Zone Magazine Issue 037 Spring 2023

ISSUE 037
SPRING 2023 - Lemon8
" Being on stage is really my happy world. If anything it
makes for even better performances and gigs, as you really
give it your all. It's the big escape from whatever is bothering
you. At least for me "
| Chris Cargo | Frank Dueffel | Weissach | Jay Dobie | Paper Recordings | Hosuehold Digital |
| What The House Meets London House Music | DJ Charts | Music Reviews | And More |

LARGE! - John Gibbons - 9/10
Nice One! - Sam Divine - 7/10
Funky Stuff, Thanks! - sa.lomaonun.es - 8/10

WELCOME
ISSN 2009-8014 (Online) ISSN 2009-8006 (Print)
FOUNDER, EDITOR, PUBLISHER & HEAD OF
CREATIVE
Paul Newhouse - paul@zone-magazine.eu
Well Folks, Lots of great things happening here at Zone HQ just for
you lot, so keep coming back! Well its Spring 2023, we have a
packed issue with all the regulars, and lots of interviews! We would
just like to say RIP to our brother Pete Van Payne who passed away
recently. He will be missed for his music, his radio show, work. an
good soul!
FEATURE WRITERS & CONTRIBUTORS
USA
Megan Williams - megan.williams@zone-magazine.eu
Amber Leigh Melby - amberleighmelby@gmail.com
Matt Schantz - mattschantz73@yahoo.com
IRELAND
Antoney Mac Phiarais - antoney.mac@zonemagazine.eu
UK
Paul Sawyer - paul@kraftedmusic.com
Danny Slade - danny.slade@zone-magazine.eu
John Ricketts - john.ricketts@zone-magazine.eu
Paul Hawcroft - paulhawcroftmusic@gmail.com
Mark Neenan - Markneenanpromos@gmail.com
John W McDevitt - j.w.mcdevitt@talk21.com
GERMANY
Jordan Parrish
Harald Meyer
NETHERLANDS
Thorsten Benders - thorsten@zone-magazine.eu
MUSIC DIRECTOR
John Ricketts - john.ricketts@zone-magazine.eu
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ZONE MAGAZINE is owned and published by Paul
Newhouse. Arrangement, design & Editing, Marketing
by Paul Newhouse. Copyright 2014-2023 Zone
Magazine. The views expressed and opinions given in
this magazine are not nessicerally shared by the
publisher. No part of this magazine shall be republished
without prior agreement from its publishers.
Readers should take care when responding to any
adverts in Zone Magazine, which apear without any
indorsment or responsibility, from Zone Magazine.
In our feature interviews in this issue we talk to cover superstar LEMON8. Harry
Lemon aka LEMON8 has been at the forefront of dance music both as a DJ and producer,
whilst producing a soundtrack of a generation at the same time. Model8 - his first ever
produced track from 1993 - is now being recognized as a classic and landmark in Techno
and dance music in general. The Inner Sanctuary Sessions double album, solely
consisting of his original music and remixes is now recognized as a highlight in
Progressive House Music with tracks like New York, New York and Lose Control just to
name a few. The latter was even voted all-time best record on the iconic Bedrock label in
2020 by the fans by a landslide.
From The UK, we speak to the newly formed D&B group that is WEISSACH. With the rise of
Drum & Bass taking over festivals Worldwide, we caught up with a duo who have just emerged into the
scene, although they are no strangers to producing and performing music. Both known for their
contribution to the Progressive House scene for many years, Paul Sawyer and Simon Sinfield have been
running their Krafted imprint for the past 10 years and have been releasing music on notable labels
including Black Hole Recordings, Pure Trance, Perfecto Records, Toolroom, Pattern and many more.
From N. Ireland we caught up with CHRIS CARGO. An artist with a long, rich and varied
history, Chris Cargo has been at the forefront of the underground dance music scene for over 30 years.
A career that began in the 1990s has seen the UK star carve out a sizeable niche with his distinctive
blend of progressive, deep and melodic house, resulting in over 200 production credits for some of the
finest modern imprints and a DJ touring schedule that has seen Chris reach all corners of the globe.
We speak to UK based owner of Progressive House Classics blog JAY DOBIE. As a 13 year
old, in 1980, Jay Dobie, became interested in Electro music predominantly introduced via the
Streetsounds label and Became a keen Breakdancer. At 15yrs old he purchased a mobile disco and
became a member of DMC which sparked a keen interest in club music, and he spent 2 years on the
road with the mobile disco including a residency at the local hospital social club. Sometime around the
Autumn of 89' attended his first acid house party. By December that year he was attending parties
weekly and in March of 1990 put on his first party using his mobile disco.Jay also graces us with his alltime
top ten tracks and tells us about why!
From Germany we speak to FRANK DUEFFEL. Frank Dueffel from Cologne, Germany,
started DJ'ing in 1999. Since then he has had several gigs alongside wellknown DJs like; Paul van Dyk,
Alex M.O.R.P.H., Talla 2xlc, Madwave, Pierre Pianaar and TyDi on international events like Amsterdam
Dance Event, Nature One and Streetparade. His DJ sets feature a wide spectrum of electronic dance
music, a unique mixture of trance, melodic techno, psytrance, breaks and house alongside some darker
stuff, always energetic and with a touch to the underground. This can also be experienced on his
Needful Things radioshow on Afterhours FM on a monthly base which will be reaching its 100th episode
at the end of the year.
We also talk to USA based label HOUSEHOLD DIGITAL. A Label based in the West Coast of
the USA, in the Bay Area of California. Running since 2002, and initially a vinyl label. Tracks released
via Household Digital are usually Tech House, Deep Tech, House, Techno, Minimal and Deep House.
Their aim has and is always to showcase quality house & techno music producers, with whom they work
with and respect as artists.
We speak to long standing and very well respected world wide PAPER RECORDINGS from
the UK. Founded in 1993 by Pete Jenkinson, Ben Davis, Miles Hollway, Elliot Eastwick, Andrew Gough
and Stephen Page while all working at The Hacienda and Hard Times club nights. The label has
commercially released over 2000 recordings, created by over 500 artists, producers, and remixers in
over 50 countries across imprints Paper Recordings, Paper Disco, Paper Wave, Repap Records and We
Are Woodville Records.
We speak to Costa Del Sol, Spain, and London, England, residents and party organisers
WHAT THE HOUSE meets LONDON HOUSE MUSIC. The Event of the year is coming to the Costa Del
Sol, Spain this year, with heavyweight brands “What The House Music” and “London House Music”.
Coming together for the second year with another killer line up of exceptional house music for their
Summer Opening Festival. After one of the best parties on the Costa last year, this power duo are set to
take over the whole of Florida Beach, in La Cala De Mijas, (Nr Marbella) for an all day party that starts
at 1pm by the pool and finishes inside the club at 4am! As they put it…….8 hours by the pool, then 3
rooms of some of the best house music you are ever likely to get your ears around! London House Music
are bringing a wealth of DJ talent over from the UK along with their loyal crowd who are in Spain for the
Amor Andalucía festival.
As if all that was not enough of course we have our regular reviews and charts
from the talented and dynamic Zone crew. Also this issue we continue Zone Magazine's
FREE exclusive DJ Mix series.
As usual we would like to thank all of our very many talented contributors and
friends who provide so much content, love and support for what we are doing, they are
listed on the left hand column on this page if you want to contact them directly with the
latest news. From myself and the whole Zone crew, we just wanted to say thanks again
for your continued support, peace.
Paul & Zone Magazine Crew!

contents
LEMON8
26
12
JAY DOBIE
18
CHRIS CARGO

LONDON HOUSE MUSIC
WHAT THE HOUSE
36
46
58
FRANK DUEFFEL
HOUSEHOLD DIGITAL
52
PAPER RECORDINGS

30 YEARS A DJ
available now to
stream/download
INCLUDING REMIXES AND TRACKS BY
PAUL OAKENFOLD, SOLARSTONE, zoya, SUNSCREEM
BLUE AMAZON, LOSTLY, VALLERAPHON
GUYRO, WILLIAM MEDAGLI, SHEMSU, DARKERSOUND
STORMSHAKER, DAMIEN SPENCER, NICK MUIR
BLACK 8, JAN JOHNSTON,

Exclusive DJ Mix
FREE Exclusive DJ Mix Series
At Zone Magazine here we have our FREE Exclusive DJ Mix each issue!
Check out the link below for all our exclusive DJ Mixes.
FELIX FX [GERMANY]
PETE VAN PAYNE [GERMANY]
PAUL BLEASDALE [UK]
PETE BONES [UK]
EDDIE AMADOR [USA]
LISA LASHES [UK]
DANY COHIBA [SPAIN]
SOULTRAK [UK]
CHRIS GEKA [FRANCE]
JOHN GIBBONS [IRELAND]
PAUL NEWHOUSE [IRE]
DJ SAMER [USA]
MARK NEENAN [UK]
GAVIN HARDKISS [USA]
GERRY VERANO [AUSTRIA]
SONAS [UK]
PAUL HUTCHINSON [UK/SPAIN]
FRANK DUEFFEL [GERMANY]
https://www.mixcloud.com/ZoneMagazineDJMixes/
https://www.progressivehouseclassics.com/

featureinterview
_________________
Words Tristan Sundae
______________________
Photography Dan Reid
___________________________
Connect soundcloud.com/weissach
With the rise of Drum & Bass taking over festivals
Worldwide, we caught up with a duo who have
just emerged into the scene, although they are
no strangers to producing and performing music.
Both known for their contribution to the
Progressive House scene for many years, Paul
Sawyer and Simon Sinfield have been running
their Krafted imprint for the past 10 years and
have been releasing music on notable labels
including Black Hole Recordings, Pure Trance,
Perfecto Records, Toolroom, Pattern and many
more.
Ahead of their debut single ‘Fly’ that features
Ana Be on vocals, we visited the Weissach
studio to speak to the duo about their journey
into Drum & Bass.

" We’ve already been working with Hannah for a year
now and produced her first single ‘Same Old Story’
which ended up being Premiered on BBC Radio 1 last
year and have hooked her up with a couple of other
artists who have made some chill tracks with her "

Hey guys, good to see you’re
moving into what is a new genre for
you both, why the move?
We’ve been talking about doing something
different for a while to be honest. We’ve been releasing
chill albums for a number of years and seemed a natural
progression to dip our toe into D & B.
We also have been working with Hannah aka Ana
Be who has been releasing laid back singles and just
thought she would sound amazing on a liquid D & B track,
so gave it a try.
project and asked for recommendations for someone to
give us the press push we needed.
We’re also hoping for some support from the BBC
on BBC Music Introducing, so as we speak, we’re just
waiting for some answers on that.
Any plans to follow up Fly with more
releases?
Absolutely! We’ve both become hooked on Liquid
D & B, listening to it constantly! So, most of our studio
time is now focusing on more Weissach releases for sure.
Have you been able to bring your
experience making progressive
house into D & B?
Most definitely. The melodies and chord
progressions are no different to what we have already been
doing. So much of what we have worked on can be brought
into new tracks using this style.
What was the biggest hurdle?
Probably building the drums from scratch. Both of
us tend to not use drum loops and always build our own
drums in our tracks, so working that out was a headache at
first, but it wasn’t long until we got our heads around that.
So your first single called ‘Fly’
features Ana Be, why did you
chose her for this one?
We’ve already been working with Hannah for
a year now and produced her first single ‘Same Old
Story’ which ended up being Premiered on BBC Radio
1 last year and have hooked her up with a couple of
other artists who have made some chill tracks with
her.
Paul also started the ball rolling with Hannah with
a single called Waiting All My Life that was signed to Paul
Oakenfold’s Perfecto Records and ended up getting so
much support over the year from various DJ’s.
What can we expect from you
surrounding the release?
You mentioned Radio 1 earlier,
what’s your link there?
We’ve actually had two 6 month residencies on
Radio 1 and a one-off show in Jan this year. We were very
lucky to be asked to host the Wind Down Show twice and
bring some of the artists to the show who are signed to our
label.
It came as a huge surprise at the time at the end
of 2020, but couldn’t have been better timing as it fell right
in the middle of the pandemic when more people were
listening to music whilst clubland was shut.
Any plans to return to the station?
Yes, we hope so. The guys at the BBC have been
great to work with and very supportive of our music. They
have already said we will be back, so watch this space!
Does this mean that your
Progressive House input has come
to an end?
No, not at all. We are still producing and releasing
progressive house, plus more.
It’s so refreshing working on a genre that we’ve
not pursued previously and re-energised us working on
Weissach, so we will still be focusing on progressive house
still. Simon will also be making Chill tracks for our next
Chill album on Krafted.
The press campaign has been great so far. We
have a brilliant PR girl Hannah working alongside us who
has lined up lots of interviews and also a guest slot in May
on Kiss FM with Mollie Collins.
It was pure luck that we got introduced to Hannah
from Elevated Sound via our friends at Radio 1. We
mentioned to them that we were working on this new

