirt – Dorothy Perkins

Ben Harris – 21

Jacket – (The North Face) Supreme

Bag – Supreme

Tee-shirt (Diamond Hu�) – Welcome

Trainers (Floral Janoskis) – Endemic

Chris Lambert – 31

Shirt – Fred Perry

Jumper – Fred Perry

Trousers – Fred Perry

Shoes – Loake

Hannah – 20

Dress – Oasis

Leather Jacket – Ax

Bag – Zara

Shoes – Miss Selfridge

Martyn Hill – 22

Shirt – Subvert (In Castleford)

Jeans – H&m

Vans – Subvert

Beanie Hat – Welcome

Polly Alexandra – 25

[email protected]

Hat – Vintage (In Harrogate)

Dress – Urban Outfitters

Necklace – Australia

Necklace X2 – Azendi

Boots – Urban Outfitters

1.

2.

3.

4.

5.

6.

STREET STYLE

1. 2. 3.

4. 5. 6.

Words: Hannah Sunderland.

INFO

Amber Cars0113 636 445

Blue Line0113 263 9999

Premier0113 255 7247

Arrow0113 256 5065

Oulton Cars0113 287 5777

Galaxy Cars0161 998 8888Unit 16, Floats Road, Roundthorn

Elton Cars0161724444432, Warthfold Road,

M26 2XL

Diamond Cars0161 654 0029191, Oldham Road, Mid-dleton, Manchester M24 2LD

AutoCab0161 445 555568, Parrs Wood Road, Manchester M20 4RP

Olympic Cars0161 877 67602A, Seymour Grove, Manchester M16 0LH

Taxi’s Ticket Outlets/Record Shops

www.skiddle.com www.ticketarena.co.uk www.residentadvisor.net

www.movementmagazine.co.ukwww.facebook.com/movementmagazineltd

LEEDS MANCHESTER

Taxi’s Ticket Outlets/Record Shops

Jumbo RecordsSt Johns Centre 31 Merrion Street,Woodhouse, Leeds, LS2 8LQ0113 245 5570www.jumborecords.co.uk

Crash Records35 LS1 6PU0113 243 6743www.crashrecords.co.uk

Tribe Records13 Crown St Leeds LS2 7DG0113 243 3414www.triberecords.co.uk

Relics Records53 New Briggate Leeds0113 234 7361www.relicsrecords.co.uk

Norman RecordsUnit 20, Croydon Street, Leeds0113 245 4399www.normanrecords.co.uk

Therapy The Hub LtdMill 1 Ground Floor NorthMabgate MillsMabgateLeedsLS9 7DZ07554964237www.therapythe-hub.co.uk

Picadilly Records53, Oldham Street, Manchester 0161 839 8008

Vinyl Revival5, Hilton Street, Northern Quarter, Manchester 0161 661 6393

KingBee Records519, Wilbraham Road, Chorlton, Manchester 0161 860 4762

Vinyl Exchange18, Oldham Street, Manchester 0161 228 1122

Beatin Rhymin108, Tib Street, Manchester 0161 834 7783

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Mint Festival September 21st

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movement magazine - issue 4

Documents

wild year

year old

incredible journey

lifestyle needs

dance music world

entire house music world

vision founder ralph

likes of warehouse project