Paul, you recently celebrated 30
years as a DJ, what was that like for
you?
Made me feel old ha ha! It was great. The album
was really well received and so was the 30 hour radio show
that I put together with so many amazing guests. The
amount of interviews that I did around that was immense.
I was so shocked how mush interest came about as a
result.
We do still have more to come to celebrate. A big
party in May in Southampton where both of us are playing
as well as Phil Youngman from RCA Records and Phil
Thompson aka Moonface who made a name for himself
being resident DJ at Bedrock for many years. It’s good to
get my good friends together for the party.
You guys have been organising
live streams for years now, probably
from right back when not many
people were doing it. Any plans for
more?
That’s right, we kicked that off with lots of
amazing guests including Nick Muir, Tripswitch, Dave
Seaman, Betoko, Just Her, Saytek and more.
We are doing another one very soon and
partnering up with Porsche again. We linked up with them
back in 2018 and have been speaking to them again about
recording another one. This time we will be at the Porsche
Centre Portsmouth, so we’ll be announcing the details of
that very soon.
Any Drum and Bass tracks you
guys are listening to at the moment
that you’d like to mention?
Yes, we have been listening to Etherwood,
Echomatics, Electrosoul System, Matt View and Aleyum &
Istoria. All making great music!!!
ESSENTIALDANCEMUSIC 11

featureinterview
_________________
Words Anthony Piercy
_______________________________________________
Photography Nomad Graphic & design & Gillian Cargo
______________________________
Connect facebook.com/ChrisCargoMusic/
An artist with a long, rich and varied history, Chris Cargo
has been at the forefront of the underground dance music
scene for over 30 years. A career that began in the 1990s
has seen the UK star carve out a sizeable niche with his
distinctive blend of progressive, deep and melodic house,
resulting in over 200 production credits for some of the
finest modern imprints and a DJ touring schedule that has
seen Chris reach all corners of the globe.
No stranger to working with the biggest event organisers and brands, Chris’
work behind the decks has seen him tour across the continents with a variety of
leading global brands as China, as the USA and South America have all played
host to his free-flowing and immaculately crafted sets. To that end, it is no
surprise to see Chris play to packed clubs and festivals in over 60 countries and
a century of cities with his trademark sound – from France to the Netherlands
and Germany to Malaysia, Mexico and Sweden, Chris Cargo has continued to
enrapture audiences with an innate understanding of what makes a dancefloor
coalesce in unified movement.
Contemporaneously, a stellar production career has seen Chris reach even
wider audiences as his music appeared on such celebrated compilation series
by Renaissance, Global Underground and Carl Cox’s Intec. Regular plays on
BBC Radio 1 and appearances in MixMag and DJ Magazine have further served
to cement a glowing reputation. Still able to appear in the upper echelons of the
Beatport chart on a regular basis, including two HYPE number ones, a plethora
of releases over the past 5 years have seen success on Paul Thomas’
renowned UV, Nick Warren’s The Soundgarden and D-Nox & Beckers
influential Sprout. Moreover, it is with his own If You Wait imprint that Chris Cargo
has celebrated almost a half century of credits as he uses the UK label as a
vehicle for his own production work, in addition to celebrating myriad
established and up and coming artists. Able to use If You Wait to showcase his
own original music, March 2022 was a landmark moment as Chris released his 11-
track, “Resistance” album to widespread critical acclaim.
Still as driven and influential than he has ever been after more than 3 decades
in a notoriously fickle industry, Chris Cargo continues to find himself shaping the
modern music industry within both the live and production arenas through
impressive technique and craftsmanship. Able to harness those characteristics
into a powerful driving force, Chris Cargo’s career continues to go from strength to
strength.

" Ive been releasing music for 25 years and along that
way I’ve had the privilege to work with many such as
seminal labels; Renniassance, Whoop, Choo Choo,
Automatic, and Limbo, to more recent times with the likes
of The Soundgarden, Mango Alley, Joof, Beat Boutique
& many more "

How are you today & How was your
week?
I'm feeling really great today the sun is shining and
spring is in the air!
Were are you based & Were did you
grow up?
I’m based in the peaceful and beautiful County Down
countryside of Northern Ireland. I grew in Belfast.
What is your first musical memory?
Sunday drives and picnics in the car while it rained
outside and musical delights such as Kenny Rodgers, Phil
Collins & Tina Turner courtesy of my parents!!! I suppose my
first foray in to electronic music would have been
hearing very early Sasha mix tapes prob around 91/92 from
then I was hooked both to the sounds and the art of DJ'ing.
Tell us who and what was your main
influnces back then?
Probably those Sasha tapes got me into electronic
music and from then I started listening to people like Laurent
Garnier, Carl Cox, John Digweed and this led me to find
record labels similar in sound to the DJ's i mentioned. I used
to love heading into Belfast city centre on a Saturday and
heading round all the record stores such as Underground,
Mixmaster, Snafu, Central Records & Dr Roberts to name but
a few.
Can you explain the scene at the
time?
I was lucky to be around the clubscene in the
early to mid nineties at the likes of Arts College, Venue,
Kellys and the explosion of House and Progressive
house a little later in particular at venues like The
Network
Club, Thompsons, Lush! then and not long after this I
began DJ'ing in these same venues. It was a fantastic
time to be around clubs, the music was fresh and the attitude
was care free. It was the time of the troubles in Northern
Ireland and the 90's dance scene provided escapism and
respite from the grim reality of life in a divided society.
What do you remember playing on
the radio ?
Emm! early 90's Snap ‘rhythm is a dancer’ plus
artists like Madonna, Prince, Oasis alot of dance stuff had
started to cross over like 808 State ‘Pacific’, Inner City - Good
Life. Then stuff like Robert Miles ‘Children’, EBTG- Missing
then the likes of Daft Punk emerged.
What DJ's were playing in the clubs
then?
I began clubbing probably at the age of 16/17 and
also began DJ'ing in clubs not long after this. DJs that I would
have heard ona regular basis would have been the likes of
David Holmes, Mark Jackson, Billy Nasty, Drum Club and a lot
of the Renaissance guys like Nigel Dawson, Ian Ossia and so
on.
What record labels influnced you
then?
Guerilla, Limbo Recs, Harthouse where my top 3.
Can you pinpoint the time you where
going to follow your passion, DJ'ing
and music production?
I think from very early in my teens my only thought
that I has was that I was going to DJ in clubs it took another
few years before I finally made the leap to full time DJ/
producer, but I remember it well, I was working in the Royal
Mail sorting office around 25 years ago and I had no holidays
or sick days remaining due to DJ'ing away and got booked for
4 gigs in USA and that was it handed in my notice!
Run us trough your home set up.
My home setup these days consists of Apple Mac, A
couple of Midi Controller keyboards from M-Audio, Spirit
Absolute 2 monitor speakers, Go to synths Diva, Hive 2, Anna
2.
Are you an abelton / reason / logic or
analog guy?
In my earlier production days I hopped between
Cubase then Logic whilst working with plenty of outboard
analogue gear like Juno106 .Over the years the outboard
stuff is used less and less and in more recent times I've
switched basically to none at all. In the last 10 years or so
Ableton has been my main DAW.
Explain your writing process, if you
don't mind?
I usually began with drums I really enjoy getting
together a really strong groove, I work on the bass and layer
again making sure I have a really nice groove, then I’ll
usually work on a lead or hook. I’ll work with this for a weeks
then leave it and go back with fresh ears and pick out what I
would or wouldnt change etc. and then add more sounds and
EFX’s if needed. Then I will send off for the mastering to be
done.
Take us trough your early releases
and other alias'.
I've been releasing music for 25 years and
along that way I’ve had the privilege to work with
many such as seminal labels; Renniassance, Whoop,
Choo Choo, Automatic, and Limbo, to more recent
times with the likes of The Soundgarden, Mango Alley,
Joof, Beat Boutique & many more. I love the artistic of
creating a piece of music and then seeing it make people
happy on a dancefloor.
I dont have any other aliases these days but years
ago I produced under; Sential, Transitions, Gilbey & Cargo as
well as a serious of breakbeats bootlegs I produced under the
name Carganoid which include my takes on Smokebelch 2,
Orbital Kinetic & Green Velvet ‘La La Land’
which were all really successful and got plenty of BBC Radio
One airtime.
Some of my best work in the early days came on the
legendary Choo Choo Records label altogether I released
seven tracks gaining lots of BBC Radio 1 plays and appearing
on plenty of comps for the likes of Danny
Howells. During this time I was really able to create and craft
my sound and find my groove.

" I was lucky to be around the clubscene in the
early to mid nineties at the likes of Arts College,
Venue, Kellys and the explosion of House and
Progressive house a little later in particular at
venues like The Network Club, Thompsons, Lush!
then and not long after this I began DJ'ing in these
same venues "
ESSENTIALDANCEMUSIC 15

You have releases on a lot of top
labels worldwide, can you tell us
about it?
Late 90s and early noughties I remixed and
released for lots of labels around the world as well as UK
labels such as Rennaissance, Automatic, Whoop, Decipher,
Limbo, Method & Belfast based Red n Raw Recs. I also
had releases with Portugese based ‘Feed Me Records’
Swedens ACDC and Inkfish Recs, Canadian Release
Records, Germanys Hadshot & On a Mission labels and I
was lucky enough to remix for the likes of Minilogue, Tom
Novy, Inkfish, Hardy Heller. More recently Ive released
6 tracks with Beat Boutique from Israel, Mango Alley,
Movement Records, UK based The Soundgarden, Forensic
Records and remixed the likes of Dmitry Molosh, Weekend
Heroes, EANP, Jiminy Hop, Lucas Rossi, Glenn Morrison.
you started your own record label
tell us about how its going so far
I decided to set up ‘If You Wait’ nearly 4 years ago
having had previous experience working for ‘Mixmaster &
Shine Recordings. I knew it was something that I enjoyed I
also felt it would give me a free reign creatively that I could
release whatever and whenever I wanted. Over the 4
years I've also been very lucky to have had the pleasure of
signing and releasing from various artists throughout the
world the likes of Dowden, Cream, Weird Sounding
Dude,Kaspar Tasane, Domingo & Mariner & Hardy Heller
& Alex Connors.
You released a new album just a
few months ago, tell us more about
that & how has the feedback been,
how is that going?
My first album was released in 2009 so i felt it was
about time I followed
that up with a second album. It began during lockdown
when I was writing lots of music but was keeping it to
myself, then during this time my mother passed away and
music seemed to be my only way of coping with that.
I then decided I would write an album and donate
all of the profits to ‘The Friends of the Cancer Centre’ based
at Belfast City hospital, it is my way of doing my bit I
suppose and that is what I did. The feedback was really
cool as the album combined alot of various musical taste
from ambient to breaks, deep beats to Progressive
Peaktime stuff so the response was great from all types of
DJ's from Cattaneo to Warren to Pappa to Quivver.
Can you run us threw this years
release schedule?
New 3 track Ep on OneDotSixtwo due out in June
this year and will feature remixes of each track being
released later in the year. A second collab with Alexander
Church and featuring the beautiful vocalist Rebekah.
Coming out on Configurations of Self. A brand new
retake on the Progressive classic by Pako & Frederick
‘Western Approaches’ and a remix for a rising star of the
future Luis Damora both of which will be out on If You Wait
Music.
Has there been any new artist /
producers who have caught your
attention?
Loving the work of Luis Damora, Kaspar Tasane,
Nopi, Paul Deep to name just afew.
You have played some live shows
this year, tell us about that.
I scaled back my gigs at the beginning of the year
and I'm slowly coming out of hibernation from this summer
on and I can’t wait. I've been touring on and off for 20 plus
years and have managed to go through quite a few
passports and clock some serious air miles.
Were can we catch some of your
live shows?
I have a few shows this summer around Europe
that Iam looking forward to especially at Rockerill in
Belgium in June that will be my first time in Belgium and
the start of a summer of gigs.
Were else can we catch you
playing (radio show / soundcloud
mixes etc)?
I upload all of my DJ sets and new mix shows to
my Soundcloud page https://soundcloud.com/chriscargo
If I am a young DJ trying to make it
onto the DJ circut?
Go to local gigs get to know the promoter and the other
DJ's, support them and pester them but not too much, bide
your time and perfect the art of warming up a crowd.
If I am a new artist / dj wanting to
start a record label?
Learn to produce, work hard, put the time and
effort in, get some music released on other labels so as you
have some sort of fan base to pitch your music too. Get in
touch with digital distributors and have a good marketing
plan to push your label, have a good social media strategy
in place also.
Anyone who would want to get into
the music industry in general?
Dont do it hahaha! no seriously do it for the love
and if you get some success from that then amazing if not
don't get hung up on it!! Never give up and most of all
enjoy the process!

OUT NOW

featureinterview
__________________
Words Paul Newhouse
__________________________
Photography Courtest of Jay Dobie
__________________________________
Connect https://progressivehouseclassics.com/
As a 13 year old, in 1980, Jay Dobie, became interested in Electro music
predominantly introduced via the Streetsounds label and Became a keen
Breakdancer. At 15yrs old he purchased a mobile disco and became a
member of DMC which sparked a keen interest in club music, and he spent
2 years on the road with the mobile disco including a residency at the
local hospital social club. Sometime around the Autumn of 89' attended his
first acid house party. By December that year he was attending parties
weekly and in March of 1990 put on his first party using his mobile disco.
He spent many years attending places like Renaissance, followed Sasha
around when possible but he finished with warehouse parties by this
point and was attending 'legal events'. Around 93' he bought a set of
Technics decided to start DJ'ing again, playing numerous parties.
He then worked in the local record store which lasted for 8 years. After his
first year became store buyer and within 2 years became a buyer for the
chain specialising in dance music. This job opened up so many doors,
meeting with labels, DJs, promoters and attending numerous opening
parties in UK and Ibiza and free records!
As the nineties moved on he was DJ'ing every weekend locally, and
several residencies. In 1998, he started a radio show on OSA which was
called 'Progressive House Classics' which aired every Thursday night. 1n
2003 he semi retired, to start a family, and get a real job! But in 2007 he
set up 'Progressive House Classics' on Facebook which initially was to
share his love of the sound. The Blog was then launched around 2012.
2018 the FB group continues growing and it passes the 10,000 member
mark. 2020 they reached 20000 members and the first national lockdown
is announced. During 2020 they launch the PHC Live Stream series and
blog is doing well.
So, lets see how Jay is doing today, with this rollercoaster of a career in
dance music!

" I think my favourite nights
were with Mike Cosford
(Fantazia Club Classics Tour)
and Anthony Pappa, we
were the first in the area to
feature Anthony who I think
we booked via Nick Gordon
Brown at DMC, it was around
the time he was putting
together the Freefall –
Skydive track "

Hello Jay, first of all please tell us
where you are from, what you do?
Firstly thanks for having me Paul, its generally me
asking the questions over at PHC so this makes a bit of a
change!
I've lived in a town in Suffolk all my life which has
always generally meant travelling if Ive ever wanted to go
out. We're about an hour from London, Cambridge is about
half hour, Essex about an hour. You kind of got used to it in
the early days, distance was never an issue. I now
alongside my regular job run the Progressive House
Classics blog and Facebook group.
Tell us about family life and what
goes on when you are not DJ'ing
and looking after PHC?
We have our hands full and family life is pretty
hectic. Ive got 3 boys with Autism so there's never a dull
moment!
Its the 1980's, your 13, and your just
discovering music, tell us all about it?
I was born in 1970 so Ive got some memories of
the late seventies but I think things became a lot clearer
musically in the eighties. My parents were big music fans
and Saturday afternoons were always reserved for the
playing of LPs, lots of Roxy Music and Elton John. When I
went to 'middle' school the first real band I kind of
embraced was Duran Duran who I managed to see live on
a couple of occasions. Things really changed for me with
the dawn of electro and breakdance though. In 1983 I
picked up the first Street Sounds album 'Electro1' and I
think I can safely say that was the first life changing
experience I had with music, within a year you had
Breakdance The Movie and Beat Street, both made a big
impact. It was the first kind of youth movement that I felt I
actually became involved in. I ended up becoming a keen
breakdancer and would frequent the local youth club and
recreational space with a piece of lino and a great big
cassette deck. We did it religiously every Thursday and
Saturday. Myself and my brother managed to see Public
Enemy, Run DMC, Eric B & Rakim and LL Cool J live in the
eighties. The thing with the whole electro breakdance scene
was it became everything at the time and although it didn't
have the lasting power of house you can definitely see the
roots for the new sounds that were coming through. I think
you could argue that without Electro you'd have no rap and
no house, its integral in the early development of both.
What was your first vinyl record?
First record I actually bought with my own pocket
money was 'The Specials – Too Much To Young' in 1979.
Before that everything was handed down from my parents.
You started off as a mobile DJ, tell us
about the ins & outs of that!
By the time I was 15 I'd become interested in
playing music, we used to have these video roadshows
come to the local youth club and they would be playing lots
of soul funk and DMC mixes along with giving us a bit of
Electro to break too, it sparked something and by about 16
I was travelling down to London buying US house imports.
I then bought this old mobile disco that comprised of a
Citronic Thames II deck with built in cassette player, light
boxes and pin spots. None of it worked properly! I spent
several weekends with my dad repairing everything and we
got it going, what then transpired was me going on the
road. I had a regular Thursday at the local hospital social
club and from that ended up doing weddings and birthdays,
I once got booked to do a birthday and when I set up it
was full of skinheads, ended up getting one of them to go
home and get his record collection so that I could play it,
way out of my depth on that one! The disco worked well
and one Friday I answered an ad in the local paper. The
town nightclub was looking for a DJ, at this point I honestly
thought that was what I wanted to do for a living so I
applied and got an interview. Looking back it was hilarious,
me and about six other blokes all sat on chairs at the side
of the dance floor waiting for our 30 minutes. I played a
load of soul funk and a couple house tracks, no mixing just
blends and a bit of microphone banter introducing tracks. It
turned out none of the others were happy on the
microphone and I got offered the job to support the DJ
upstairs although the manager was not to happy because
of my age and lack of experience, decent personality club
DJs were hard to find so I guess they took a gamble. The
DJ I was supporting was a Liverpudlian guy named Allister
and he was the first DJ to show me mixing two tracks
together on 1200s although I never grasped it and just
stuck with the blends. I learnt a lot about the art of DJ'ing
from that guy.
Why did you step back from the DJ
scene around 2000?
I wouldn't say I conciously stepped back from the
DJ scene but I definitely remember a disitinct change in the
way the whole scene was moving forward. The pinnacle of
that was the Y2K celebrations, its well documented how
everything kind of imploded with costs which in turn had a
detrimental effect on a number clubbing brands. It kind of
signaled the beginning of the end for the superclub brands
but gave rise to the birth of bar culture. I ended up working
in two bars in my hometown across maybe 2 or 3 years
which embraced this. The first bar nights we were playing
were a mixture of prog and funky house which went down
really well but it soon moved in to a more predominent
funky house direction which to be honest wasn't really my
thing, but I was getting paid every Friday and Saturday
night and that at the time was what mattered. I would say
it was around 2003 that the regular weekend work started
to fade out, it was also the time the I left my buyers
position at the record shop.

Tell us all about your Djing and
residencies!
I'd have to go back to working at the local club in
the late eighties which we spoke about earlier. While I was
there a number of my friends were popping in for a drink and
talking about going to acid house parties, initially I didnt
think it would be for me as I was very happy where I was. I
honestly thought I was going to travel abroad and DJ, I'd put
a tape together for a company called Juliannas which was a
DJ agency. I still had the mobile although I wasnt using it
anymore. I felt like I'd progressed from that, but then it
happened.. I went to my first acid house party and
everything changed. Within about two months I'd finished at
the local club and weekends were about going to parties and
the whole DJ thing just didn't seem as important as I once
thought it was. What I did know was that I fancied putting a
party on and in March 1990 I rented something called the
Drummond Centre and sent a load of flyers that I'd made up
out, me and a couple of friends set the mobile disco up,
flooded the place with smoke and put on some Chicago
house, next thing the police walked in and said there was a
report of an acid house party taking place and they shut us
down! Hilarious looking back on it. A guy called Mick Logan
was kind of doing the same thing but in a pub enviroment on
a Sunday night I think but he pulled it off far better than I
did. How the hell I'd have done a whole night was beyond
me, no guest DJs, no Technics and I couldn't mix! Weirdly
though this didnt put me off. I then decided to break into a
farm unit with exactly the same setup, this time I had a DJ
who did his best on the Thames II setup.
After that event I rented systems and concentrated on doing
parties right through 1990-91, warehouses, event halls and
outdoor forest parties, Tin Tin the guy behind the Energy
raves was a regular guest. There were 3 of us that
concentrated on this and we had some decent success until
the pay party unit got on to us! It wasn't until about 1993
time that I actually decided to step back into Djing initially
with a set of JB belt drives which I then upgraded to a set of
1210s. I learnt to mix pretty quickly and had my first set at a
local snooker club event, from then on lots of one off events
which I organised and this took me up to the opening of a
venue in my home town which was initially a cocktail bar but
very quickly became a venue that many of us used as a meet
before events. It was incredibly popular. I ended up as a
resident there on Saturday nights and put parties on
featuring lots of guest DJs including Lee Coombes, his brother
Tim and one of the guys from SOR. After that ended up
getting shut down in a dramatic drug bust I ended up moving
over to a neighbouring town at a club called Vinyl Room
where I played alongside lots of different guests, I think my
favourite nights were with Mike Cosford (Fantazia Club
Classics Tour) and Anthony Pappa, we were the first in
the area to feature Anthony who I think we booked via
Nick Gordon Brown at DMC, it was around the time he
was putting together the Freefall – Skydive track. I did
lots of retro nights there supporting Slipmatt, Ray Keith,
Shades Of Rhythm, SL2, Ratpack, Baby D.. real good fun at
the time and regular well paid work. Eventually I was playing
back in my home town doing parties called Boom! These then
led onto the two bars that I spoke about earlier. I had pretty
regular work for a few years and was lucky enough to be
working in a record shop for a good portion of that.
ESSENTIALDANCEMUSIC 21

Vinyl, Digital or CDJ’s and why?
Oh! now this is a topic that raises its head almost
weekly in PHC, I generally file it alongside the whos better?
Sasha or Digweed argument. You have to be neutral in some
things when your managing a group the size of PHC and I
don't generally comment however as we're talking here I
would say overall it doesn't really matter what the medium
is, its the music your playing that matters, that's what is
really important. Ive used vinyl, Ableton and Rekordbox. All
three of these mediums have their merits.. Rekordbox you
can carry your whole record collection around on a flash
drive. Ableton, the creative possibilities are endless, I used
this a lot when I was playing eighties/nu-disco gigs, radio
shows, and finally vinyl. There really is just something
magical about a box of records and a set of turntables plus
very little really that can go wrong, the worst you might get
is a needle jumping! as opposed to digital which when it
goes wrong, it goes wrong!
Do you think working in the record
store helped you in the music
industry?
Yeah 100%. I can categorically state that working
in music was hands down the best job ive ever had. I worked
for the UKs largest independent retailer – Andys Records. I
started there after finding myself between jobs and it was
initially just over the christmas period working behind the
counter in one of the flagship stores. I ended up getting a
permanent position and within 2 years became the company
buyer covering 40 shops all over the country. The company
was well known as a supplier of classic rock and chart at the
time, when I was offered the buyer postion it was like
working with a blank canvas, we ended up with 20 stores
that performed well with dance music and 10 of those had a
record deck and sold vinyl. I was given a budget and access
to all the major accounts plus the opportunity to source
independents, On a weekly basis I was dealing with
Universal, Virgin, WEA, BMG, Pinnacle, SRD, Vital, Unique
and Amato. My job was to presale all dance releases and
allocate out on a store by store basis. What that then ended
up doing was giving me access to contacts within the
industry which in turn opened up doors for promotional
material, launch parties and travel. I worked on instore
promotions for the early GU albums, Ministry of Sound,
Fantazia, Renaissance plus the S&D albums Communicate
and Expeditions. I've still got one of the window displays for
the first Northern Exposure album. Another really big market
for us were mixtapes the grey area of the music industry.
We sold bucket loads, literally hundreds a week. We stocked
all of the Boxed releases as they were released, all the big
tape pack rave brands and I had a really good relationship
with Stuart from Eclipse Coventry, those tapes were one our
biggest sellers and earned me a couple of decent bonuses!
Met and dealt with a huge number of people during
the 8 years I was with the company, dance went on to be
our biggest growth category.
How does the Acid house scene
differ from what followed?
Acid House was a reaction, its arguably the biggest,
most spectacular youth movement we've ever seen. Eighties
Britain was not a great place for the younger generation, a
lot of things were stale and people were miserable. Without
that explosion in music and ecstacy culture who knows
where we'd be now. I often wonder if we'll ever see anything
like that again?
Festivals, super clubs, small clubs or
house parties, and why?
Personally Ive never really been a fan of big
festivals, although I know the younger generation seem to
really embrace these which is great.. As for superclubs, they
had there place but I would say that my best memories of
the early nineties aside from acid house and early raves
would be the likes of The Eclipse in Coventry, Renaissance in
Mansfield and various nights in London, The Brain springs to
mind which was the precursor to the legendary Love Ranch,
visited The Wag and used to be a regular at The Astoria. I
guess you would class these as pre-super club. We were
really lucky where I lived we had a lot of underground
parties going on with some decent DJs. The Milky Lunch
guys in Norwich were one of the first to bring Sasha down to
Suffolk to a venue called the Waterfront that was an
amazing low key affair in a proper sweatbox venue. One
weekend you could end up on a Thames boat party and the
following week be dancing in a disused church yard. I guess
what Im saying is aside from some of the big raves I
preffered the smaller club setting events. What I would add
aswell is that you can't beat a good house party with a set of
decks, that really can be a very messy affair!
What years do you recon where the
best in the scene to date, and why?
Ha! I think you know what I'm gonna say to that..
It would be the nineties, after acid house we got to
experience the culture that exploded from the movement,
the evolution of the dance scene that followed was so
exciting. You can trace the influences for prog right back to
1990 with tracks like Age of Chance – Times Up and Djum
Djum – Difference, things moved along, evolved and genres
were created. If I had to pick specific years I would say
92-96 were my personal favourites, some of the music,
labels and clubs in this period were magical.
Oldskool, neuskool or a bit of
allskool?
As I mentioned earlier Ive not really listened to a
huge amount of new music, Wasim my partner in PHC is into
a lot of the newer stuff though. He'll always flag up bits he
thinks I might like and what I have heard recently has been
absolutely amazing so I am taking the time out to listen to
more of it. I make a point now of checking out DJs like Harry
Lemon, Anthony Pappa, Chris Scott, Steve Parry, Dave
Seaman, John Graham and most recently Sasha & Digweed
again. The thing about running a music group the size of
PHC is you discover new 'classic' tracks all the time and as
the group grows in size and the age demographic changes
your seeing tracks from for instance 2010 that younger
members are posting that to them are classics. Theres
always something new to be discovered in music.

Where do you see the future of
Electronic music?
I personally don't like the gentrification of dance
music but it was always going to happen and thats where
much of the scene seems to be heading, all the big stages,
wind machines and pouting lips side of it is not for me,
sometimes it almost looks like an individual has been
manufactured as a brand which is so far away from the
ethos of original house music.
From my own point of view Ive only dipped in with
newer music over the last few years, my heart lays with
classic prog and thats why I enjoy running PHC. What I
would add though is that the current music seems to be
finding its feet again with a more punchy prog style, labels
like Forensic are releasing tracks that are recapturing that
classic spirit without sounding dated. Its been encouraging
to see Sasha carpet bombing events again and I know from
some of our DJs and members that they all feel musically
the scene is gaining strength once again after the whole
covid thing. I hope that there are plenty of smaller parties
out there, thats where future will be built.
Tell us about Progressive House
Classics, it started as a radio show
correct?
Yeah, thats correct it did start life as a radio show
over on the OldSkoolAnthemz platform. I used to do a 1
hour show on a Thursday night, that would be recorded and
at the time I think I upped them to Soundcloud. What I then
decided to do was set up an accompanying group on
Facebook where I would post the links. I ended up with
about 500 members in the group which I thought was
amazing and things started to develop from there. At that
time you used to be able to directly contact all members with
a group message and I started including download links for
classic Sasha, Vertigo, Welly mixes, it was kind of like a
newsletter that went out. This was the point I met Wasim
Afzal who is now my partner in the group. We became
friendly over a period of time, Was joined as an admin and it
was him that said we should push the group forward, see
what we can do with it. Over the next couple of years we
started to expand and I think at the point we reached 3K we
decided to bring Marcus Harriman onboard who was this
madly passionate music buff, we nicknamed him the 'Oracle'.
As time moved on the membership started to swell, we set
up the PHC Instagram account which was just for random
one off pics and the Blog where we archived media in
relation to prog and the nineties dance scene. Things grew
from there. When we started to move up into double figures
Marcus decided he wanted to step back from his admin role.
He made a hugely important contribution to the building of
PHC and although hes no longer with us the door is always
open should he wish to return. We're now lucky enough to
have two great 'mods' alongside myself and Was. Judd Bean
and William Noglows are two incredibly passionate guys from
the States, Judd is a lawyer in Florida and William is the guy
behind the Super Progressive imprint and he's currently
working for Danny Tenaglia. Between the four of us we keep
things ticking over. The group is now at the 31K point which
is way above what we ever dreamed and with that size
membership comes a level of responsibility to provide a safe,
friendly and enjoyable browsing experience which I like to
hope we do. We have our ups and downs as do all groups on
Facebook but we're vigilant and try to get on top of stuff the
minute its flagged up. There was an option sometime ago to
take groups private or keep them public, we decided to stay
public which means we see far more traffic but it has to be
policed so its something we review once a year. Overall its
been one hell of a ride!
What affect did lockdown have on
you, good bad, or both. Did you
learn anything from it, on a personal
and pro level?
As a family we just got on with it and for the most
part I was working, looking back on it though the overall
personal experience was negative because at the time we
really didnt know where things were heading. Within PHC
myself and Wasim immediately decided that we would up the
input on the blog and that we would look into doing some
live streams which I think became the norm for many
peoples weekends. We were really lucky and ended up
working with Anthony Pappa, TILT, DJ Vertigo, Barry
Jamieson, Marcus Stubbs and Harry Lemon, plus we did a
couple of our own where myself and Was did a Saturday
drivetime type show which was all done on vinyl. The whole
live stream thing was very positive and with the aid of the
chat rooms we all got to interact. I think its great that you
can still catch live streams via Mixcloud/Twitch even now,
some decent ones around.
What does the future hold for Jay
and PHC?
We're 15 this year which is mad! To celebrate we're
doing a selection of radio takeovers with the guys at
Subcode radio, the next one of those is at the end of June.
Our first one in March got a great response, the whole PHC
team put together mixes that covered a 6 hour period and
going forward we hope to have some guests appearing on
those. I've got a 2 hour guest mix coming up on Mixpub
Radio which I think is airing sometime in July plus we will
most likely do a couple of live vinyl streams. Other than that
we're just gonna keep moving hopefully providing a group
platform to like minded people sharing and discovering great
music.
Last words?
House!
Enjoy music and have fun.. Long Live Progressive

JAY DOBIE - ALL TIME TOP 10
Hysterix – Talk To Me
(Sasha's Full Music Master) (1993)-
[Deconstruction]
The perfect example of a remix. If you've heard the
original you'll know what I'm talking about. This still stands
the test of time today, beautifully engineered alongside Tom
Frederikse and of all the early nineties remixes he put his
name to its easily the best. I was lucky enough to catch this
on the dance floor at Renaissance when it was based in
Mansfield. Truly magical experience.
Harry Lemon – Tiga (2005)- [Bandung]
I would never be able to put together a group of
tracks without mentioning a production from Harry. Its
difficult to pick a particular track as he has the uncanny
knack of being able to sprinkle magic on just about every
production. Tiga is a track of two halves, a different take on
the same track both by Harry. Ive opted for the Lemon8 mix
as Ive personally decimated dance floors with this version. I
got friendly with Harry over the whole lockdown period and
we collaborated on several live streams during the lockdown
period. There are not many individuals in this game that can
DJ to his standard and find their way around a production
suite so effortlessly.
Second Chance – In Paradise (1990)-
[Music Man Records]
Big Frank De Wulf fan. Whenever I get asked about
tracks and artists that I feel inspired and influenced the
sound that went on to be described as progressive house I
always mention FDW. This particular b-side is a personal
favourite that samples Linda Hayden – Thats my Paradise,
also a big fan of Magic Orchestra and the first B-Sides
release which features Compression.
Finger Light – Heaven (1993)- [OUT]
Italian classic on Discomagic UK licenced from
OUT which is a super rare 12” these days. Its short
and sweet but manages to capture the early nineties
brilliantly with its its epic prog piano production.
Features a melody cover from an Alan Parsons Project
track and a vocal sample from Jocelyn Brown.
Thelma Houston – Throw You Down (Down
For The Count Dub) (1990) - [Reprise
Records]
Back in 1990 I discovered Tommy Musto and
Frankie Bones, combined they worked under the moniker
Musto & Bones and released a selection of house cuts at a
time when the hardcore thing was going on, By 1991 Im
pretty sure they went there separate ways after the PCP
track 'People Can Dance' which has that mad infectious riff
running through it.What they did with this Thelma Houston
track is stunning and another I got to experience in the wild
at The Eclipse in Coventry, hugely uplifting with a thumping
bassline and gated chords it builds up to this amazing drop
with pianos which back then would stick me to the roof.

DBM – Real Dream (1991)- [UMM]
UMM001 and what a debut for a label. There was a
point in the early 90s where you simply could not go
anywhere that you wouldn't hear this. Its interesting that
back then the whole house sound was far less pigeon holed
which meant tracks like this were getting attention from a
whole range of DJs that perhaps did not play the same style.
Its labelled up as Italo House which I think is a fair
description. You would hear the likes of Sasha, Slipmatt,
Welly, Vertigo, Parks & Wilson, Phil Perry (Full Circle) and
whole plethora of different DJs incorporating this sort of
thing into there sets. Giulio Benedetti who was behind the
track also went on to do the classic Last Rhythm.
in grass roots progressive house. I was lucky enough to
interview Dick O'Dell a couple of years back who was William
Orbits partner in the Guerilla venture and he told me that
misbehaviour at the Pall Mall base in London was in his
words 'absolute chaos!' Ive picked this particular release
because of the Fabi Paras remix. It is without doubt a
masterpiece and it came from a guy that just disappeared
from the scene, walked away. I approached Fabi in 2019
when he came out of retirement for the final Full Circle
party, I ended interviewing him, incredibly smart, strong,
talented guy. I often say I don't think he got the
acknowledgement he deserved and I stand by that 100%,
one of the originals.
Mombassa – Cry Freedom (1992) - [Union
City Recordings]
What a year 1992 was, the speed at which the UK
house scene exploded and progressed was breakneck.
Another track of two halves with both mixes being
exceptional. Produced and written by Simon Lovechild and
Phil Nicholas the vocal chants are the same as the ones used
in Total Confusion that was released in 1990. Its hard to pick
a Simon Lovechild production, I was speaking to him for a
while and we had talked about an interview for PHC..
Lovechild & Rolfe, Sly & Lovechild, Flowered UP, DEA.. So
much to choose from but this reminds me of a friend called
Tim, a fantastic DJ who had this amazing gaff with a room
called the Tripping Palace, we would just party all weekend
literally falling out of there on a Sunday night, bruised and
battered.
Echomen – Substance (2002-[Forensic Rec]
I'm literally writing this thinking I should have
picked that, or that, or that..but I'm going to stick with this
Echomen release. I'm going with this because whilst the
Forensic label is a treasure trove of pure quality the
combination of Chris Scott & Anton Fielding always for me hit
the mark. Echomen, Mooncat and Time Design. Forensic
were an incredibly important part of the late nineties early
noughties prog scene and one of the only labels that are still
in 2023 putting out tracks that have that original progressive
vibe.
Erasure Take A Chance On Me (Phil Kelsey
Mix) (1992)- [Mute]
Erasure cover Abba.. to be honest it sounds a bit suspect but
drafting in one of the early nineties most sought after
remixers was certainly a smart move. This is Phil giving us a
taste of the future, a 13 minute epic! Looping 'When I Dream
Im Alone.. Its Magic' gives this track a whole different shape
and many are surprised when you tell them its a remix of an
ABBA cover. For me another perfect example of remix
perfection. Utterly devastating on the right dance floor.
React to Rhythm – I Know You Like It
(Fabi Paras Rmx) (1992) [Guerilla]
Guerilla is arguably for me the most important label

featureinterview
__________________
Words Paul Newhouse
______________________________________
Photography Menno van der Meulen & Rick de Vries
___________________________
Connect facebook.com/HarryLemon8
Harry Lemon aka LEMON8 has been at the forefront of dance
music both as a DJ and producer, whilst producing a
soundtrack of a generation at the same time. Model8 - his first
ever produced track from 1993 - is now being recognized as a
classic and landmark in Techno and dance music in general.
The Inner Sanctuary Sessions double album, solely consisting of his original
music and remixes is now recognized as a highlight in Progressive House Music
with tracks like New York, New York and Lose Control just to name a few. The
latter was even voted all-time best record on the iconic Bedrock label in 2020 by
the fans by a landslide.
Throughout the years, his music and remixes is known for bridging gaps and
crossing boundaries between genres and is being played from an eclectic array
of dj's like Danny Tenaglia, Tiesto, Danny Howells, Armin van Buuren, Richie
Hawtin and Sasha just to name a few. As a DJ he has performed worldwide at
the most influential clubs and festivals. His popular monthly 8TM radio show at
friskyradio.com is now in its 16th year and garnered many loyal fans.
Lemon's work has always remained relevant and very much in demand, gaining
him rave reviews with every release and a now legendary status that only few
can achieve. After having some time off, dealing with the pressure that comes
with being an artist, 2020 and beyond was supposed to be totally dedicated to
being back on the road, presenting his latest productions, greatest hits and
showcasing what that Lemon8 sound is all about.
Because of the recent worldwide lockdowns, Harry resorted to live streaming
which gained him many new and long lost fans and a renewed interest in
everything Lemon8. As soon as the world opened up he's been touring
frequently from small clubs to Festivals. Yet, he still streams monthly of which his
followers became family and produced a number of remixes to great acclaim.
Next to that he will start his new, yet to be named record label in 2023. The year
that his first self produced and now uber-classic 'Model8' turns 30 years old.
Cliff Black, 2023.

Who is Harry and who is lemon8?
Harry is just me. I was baptised Henry, Carl,
Nicolaas, Jacobus Lemon but it's always been Harry. Lemon
is my real surname and its origin goes back to Ireland. In
Celtic it was Lehman, wich translates as good man. (Just
wanted to get that in there!!). It then was basterdized over
the years to Lennon and Lemon. From Ireland one great
grandparent Lemon went to the UK, then to Singapore,
then the offspring to Indonesia to finally me ending up in
Holland where I was born and raised. So that's a little bit of
family history here. I'm basically a remix myself with
Dutch, Indonesian, Singapore, Irish and German blood.
Lemon8 is a DJ/Producer and born at the end of
1992. Before that my DJ name was DJ Funkateer and I
played Funk, Disco and Rap.
Tell us about Model8, 30 years old
now, a track which is now
considered a classic Techno track?
Mobel8 was the first track that I've produced
myself. My debut called 'Touch Somebody' was produced
by someone else, though there's a remix on it that I did,
not knowing how everything worked. It was alright though.
But Model8 is what I consider to be my debut.
Model8 started as a remix of a track called 'The
Navigator' by the Tellurians of which one of its members
was Ferry Corsten. After the remix was done I've waited for
4 months and heard nothing back from See-Saw label
owner Hans Hermans (Who later started UDG and died in
2011) so I decided to make an additional remix and release
it on Basic Energy, a new to start sublabel of Basic Beat
Records. That additional remix became the most popular
version and is called Model8 - Lemon8 remix. It was
pressed in multiple colored vinyl records, the first one was
red. It was rereleased in 2006 or 7 on Richie Hawtin's Plus8
label. The greatest compliment came from Richie himself,
who said that this is what he intended to make when
producing Spastik. he collected all colors and even brought
them all with him when he was my guest at Nighttown,
Rotterdam. Model8 really was made with my Nighttown
basement residency in mind as it really reflects that energy
of the early 90's. It's still being played the world over and
gaining fans across generations. And the other day,
someone I know for 30 years and a DJ as well, only just
found out it was mine. The thing is that it was so far
removed from the Dutch tech and club sound at the time
that people just couldnt connect the Lemon8 from
Nighttown with the Lemon8 of that record. I guess that's
pre-internet for ya.
When you go into the studio, tell us
about your process.
get into the studio I'm easily caught up in it. It's just the
initial get up and go moment that can sometimes be
daunting. I always feel technology gets in the way. I've
always felt like that. I wish I could just think it.
However, I am a geek as well so I do enjoy the
technical aspects of it too. But that is holding me up rather
than being productive.
I Usually start with beats and drum programming
as that is the core of what dance music is about. Then a
bass line and I build from there. But sometimes it can just
be a particular sound too or an effect. The way a
compressor sounds on a particular instrument can be highly
motivational for example and I often throw away of what
I've had thusfar and continue with that sound. Of course
that way you can end up in an endless loop and that
happens often. The thing with house music is that it's
hypnotic and there are days that I hypnotize myself with
just that one loop.
So many pitfalls when it comes to producing.
Especially when you're all by yourself. Sometimes you need
to wake up and get out of your loop. It's like life itself when
you think about it right?
What gear is your go to? And tell us
about the equipment you use in the
studio.
I try to keep it as minimal as possible. I work with
Reason 12 for over 12 years now and what I like about it
most is that it resembles hardware. It actually looks like
having racks filled with equipment and synths. And you can
have a look at the backside, patch cables... so many things
you can do with it. I've tried Ableton Live which is really
popular among dance music producers but I just can not
connect it with music. It looks like a spreadsheet to me and
has no personality. To me at least. DAWs are a very
personal thing and since I started with hardware, Reason
comes closest.
I have three hardware synths left that I will
probably keep forever; First and foremost the Yamaha
AN1x. It's a Virtual Analogue synth and I think one of the
best synthesizers ever made, analogue or virtual. It still
inspires me to this day. It's on all my Inner Sanctuary
productions and remixes. Then I have a Korg Poly 800 II.
Don't use it at all really but it was my first and just can't
part with it. The third one is an EMU Audity 2000 module.
It's just so quirky and unique though I haven't used it for a
long time. Oh, and can't forget my MPC 2000 of course.
One day I'll pick it up again as soon as I find a solution to
my faulty zip-drive (!).
So yes, everything is mostly 'in the box. There's
nothing software can't do and I don't suffer from GAS
(Gear aquirement Syndrome). If anything, less is more.
It starts in the head most of the time. I really
need to create an urge or get inspired. That's not always
possible of course, especially when it comes to remixes and
deadlines. It's not really productive too as I have many
interests. I don't think of music all the time. But when I do

" In 37 years of DJ-ing it's
nearly impossible to just pick one
best gig. All gigs are special one
way or another. Sometimes it's
because of the set, sometimes it's
because of certain circumstances.
It can be anything really... So
many great memories and
adventures attached to gigs. I
could write a book about it "
ESSENTIALDANCEMUSIC 29

Festivals, Superclubs, small clubs or
House parties, and why?
All of them as far as I'm concerned. The variation
is nice for me as well as for punters. I like festivals because
of the general atmosphere, especially when it's outside and
the weather is nice. It's like a theme park with a
soundtrack. Superclubs are very special, especially for a DJ
as you have that rewarding feeling of being really
appreciated as an artist. Especially at first when you have
that euphoric feeling of 'finally making it'. As for me that
goes for any gig, but I remember my first time at Iconic
clubs like Amnesia, Godskitchen or Ministry of Sound and it
felt very special. Small clubs are my fave from an artistic
point of view. For me it's the best way to express myself
when the audience is between 200 and 500 in numbers.
Usually I can play for longer and it's the best way to
connect with people. Look them in the eyes, have a smile
or just get totally lost in the experience. House parties as in
a house? Done quite a few of these for the past 3 years and
totally enjoy that. It is basically how I started out as a DJ
and captures that feeling of why I'm doing this in the first
place. The downside of this is that it hardly makes any
money of course.
Tell us about your radio show, 16
years now and going strong?
Yes, amazing really when you mention that
number. It really has become an archive of dance music
history. I was asked by Frisky Radio back in 2006 for
an Artist Of The Week mix and soon after I was
asked to do a monthly show. Since that time, Frisky
grew exponentially to the big player that they are
today. My 8-Track Mind show - or 8TM in short - has
always been on the same time and date which is the
1st Thursday of the Month at 7PM GMT or 20:00 CET
and that certainly helped to have over 1.2 million
listens now in 2023. I don't have guests on my show.
These days every DJ has the opportunity for some sort of
online presence to show off their sets and mixes. So if you
want to hear Lemon8 you tune in to Lemon8. I never really
got the guest mix thing.
Best event you have played and
why?
In 37 years of DJ-ing it's nearly impossible to
just pick one best gig. All gigs are special one way or
another. Sometimes it's because of the set,
sometimes it's because of certain circumstances. It
can be anything really... So many great memories
and adventures attached to gigs. I could write a book
about it. Recently I've been playing in my home country
Holland more than ever - at least since 2002 - and had
really great gigs. The Recycle Lounge in Amsterdam comes
to mind, especially as it was the first gig after the
lockdowns. Very emotional and people still remind me of
that set. Also in Holland recently was at the 'Hartstocht'
festival in which I can say we all truly experienced some
sort of spiritual lift-off into whatever you want to call it. We
all felt it.
Playing in Indonesia was very emotional too as my
father was born there and I was the first to see my family.
Stadium club in Jakarta was an amazing experience,
Thessaloniki in Greece felt like my hometown for years with
extraordinary gigs, Bucharest, Istanbul same thing... I
could go on and on. If the gig wasn't a 100%, than
something else was. I'm blessed.
Worst event you have played and
why?
Not too many of these really. It's also about
attitude I guess. I'm pretty easy going and it takes a lot to
push me into negative territory. I'm a stoic that way. But
perhaps I just forget about bad gigs. One tends to do that.
What does Harry do when he’s not
Lemon8?
I'm only Lemon8 when I'm performing. I have so
many interests. I like to philosophize and study art and
history, Magic and alchemy, megaliths... I'm very nerdy
and can really get into whatever subject. I like technical
things. And although technology can get in the way of
producing electronic dance music, I do like the technical
aspects of sound design. It's also why I started mastering
commercially. I really enjoy doing that; fiddling with things
and make it better. I sometimes wish I was living during
the Renaissance and be that polymath, a renaissance man,
according to Wikipedia an individual whose knowledge
spans a substantial number of subjects, known to draw on
complex bodies of knowledge to solve specific problems.
It's what I've always tried to achieve. Of course that goes
unnoticed even when accomplished. But it's always been
something I've been aspiring to be. making music is very
limited in itself. I could have been a published writer, did
write columns, I've acted for 3 years and was always
drawing as I wanted to be a cartoonist. DJ-ing felt into my
lap really and decided to stick with that. I love to ride my
bike. especially when the weather is good and that is not
always the case in The Netherlands. I always have podcasts
on when I do. Just something to learn from. Podcasts is
where it's at today when it comes to listening to different
voices, opinions and entertainment as far as I'm concerned.
Especially since all mainstream media is controlled.

What affect did lockdown have on
you, good bad, or both. Did you
learn anything from it, on a personal
and pro level?
At the start of the lockdowns, I only recently got
out of a severe depression and was ready to tour again. So
as that didn't happen I knew I didn't want to return to that
darkness and did everything I could to stay positive. If
anything, it made me feel stronger. I started live streaming
that same month and that not only helped me, but other
people too. It was the only entertainment at the time and
kept it positive; no politics whatsoever and all I ever said
was 'Stay sane'. People look back at it now as an emotional
and yet happy experience. It gained me some real world
connections, love and friendships. Before that, it was hard
to find anything visual about me on the internet so many
people got to see and hear me live for the first time or
reconnected since a very long time. Especially here in
Holland where I've been under the radar as I only did gigs
abroad for 20 years. I'm playing in Holland now as much or
more as I ever did. I'm very grateful for that as I'm not
that much into flying these days.
I read you had some struggles
dealing with the pressure of the
working artist. Tells about this if you
can? I know from my own
experience with mental heath, and
talking and reading about others, it’s
a hard thing to deal with when you
need to DJ and perform.
Being on stage is really my happy world. If
anything it makes for even better performances and
gigs, as you really give it your all. It's the big escape
from whatever is bothering you. At least for me.
Music gave me so much in life, but also took a lot from me.
It seems to be a very commonplace thing. As if to sacrafice
something of yourself. As an artist you have to deal with
the ultimate highs and loneliness. So I go from total bliss to
a lonely hotel room and it's very hard to share it with
others. Even the people who are closest to you. To others it
translates to either bragging or being overdramatic while
it's non of these things. So you keep quiet. Dealing with
success is another thing. Many are afraid of being
succesful. Not failure, but being successful. I was too. It
can get you into shock, into complacency, you come to a
standstill. It becomes too big and even daunting. Hard to
explain really. I guess most artists are the emotional kind
of people. The most succesful ones are those that are more
business minded and not always about self expression but
they get depressed too one time or another.
You mainly produce what would be
called Progressive House, but you
do have some techno, house, and
trance releases. What is it about the
Progressive House sound you
prefere over the other styles?
I've never attached any label to my music. I,
myself, always just call it House Music. But back in the
early 2000's all of a sudden you've had that non gimmicky
sound and it happened to be named Progressive House. By
non - gimmick I mean that, in the 90's, house music was
very hook driven. my 1993 'Model8' had that and 'The Bells
of Revolution' for example had that too. Next to that, the
new wave of progressive house music encompassed all
styles of house music which to that point have been very
seperated into all kinds of styles. Prog brought all these
elements together and that was the appeal for me. I no
longer had to fit myself into a certain genre. I mean, as a
DJ I played that way too so it made sense. It really brought
back a sense of freedom. Back then Prog had elements of
tribal, house, techno, trance, breaks... everything! Now
Progressive House is nothing but another Beatport label. It
was never a style but now it is. I fall asleep with much of it
and with those that play it. It's one beat away from lounge
muzak. No progression in arrangement, lazy loop
productions and not dancefloor based as you can see the
punters wiggle a bit but never get to that extacy level. Not
all music of course; That what does get released and is
really good is even better than back then. It really is. And
the funny thing is that it's often labeled 'alternative' or
'Indie' rather than progressive. So it's basically back to
where it started: Progressive, not conservative.
" I was asked by Frisky Radio back
in 2006 for an Artist Of The Week
mix and soon after I was asked to
do a monthly show. Since that time,
Frisky grew exponentially to the big
player that they are today. My 8-
Track Mind show - or 8TM in short -
has always been on the same time
and date which is the 1st Thursday
of the Month at 7PM GMT or 20:00
CET and that certainly helped to
have over 1.2 million listens now in
2023 "

Digital, vinyl, or CD’s and why?
All of it. I don't think that, as an artist, you should
limit yourself. Why would anyone limit his or hers selfexpression?
I never get these discussions. If you want to
present your taste in music and share it with others, you
know, that's what DJing is, then who gives a damn in what
format that should be? Music has always been technology
driven and you adapt. I mean, are you really an artist and
have self expression as a goal or are you just a hobbyist
looking for validation? Real artist don't talk about these
trivial things. These are just tools in order to achieve a
wanted outcome. The audience for one don't care. Just use
whatever fits you best and what makes you feel the most
comfortable.
Where do you see the future of
Electronic music?
Until now It's always been evolving. Usually with
the advancement of technology. But I do feel we've come
to some sort of end of music producer related technology.
A.I. however could change that and I think it will. We'll find
out soon enough how that will play out. I often said I'd like
to produce music by thinking it and that might well become
reality. As always technological advancement can lead to
good and bad things. In the end it's up to the talent and
self expression of the artist. That said, the world is rapidly
changing into a whole other world if it was up to those that
are in control. And if they succeed in that and create that
dystopian reality in which we'd be living in, those that
create and enjoy the arts will have a different emotional
value to experience. Creating and enjoying music and any
other art is about self expression. Self expression is not
high on the list of corporations, banks, NGO's and
governments if at all. So all music, electronic dance music
too, will reflect the times we live in. And like in the 1980's
it can go to very, very dark to euphoric.
Oldskool, neuskool or a bit of
allskool?
As I said; why limit yourself and create your own
prison? Personally I like looking forward. Despite my
criticism of prog nowadays, lots of great music is being
released and love to play it. I always emphasize selfexpression,
so you play what you feel. You surrender
yourself to what you feel right there in that moment. So if
you feel that great track from 2003 should be played right
now that's what you are suppposed to do. Personality
reflects your art though.
2. Andreas Vollenweider - White Winds
3. Keane - Under The iron Sea
4. Prefab Sprout - Steve McQueen
5. Prince - Sign O'The Times
Tell us about new productions, and
DJ gigs?
At the moment I'm still remixing a lot and
together with new original material that would eventually
become the Inner Sanctuary Sessions part 2. Next to that I
want to produce an album that shows another side of me
and will be more song based. I've always wanted to do that
but it just never happened. I still feel as if I've only ever
made 10% of what I can really do. Or at least aim to do.
I'm basically a frustrated Jazz musician that could at least
have it's way with electronica and technology. Don't get me
wrong though; the studio is my instrument. Not
complaining.
As far as gigs go: I take it as it comes. At the start
of 2020 I thought the DJ thing would be over forever so I'm
happy with any gig I can play. I play every one of them as
if it's my last because, as we should know by now, it can be
over and done with any day at any time. Two gigs I'm
looking very much forward to: June 25, Luminosity at
Zandvoort. It's mainly about trance and that's why I'm so
grateful to play there second year in a row. It's just great
to be appreciated across genres. July 1 with Jaydee at the
Recycle Lounge, Amsterdam: Although I've known Jaydee
for decades, ever since the lockdowns we've been playing
together a lot and we somehow always create great magic.
September 9: Elp, Holland. Hartstocht Festival is a great 2
day festival with prog as it's main genre but without
emphasizing it. That's the way to go.
Last words?
Thank you first and foremost for asking me and
your patience for finally having this done. Also to the fans;
people who've been following me from the very start to the
newcomers who've only just discovered me. I meet both at
almost every gig and it's just wonderful.
If you where left on an island for the
rest of your life alone, with a deck
and some vinyl, what 5 tracks would
you pick?
1. Miles Davis - Kind Of Blue
ESSENTIALDANCEMUSIC 33

featureinterview
_________________
Words Paul Newhouse
________________________________
Photography Jay Jenkins & Abel Rodriguez
_____________________________
Connect facebook.com/WTHouseMusic
What The House Music + London House Music
Summer Opening Festival [Spain] - 27th May
The Event of the year is coming to the Costa Del Sol, Spain this year,
with heavyweight brands “What The House Music” and “London
House Music”. Coming together for the second year with another
killer line up of exceptional house music for their Summer Opening
Festival.
After one of the best parties on the Costa last year, this power duo are set to take over the
whole of Florida Beach, in La Cala De Mijas, (Nr Marbella) for an all day party that starts at
1pm by the pool and finishes inside the club at 4am! As they put it…….8 hours by the pool,
then 3 rooms of some of the best house music you are ever likely to get your ears around!
London House Music are bringing a wealth of DJ talent over from the UK along with their
loyal crowd who are in Spain for the Amor Andalucía festival. For those of you that don’t
know, Amor Andalucía is the brainchild of the London House Music (LHM) Founder (and
also of Faith Fanzine’s & Defected’s fame) Stuart Patterson, a week-long festival being held
between the 24th – 30th May hosted in 6 stunning locations in Andalucía. For their main
Saturday event they team up with local powerhouse “What The House Music” (WTH) where
the main event is headlined by the mighty Crazy P (DJ SET), plus from mi-soul Ronnie Herel
and Stuart Patterson, Faith's Dave Jarvis plus Emma Noble, Damian Charles, Ronnie Turner,
Precious, Gareth Morgan and Chris J. Also the cream of the Costa's DJ talent including Tito
Pulpo, Terry Hobbs, Addict Disc, Boombastick, DJ Kawtar and Josh Ayres. Expect afternoon
sunshine sets by the pool as we warm up through soul to disco to house outside, while
inside there will be a dedicated soul, funk and disco room from 4pm onwards. Plus, the
main club room with house music all night long from 8pm, this will be the biggest party
Florida Beach has ever hosted! Add in live musicians, light shows, performers, tasty food
and much more for an unmissable day and night right on the beach.
Zone headed down to Southern Spain for an exclusive Interview with the men behind the
event – LHM’s Stuart Patterson & WTH’s Terry Hobbs.

Stuart Paterson & Terry Hobbs

" Really busy at the
moment as one of my
original brands, "Faith" has
partnered with Defected so
we have a magazine,
record label and put on big
parties in London. I also do
a similar event in Goa, to
Amor in India in January
where we take DJ's and our
crowd over to party in
various different venues "
Stuart Paterson

" The festival scene is where everyone seems to be going
these days and with that comes more of a tech vibe. The new
melodic house/tech stuff is where the future seems to be right
now and theres a lot of great stuff in that scene and I do play
it, but I’m still soulful DJ at heart "
Terry Hobbs

The Residents
Stuart Patterson – London House
Music Founder
Stuart has been at the forefront of London's cutting
edge club scene for several decades. Through DJing, club
programming and promoting, fanzines or mix compilations
his profile has continually risen since the 90s. He now hosts
a regular show for Defected’s Broadcasting house, holds a
yearly event in Goa, India and is the brains behind the Amor
Andalucia Event in Spain where the Headline event is the
“Summer Opening Festival” alongside “What The House
Music” With his tireless work and love for music, Stuart has
done things the 'right way' and has been at the forefront of
London's cutting edge club scene for decades, while
continuing to travel and play at the finest clubs across the
UK and the globe.
From his first ventures running revered club nights
like Soulsonic, through to the legendary Faith parties and the
more recent 'Date' events, Stuart has always led the way in
bringing the world's finest DJs to London to play alongside
the capitals best. In addition he was the brains behind
Shoreditch venueEast Village. His knowledge saw an East
London club of under 500 capacity attract the worlds
favourite DJs and parties including Carl Craig, Derrick Carter,
Skream, Kerri Chandler, Maseo (De La Soul), Juan Atkins,
Gilles Peterson, Channel One, DJ Sneak, Norman Jay, Spen
+Karizma, Jazzie B, Joe Claussel, Greg Wilson, Danny Krivit,
David Rodigan, Quentin Harris and many more. Stuarts most
recent project has been the opening of London’s newest
record shop, Love Vinyl. Within weeks, the shop was the talk
of London with extraordinary in store sets from the likes of
Jimpster, Danny Krivit, Timmy Regisford, Floating Points, Mr
Thing, Ossie and more passing through, and similar stature
of DJs making Love Vinyl a must visit location to pick up the
finest plastic.
Stuart Patterson is regarded as one of the key
figures in the London house music scene. Sometimes passing
under the radar, this is just how he likes it, staying true to
the music and scene that he loves.
Terry Hobbs – What The House
Founder
Terry has been helping to drive parties together for
over 15 years between Spain and London for various
celebrated club nights (as well as several of his own). This
led to him launching the What the House Music brand in
2019 (as well as the sister brand What The Funk the
previous year).
Whilst the first 4 years were not always plain sailing
for What The House (2 years of a Pandemic didn’t help!), but
the line-ups have always been strong (The first year alone
featured Scott Diaz, The Journey Men, Sy Sez, Sara Garvey
and Dave Doyle) and the support for the project has
continually grown and they are now one of the major players
on the Costa Del Sol.Terry has been involved in music most
of his life, playing a variety of instruments from an early age
and DJing for nearly 30 years, but he left the scene for a
number of years whilst he decided to “take the sensible
route” to bring up a young family.
After a chance meeting with Tito Pulpo in the late
00’s though, he rediscovered a passion for DJing and
occasionally featured on Titos weekly “The Gospel” show on
a Thursday evening, before slowly starting to play out again
for brands such as SOS (Spain), Known for Soul and Fresh,
Sweet and Sexy (London) His eclectic style and ability to
turn his set in practically any direction depending on the
room, separate him from many of his contemporaries. He
continues to put on some of the finest parties on the Costa
Del Sol, as well as playing at most of the Major nightspots in
Andalucia. He is also the Resident DJ and event programmer
for Florida Beach, La Cala De Mijas.
The What The House Music brand continues to
thrive, having line-ups which have included heavyweights
such Terry Farley, David Penn, Danny Rampling, Neil Pierce,
Sebb Junior, Jac Project, Sy Sez, Sol Brown, Pat Bedeau,
Precious, Damian Charles and many many more just in the
last year.
2023 is looking like being even bigger with events
planned with Dr Packer, Jimpster and obviously the May
event with Stuart Patterson and London House Music.
Tito Pulpo - Spain
Tito Pulpo is a DJ, producer, and radio personality
from London, UK, who is currently based in Marbella, Spain.
He has been involved in the music industry for over 25 years
and has gained a reputation as a highly respected and skilled
DJ, playing at some of the biggest events and clubs around
the world, he is also one of the founder members of What
The House Music.
Tito's musical style is deeply rooted in house music,
but he also incorporates influences from reggae, soul, and
gospel into his sets. He is known for his ability to create a
highly energetic and uplifting atmosphere on the dance floor,
with his gospel-influenced tracks being a trademark of his
sound.
Tito is the co-founder of the Save Our Soul (SOS)
brand, which promotes events in southern Spain and delivers
the best in deep and soulful house music. He is also a
resident DJ on BeachGrooves Radio, hosting a live show five
days a week.
In addition to his involvement with SOS and
BeachGrooves Radio, Tito has played at many other
established house music promotions including AudioMetrica,
Mi Casa Su Casa, Vocalbooth Weekender, as well as ALL
previous What The House Events. Throughout his career,
Tito has held residencies at a number of prestigious clubs in
Marbella, including Puente Romano (La Suite), Florida Beach,
Playa Padre, and Tibu. He has also played at many other
events and festivals throughout Spain and internationally.
Tito's experience in the music industry spans
various roles, including sound engineer, producer, DJ, and
promoter. This has given him a unique perspective and a
fully rounded respect for every element that goes into the
industry. Overall, Tito Pulpo is a highly skilled and respected
DJ with a deep passion for house music and a talent for
creating uplifting and energetic sets.
_______________________________________________________

Emma Noble
Tito Pulpo & Terry Hobbs
Tito Pulpo
" Looking forward to being part of 'What
The House' and especially excited about
'Amor Andalucia' being with us once again.
Crazy P is an shingy sparkly cheery on a
delicious cake...with creme. Should be fun "
Stuart Paterson

So, a big event coming up?
SP: A whole week of them for me, im in training
already! But yes the Saturday teaming up with Terry and
What The House is by far the biggest of the week’s events.
TH: Yeah, lots of big events for both of us ATM, but
yes, this one is pretty close to both of our hearts. And for me,
this is probably the biggest one I’ve got planned this year.
How did you guys meet and start
working with each other?
TH: We were aware of each other through the scene
(I actually used to go Stuarts gigs when I was living back in
London for a few years) and we had been speaking about
doing a party together for a while, then the pandemic hit and
all party plans got postponed. Stuart then recontacted me
when he was organising the first Amor Andalucia Festival to
see if I wanted to get involved and I jumped at the
opportunity.
SP: Yes we had been chatting pre pandemic but
when I decided to go ahead with Amor Andalucia I thought it
made sense to do a bigger party on the Saturday that local
people could also come to and Terry was the obvious choice to
partner with.
How was your first party together?
TH: Insane! We sold out the first main event we did
together, heavyweight line-up including Neil Pierce, Ronnie
Herel, Stuart, Tito Pulpo and a whole host of others.
SP: Couldn’t have wished for more with a great
attendance. Was so good to be able to introduce the DJs I
brought over to a wider and local audience and I think it was
appreciated by the locals as well.
TH: Definitely appreciated by the locals, I think it
really opened up peoples eyes to the fact that we really could
have a GOOD, SOULFUL, yet still a bit underground clubnight,
right in our local area.
I understand you have done several
more parties together since then?
TH: We have. The feedback was amazing, and we
had such a crack together …….and Stuart is a dream to work
with. He has obviously seen it all on the club scene and in the
House world so he “gets it”. After the first gig, we done
another WTH v LHM together the same summer
SP: It just made sense to carry on after the first one
went so well although me being based in London has really
seen Terry take the promotional reigns since then so he
deserves most of the credit for making these parties at Florida
flourish.
TH: Thanks mate, tbf, Stuart has helped me simplify
things, to build the structure and showed me how to elevate
these parties to a whole nother level. He’s also played on
pretty much all my What The House gigs since that day, to
the point where he is now one of my only Resident UK DJs.
What has been your favourite party
together so far?
SP: While I’m going to say it was the first one
together last May at Florida Beach I think since the end of last
summer I’ve seen a difference not just in increased numbers
but an even better vibe with nights like Halloween and
Chiristmans. Maybe it’s a seasonal thing although I really
think the party on May 27th is going to eclipse them all.
TH: Yeah, last years Amor Andalucia was absolutely
mind blowing tbh, I met so many amazing people and the
music, the settings, the whole atmosphere of the event was
incredible, so it was really special to be able to host the main
event with the guys. Saying that…I also REALLY enjoyed the
Halloween gig with David Penn, the December Christmas party
with Danny Rampling and Jac Project was pretty off the chain
too. I’m with Stuart though, May is looking like something in a
different league!
How does it work with you both being
in separate countries and trying to coordinate
the parties?
TH: It’s cool, we both work a lot of odd hours but we
are always in contact so we are on the same page.
SP: Well we are only an hours time difference apart
and yeah are both used to working promoter hours so
decisions can be made and work done literally at any time of
day or night.
TH: Exactly, we also know we can just kind of let the
other one get on with their thing and the other one will always
deliver on their side of the bargain. Works like a dream for
me.
What else do you have on the
horizon?
SP: Really busy at the moment as one of my
original brands, Faith has partnered with Defected so
we have a magazine, record label and put on big parties
in London. I also do a similar event in Goa, to Amor in
India in January where we take Djs and our crowd over
to party in various different venues.
TH: Tons. I have a load more parties coming up in
Spain this year, a link up with the Jac Fest boys in July where
they are coming over with Dr Packer, we’ve got Jimpster here
in Aug, plus loads more. I have a small UK tour planned at the
end of Summer to promote some tracks of mine which will
hopefully be released around the same time. And we are
already planning in some HUGE things for next year. I’m also
kinda hoping for a gig in Goa in January!
What do you enjoy about working
with eachother?
TH: I think the fact we both are so similar, we love
our music, we like things to be done professionally but we
both love a laugh and we enjoy each-others company outside
of the music.
SP: We are both DJ/promoters so while we know we
need to balance the books we are both mainly in it for the
music so that always comes first. We also both enjoy a party
but you will find me sloping off earlier than Terry these days
as he’s got a few years on me!
TH: Aw…it’s only a few bro!! haha Helps that we both
appreciate a beer together and some good food once the
events are over too. He’s like a big brother to me, always got
my back. We’re a solid team.

Stuart Paterson & Terry Hobbs
Dave Jarvis
David Penn & Terry Hobbs
Amor Andalucia
Tito Pulpo & Terry Hobbs

Digital / Vinyl or CD's and why?
TH: For me, it’s digital…….you can just be so much
more creative in the mix. I use a lot of loops and I like a 3 or
4 deck setup. With digital, you can set the loops and the key
points for them loops with precision, come back to them
again later…. or use them as a precursor to the next mix,
allowing the crowd to spot what’s coming and building up
that anticipation.
SP: I would have said digital for ease for storage
and transportation but played a vinyl only set last weekend
in London as most of that music (house originals from 90s
and 00’s) was only available on vinyl. Without wanting to
sound like a pretentious ass there really is something more
tactile (and satisfying) about playing on vinyl.
Sunny Spain or Lovely London?
TH: If I had the choice, I would probably do what
Stuart does and do both! Haha I miss the scene back in
London, there is a lot more choice for house music back
there but I am also proud of the little scene we are creating
over here also
SP: Ha, yeah I’m lucky enough to spend plenty of
time in both, I love London in the summer but hate it in the
winter (I think the weather exaberates all that’s bad about
the place and makes it rough in those long winter months). I
stay up in Alhaurin El Grande when I'm here so feels like
going back in time a bit in a good way and so much more
peaceful that London, and of course the weather is always
better! But I'm firmly sitting on the fence on this one.
Festivals, super clubs, small clubs or
house parties, and why?
TH: I would love to play more festivals, but for me
the best parties are always a little more intimate, where you
can see the whites of the eyes of the crowd at the
front….and see their smiles light up when you get the next
track “just right” or when they are losing themselves in a
mix that you are creating. That’s where the special stuff
happens. My favourites gigs are a little bigger though……. I
like a room sizable enough to hold a decent crowd and a big,
bad, banging sound system where you can hear every note
of every track! Not so big that you can’t see the back of the
room but big enough to get a real vibe going!!
SP: Been lucky enough to play them all and they
all have their merits and are all very different. Probably
enjoy the superclub the least and the small venue the most
as you are close to the crowd and the sound.
If you were left on an island for the
rest of your life alone, with a deck
and some vinyl, what 5 tracks would
you pick?
Where do you see the future of
Electronic music?
TH: The festival scene is where everyone
seems to be going these days and with that comes
more of a tech vibe. The new melodic house/tech stuff
is where the future seems to be right now and theres
a lot of great stuff in that scene and I do play it, but
I’m still soulful DJ at heart.
Oldskool, neuskool or a bit of
allskool?
SP: Totally a mix of old and new and probably more
genre blending at parties.
TH: Yeah, a Mix of everything. The reality is that
music is always going to keep evolving from old school
roots and genres……the most famous, biggest selling
tracks today, generally still have a nod to the past in
them. I’m always excited to see what comes out week
by week to be honest….. it all still excites me, as much
as it did when I was I kid. The new melodic house/tech
stuff for me is where the future seems to be right now.
Theres a lot of great stuff in that scene, but I’m still soulful
at heart, in what I look for.
TH: Ohhhh, that’s tricky, something like 1. Les
Nuits – Nightmares on Wax 2. Jill Scott – A Long Walk 3.
Optimistic – Ann Nesby 4. Barely Breaking Even (Louis Vega
remix) 5. Brahms – Requiem
SP: Oooff .. 5 of 100 really. I’m gonna go with
albums as I’d smash that deck having only 5 tracxks to listen
to!
TH: Yh, me too tbh!
SP: Steve Wonder – Songs In The Key Of Life, Jill
Scott – Who Is Jill Scott ?, Bob Marley and The Wailers-
Catch A Fire, actually I better ad a couple of house 12’s for a
late night dance round the campfire. Hercules and Love
Affair – Blind ( Frankie Knuckles remix) and another classic
from the godfather, Frankie Knuckles- Tears.
TH: Shit. Stevie & Bob.......oh and De La Soul!
Actually, I want to take albums. hahaha I’m taking Stakes is
High for sure! And the James L’Estraunge Orchestra Album –
Eventual Reality.

The Headliners
Crazy P (DJ SET)
Crazy P, founded in Nottingham over 20 years ago
by Jim Baron and Chris Todd and joined soon after by
Danielle Moore, continue their hold as some of UK dance
music's most respected and revered producers, performers
and songwriters. Now in their third decade together and
more relevant than ever, Crazy P's experience extends
creatively to include successful solo careers as producers and
writers. It is this breadth of catalog, worked into their
innovative DJ sets and live performances which keeps their
ever young audience growing, whilst their tastemaker status
makes them a point of reference for next generation
producers coming through.
Holding their history proudly at the forefront of their
progress, they skillfully balance the old and the new, no easy
feat in a career that spans nine albums and a consistent
touring schedule that takes them all over the world.
2022 has brought with it new music from Crazy P,
with the limited press of the beautifully haunting If Life
Could Be This Way and accompanying video already out in
the world, the summer of 2022 promises a new remix
package, bridging us back to pre pandemic and the2019
album Age Of The Ego. This collection of remixes is a cosmic,
vibe heavy, and eclectic journey through low-slung, groovy
Balearic, big room disco, deep house, lo-fi, and beyond.
Remixers, tasked with their own inventive take on
the album, include heavy hitters Gerd Janson, Medlar, DJ
Nature, and the much missed Soulphiction. Age Of The Ego
Remixes will be out on July 22nd on Walk Don’t Walk / !K7
Records.
Juggling a packed touring schedule with new
releases this year, alongside their monthly Worldwide FM
show, Crazy P show no sign of taking their foot off the pedal
and thank goodness for that.
Ronnie Herel
Ronnie is a true ambassador of Urban Music having
had over a decade at the BBC. He was one of 1 Xtra’s first
DJ signings, formerly presenting their specialist slot ‘The BBC
Radio 1Xtra R&B Show and The BBC Radio 1Xtra Showcase
on BBC Radio 1. He was the most listened to DJ via the
1Xtra website and a regular champion of new talent and a
talent scout for The Voice UK.
Whilst known as one of the UK's biggest r'n'b
DJs..... Ronnie also drops killer soulful house sets.
As a broadcaster, he has interviewed some of the
greats in the world of music from Beyonce, Mary J Blige,
Mariah Carey, Erykah Badu, Dizzee Rascal, Justin
Timberlake, Janet Jackson, Estelle, Alicia Keys, John Legend,
and Lemar to name but a few, and one of the highlights of
his career to date, interviewing the legendary Stevie
Wonder.
Ronnie has more than paid his dues in the R&B club
scene, which dates back to 1989 with his first DJ promotion
The Kat Club at Bar Rhumba. Moving on from this Ronnie
established himself further with two impressive London
residences “Club YoYo” and “Funk” @ Sound at which time
he was voted best club DJ by the readers of ‘Blues & Soul’
magazine. Ronnie’s success has further been recognized with
two MOBO nominations in the categories of ‘Best Radio
Show’ and ‘UK Best Club DJ’.
Ronnie’s first ever record, released in 1989 was a
cover of the Carole King classic, ‘Its Too Late’ featuring Dina
Carroll under the name of Quartz. He has continued to write
and produce and is currently flying the flag for SoulHouse
Music with a cover of Luther’s I Wanted Your Love, featuring
Ali Tennant and much more in the pipeline.
He presents #TheBigRnBShow on Mi Soul Radio
every Monday night from 9–Midnight and #MiDrive
weekdays 4-7pm.
Dave Jarvis
Over the years, Dave Jarvis has worked for many of
the big names in the music industry including Sony, EMI,
Ministry of Sound, Pinnacle and Demon and in 2020, Faith
(Dave’s Brand alongside Terry Farley and Stuart Patterson)
were signed to Defected Records and since then (under the
Defected umbrella) they have played at Defected in Croatia,
Defected in Malta, The Drumshed and have many more gigs
in the diary for 2023.
Dave Started the Moton label with Diesel (from
Xpress2) and has now been running for nearly 26 years.
Their first release in 1996 was Billy Paul - East with ‘readjustment’
by Diesel and DJ Harvey. Since then They’ve
had releases which featured The Mighty Zaf which was
‘single of the month’ in DJ magazine and a release from The
Divine Situation - Born Again which got 10/10 in DJ
magazine and Mixmag. The release in December 2020 by
The Patchouli Brothers was played as ‘record of the year’ by
Craig Charles on his show and they are about to release their
48th edit by JKriv which is already creating a massive buzz.
Emma Noble
Singer / Songwriter, DJ, Broadcaster & Designer.
When Noble isn’t working on her solo music project
she spins records all around the country as one half of the
double decking, dynamic female DJ duo ‘Noble & Heath’.
Committed vinyl collector, Noble has brought some
much needed freshness to dance floors all over London and
the UK, stepping up the tempo one 7" at a time. Spinning
the very best in Soul, Funk, Jazz and gospel, all mixed
together with a healthy dose of Disco, and the kind of soulful
shenanigans that keep you out 'til the lights come on.
N&H host a radio show on London's 'Soho Radio'
have DJ'd all over the UK & Europe, and have graced the
decks at places such as The Royal Albert Hall, XOYO, KOKO,
The Jazz Cafe, The 100 club, Ronnie Scotts, the iconic ‘Faith’
Parties and many festivals including Glastonbury, Bestival,
Cross the Tracks & Field Day.
ESSENTIALDANCEMUSIC 45

featureinterview
__________________
Words Paul Newhouse
_________________________________
Photography Jeffrey Bron & Corvus Aperture
_____________________________
Connect facebook.com/DJ.FrankDueffel/
Frank Dueffel from Cologne, Germany, started DJ'ing in
1999. Since then he has had several gigs alongside
wellknown DJs like; Paul van Dyk, Alex M.O.R.P.H.,
Talla 2xlc, Madwave, Pierre Pianaar and TyDi on
international events like Amsterdam Dance Event,
Nature One and Streetparade.
His DJ sets feature a wide spectrum of electronic dance
music, a unique mixture of trance, melodic techno, psytrance,
breaks and house alongside some darker stuff, always
energetic and with a touch to the underground. This can
also be experienced on his Needful Things radioshow on
Afterhours FM on a monthly base which will be reaching its
100th episode at the end of the year.
2009 marked his start as a producer of several singles and
remixes on labels like Outburst Rec., Enhanced Music and
High Contrast including collaborations with Binary Finary,
Madwave, Stephan Kirkwood and Fisical Project which all
gained support from global players like Paul van Dyk, Armin
van Buuren, Aly & Fila, Mark Sherry, Paul Oakenfold and
Eddie Halliwell or got licensed to compilations like Street
Parade Compilation, Goodgreef Future Trance or the wellknown
Tunnel Trance Force". Since 2015 he has been
constantly releasing on Paul van Dyk’s imprint Vandit
Records with more than 10 releases including collabs with
label colleagues like Marc van Linden, Raphael Osmo and
Jardin with his latest outing ‘Atardecer De Eivissa’ just being
released for the forthcoming Ibiza season. More music to
come soon...

" Most of the gigs I have had where more or less memorable
but my favorite one was my gig at Paul van Dyk’s SHINE
Amsterdam event which took place during the Amsterdam
Dance Event 2019 week. The event took place in the famous
Panama Club and had a huge line up "

Tell us about Frank before the DJ /
producer.
I was always interested in electronic music, even
before I decided to start doing or producing. Before I was into
producing and then Doing, I was a more or less normal guy
who went to school and met with his friends, only with a little
different taste in music than my friends. During that time I
also developed the interest in how the music is produced that
I used to listen to. Around the time I had finished school and
started to go to University, I bought my first synthesizer
(Yamaha CS1x, I still have it today) and tried to learn how the
music is loved some much was produced.
How did you get involved in
electronic music first?
As a young child I got my first real contact with
music as my brother was playing the bass guitar in several
rock bands but I personally never really got into this kind of
music. In the early 90s I got in contact with some more
commercial rave and dance music via TV and I really was
impressed by the energy and the different sounds compared
to all the other ordinary music out there. I wanted to discover
more of this electronic sound and went to a local record store.
From this day on I visited local record shops on a weekly basis
and bought tons of vinyl of all kinds of electronic music, from
techno, trance, house, rare white labels and so on. I still have
them all at home, must be between 2500-3000 vinyl. As
mentioned before I also started to learn how to produce music
and purchased a few hardware synthesizer (Yamaha CS1x and
Quasimidi Sirius, which I still use as a master keyboard in my
current studio setup). The first production attempts of course
were really shitty but within the next few years I learned a lot
and when I found Ableton Live as my DAW around 2005 I
knew that this was a gamechanger for me and shortly after
this my first track was signed to a small label.
Best event you have played and
why?
Most of the gigs I had where more or less
memorable but my favorite one was my gig at Paul van
Dyk’s SHINE Amsterdam event which took place during
the Amsterdam Dance Event 2019 week. The event took
place in the famous Panama Club and had a huge line
up incl. PvD, John OO Fleming, Alex M.O.R.P.H., Lostly, Pierre
Pienaar. I played on the second floor where the energy was
quite high directly from the start. I also was able to test some
new productions there with great reactions from the crowd.
Worst event you have played and
why?
I don’t play on bad events, haha!
Tell us about your radio show.
In 2015 I started my own monthly radioshow called
‚Needful Things‘ which is broadcasted every 4th Friday of the
month exclusively to Toronto based broadcasting station
Afterhours FM. Although Afterhours is more or less a trance
radio station, I wouldn’t call my radioshow a pure trance
show, anything can happen here, from 125 to 140 bpm, from
progressive house, melodic techno and breaks to trance,
psytrance and techno. Genres don’t matter as long as I find
the track fitting to my style. I think that the wide spectrum of
electronic music I play in my show is unfortunately rarely seen
today as a lot of shows and DJs just focus on one specific
style where you can hear the same tracks over and over
again. I spend a lot of time searching for tracks that other DJs
don’t have in their mind as I also see my show as a piece of
art and not only as another show where only the current
trance promos are supported.
By the way, at the end of the year the 100th episode
will be broadcasted and I’m planning something special for
this milestone.
Festivals, Superclubs, small clubs or
House parties, and why?
I personally think that all these different kind of
events have their pros and cons. Todays festivals like
Tomorrowland, Creamfields or Nature One seem to be really
professionally organized and always full of energy. But on the
other hand show and light effects and visuals often seem to
be more important than the music itself. The same can be
said about superclubs like Ushuaia etc. But what sucks in all of
these locations and events is the fact that the majority of the
crowd is more playing around with their cellphones and not
really into the music. Back to the old days please where only
music mattered.
Where do you see the future of
Electronic music?
I can’t see into the future but I hope that some
things will change in the future. I’m a little bit concerned
about some developments in our scene, e.g. ghost produced
talentless superstar DJs who think they are the king of the
world. I hope that the scene develops back in the direction
where music matters and not just show effects and fireworks.
Maybe there are too many festivals with short DJ sets.
I personally hope that we come back to smaller club
with longer DJ sets where the DJ gets the chance to tell a
story through music. I’m afraid that this kind of art got a little
bit lost these days.
" Electronic music always should
try to reinvent itself but also never
forget its roots. Therefore a
mixture of old and newskool is
my choice. When I’m in the studio
and work on new material, I
always try to not forget my
personal roots of electronic music
and add a bit of this oldschool
flavor "

What label has been the best to work
for?
I started releasing music in early 2009 on smaller
labels. The more I progressed as a producer, the more
recognized were the labels I could release my tracks on. In
spring I just had finished my track called, Adiabatic‘ and sent
it to Paul van Dyk’s label Vandit Records with no hope that
they would ever listen to my stuff or even reply to my mail.
Therefore I almost forget about my demo submission to them
and was really, really surprised when they answered a few
weeks later and asked me if the demo still was available for
signing. Of course my answer was yes, and this was just the
beginning of my release catalogue on Vandit. I felt really
welcome to the label (and still do) which is one of the reasons
why I prefer releasing my music there. Another reason is the
quite familiar atmosphere with the label team and the other
artists as we all support each other and his music. The result
of this support are collaborations with other Vandit artists like
Marc van Linden & D-Gor, Rafael Osmo, TH3 ONE and Jardin.
I know from my own experience with
mental heath, and talking and
reading about others, it’s a hard thing
to deal with when you need to DJ
and perform. How do you care for
yourself in this case?
I’m in the happy position that I to date never had
any mental health issues. I try to live a healthy life with no
drugs and smoking and no alcohol excesses and with enough
time to relax my body AND soul to almost never be stressed. I
hope that my lifestyle helps to avoid these problems. And
making music is also one of my secrets. While doing this
interview, I’m already looking forward to my next studio
session.
Please if you could tell us about your
brother. I worked with him for a long
time, and he seemed a great person.
He left us a few years ago now, but
he will always be remembered here
at Zone Magazine and at Redbox
Records, both his music and writing
will be missed.
It’s almost six years that my brother Andreas sadly
and unexpected passed away. I really miss him to date and
it’s still hard to speak about his death.
It’ s almost 25 years ago that we both decided to
start DJ'ing. I already had a few tracks on vinyl and we tried
to mix these few ones on two borrowed turntables. Of course
our first mix tapes were pretty awful but we supported each
other to improve and soon our skills improved more and
more. Before we started learning DJ'ing together, he played
the bass guitar in severals local rock bands but when I started
collecting trance, house and techno vinyl he got more
interested in this kind of music and so one day he came to me
and told me that he had quit as a bass guitar player and
wanted to focus on electronic music from that day on. We also
started to go to local techno and house events at that time
which also was really funny. We also sometimes produced
together and finally realized a fun psytrance track that got
released as our Liquid Trance side project.
During that time I also introduced Andreas to Zone
Magazine where I had gotten in contact with due to my
releases on Redbox Records. He directly started working for
the magazine, writing countless articles and doing many
interviews.

What does Frank do when he’s not
making music or DJ’ing?
I really like traveling a lot. Discovering new places
is my favorite activity to get new inspiration for my music
productions. Just back from a short trip to Valencia in Spain
to quickly recharge my battery. I’ve visited a lot of
destinations in Europe and North America and my favorite
destinations so far have been Hawaii, Yucatan (Mexico),
Ibiza (of course), Spain in general and Los Angeles which
turned out to be my favorite city. I already dedicated a track
called ‚Hollywood Hills‘ to L.A. which was released a few
years ago and gets an update later this years as a new 2023
Remix on Phoenix Recordings.
I’m also addicted to Mexican food. I can really
recommend a Mexican dish called Cochinita pibil which
turned out to be my favorite food.
And finally, what only few people know is that I’m
also a huge fan of horror movies and have a huge collection
of Stephen King novels.
You mainly produce and play
Trance, but you do have some
techno, House, and trance releases
and you do mix it up on your sets.
What is it about the Trance sound
you prefer over the other styles?
I never would call me a pure trance DJ. Trance
music always was an important part of my life as an artist
but I always integrated all other styles of electronic music in
my DJ sets, e.g. progressive house, melodic techno, breaks,
psytrance etc. The most important thing about the tracks I
choose for my sets is that they have something special,
emotional and aren’t just lifeless and boring 10 minutes
loops with no musical content. I always have to really dig
deep to find the music that I want because in my opinion
most of the trance tracks of today sound really similar. It’s
really hard to find some creative and outstanding trance
tunes that not everybody is playing but these tunes are
definitely there and I mostly find them which can sometimes
very time-consuming but finally its worth every second when
I found them. I’ve also started working on some deeper stuff
in the studio. The majority of people would call this sound
melodic techno but for me the result still is what I would call
trance.
I have met PVD on a couple of
occasions over the years, is he still
the laid back, cool, nice guy?
Yes, definitely. The last time I met him personally
was last year at an event in Oberhausen, Germany were his
team invited me to come backstage. We talked about my
future music plans for Vandit, took a few pictures and had a
good time.
Oldskool, neuskool or a bit of
allskool?
Electronic music always should try to reinvent
itself but also never forget its roots. Therefore a
mixture of old and newskool is my choice. When I’m in
the studio and work on new material, I always try to
not forget my personal roots of electronic music and
add a bit of this oldschool flavor. For example, in one of
my latest uplifting trance productions I added an old school
electro beat in the breakdown to add some of the mid to late
90s atmosphere. I also like to add some classic 303 sounds
to my recent studio projects.
If you where left on an island for the
rest of your life alone, with a deck
and some vinyl, what 5 tracks would
you pick?
Hard question, because there always was lots of
good music out there and I got tons of digital releases and
also more than 3000 vinyls I still have where I have to
choose from but I think I would pick the following 5 tunes:
1. Tilt vs. Paul van Dyk - Rendezvous
(Quadrophonic Mix) [Perfecto Rec.]
2. Sasha - Xpander [Deconstruction]
3. Billie Ray Martin - Honey (Deep Dish Rmx [React]
4. Humate - Choose Life [Superstition]
5. Paul van Dyk - Another Way/Avenue [Vandit]
Tell us about new productions, and
DJ gigs?
I just released my latest solo single on Vandit
Records. The track is called, Atardecer De Eivissa‘ and is a
mixture of my signature trance sound and some more
driving and tech elements after the first breakdown.
Up next are two collaborations I produced with two
other acts that also regularly release on Vandit. The first
track is a production I did with polish producer TH3 ONE.
One day he contacted me via social media and asked for a
collab. As I really like the stuff this guy puts out on Vandit
and other labels I agreed and we started working. The result
is a euphoric and energetic trance belter which will be out
this May. And the second collab is a cooperation with none
other than Marc van Linden and his studio partner Gordon
(D-Gor). Always was a huge fan of Marc’s style so it was a
great honor for me when he asked me to work with him on a
collaboration track. In the beginning of the production
process we just send us the track files we worked on but in
the final phase of the production we also met in persona in
his studio near Hannover to put some final touches on our
track. The result is a quite dark and clubby trance
production, somewhere between tech trance and uplifting.
Our collaboration should be out this summer, also on Vandit
Records.
Last words?
Thanks for reading my wise words and listening to
my music. See you somewhere on the dancefloor on this
beautiful planet earth.

WIND DOWN SHOW PRESENTED BY
AMARE
NICK MUIR
MATT FAX
PAUL SAWYER
SIMON SINFIELD
ALL AVAILABLE ON BBC SOUNDS
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LABELfeature
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Words Anthony Piercy
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Photography Kyle Surber
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Connect https://householddigital.com/
A Label based in the West Coast of the USA, in the Bay
Area of California. Running since 2002, and initially a vinyl
label. Tracks released via Household Digital are usually
Tech House, Deep Tech, House, Techno, Minimal and Deep
House. Their aim has and is always to showcase quality
house & techno music producers, with whom they work with
and respect as artists.

Who are we chatting to today?
Digital.
Tone Rangole- Label Manager of Household
When did the label start? I belive it
was call another name back then?
The Record Label was orignally called Household
Recordings and was created in early 2002.
Back then running a label was
completley different than now. What
did it take to run a label back then?
Running a vinyl record label back then was much
more work for just a single release. The cost was much
larger and the process was much longer from beginning to
end. It took a lot more patience and money to get records
produced, mastered, manufactured, marketed and sold.
Who did and now does the day to
day managment and who did the
A&R?
I'm currently doing the day to day management
now and since the inception of the label. Jason Lehman did
the A&R during our vinyl days and up til 2018 in our
current digital era. I took over the A&R full time in 2019 to
present.
Do you guys have an exclusive
roster?
We didn't have a roster of artists that were strictly
exclusive Household artists but we did have a few resident
artists of Household that have appeared a few times over
the past 2 decades that helped pioneer our label. Artists
such as Terry Francis, Eddie Richards, Jay Tripwire, Nils
Hess, Nathan Coles (RIP), Daniel Poli, Gideon Jackson and
now more current artsist like Richard Cleber, Dubman F.,
DJ Simi, Dylan Debut and Tome R.
Take us trough the release
schedule of the original label?
The original release schedule during our vinyl
years was set for 1 EP per quarter. One release every 3
months was ideally our goal just due to the time it took to
get a release out and distributed globally, before finally
getting first round of paychecks from distrubutions to start
the process for the next release.
Lets do the numbers, if you dont
mind? which releases shifted the
most copies?
Our first couple of vinyl releases definetly moved
the most copies. Household 001 sold nearly 3600 vinyl
copies in 2002 followed with Household 002 with 2400
copies.
Up until the digital switch over
which EPs where the most
successul?
Like mentioned before the first couple of vinyl
releases did the most sales wise, but I would say the most
successful EP overall has to be the "Garage Sessions Vol. 1"
EP featuring artists Evil Eddie Richards & Terry Francis with
two versions of two originals called "breakfast @tone's" and
"Helicopter". It was the first time these two artists had
collaborated together on a EP. Initially, we released it on
our side label Lifted Music but later on re released it on
Household Digital. This ep has continued to sell, get played
and supported globally for nearly two decades now. Even
digitally "breakfast @tone's" continues to be a top selling
digital track on Household on all platforms.
How did the label define sucess?
We define success through a few measures
consisting of top artist promo support, sales, global
presence, features and chart placement. The more it
checks off on those measures the more we consider the EP
to be a successful release.
After the digital switchover run us
through your release schedule up
until now?
When we switched to digital in 2012 we released
EP's around once a month at first. Then for about 4-5 years
between 2014-2018 we released every other week to push
our Household sound forward by saturating our releases.
After I took over A&R in 2019 I have gone back to
averaging one release per month, other than the rare covid
year in 2020 when I released only a few EP's all year when
sales came to slower pace.
How many digital releases up to
now?
We currently just released Household Digital 120
and have Household 121 on promo. Schedule wise we are
signed up to Household 127.
Things like; support, chart placing,
and so on, how vital is it for the
label?
Support and chart placing are important for sales
and traction for the ep to gain momentum. It definetly
helps push both the artist and label forward.

How was last years scheduling, can
you take us through it?
Last years sheduling was just like any other year
where we schedule a couple of releases for end of January
through March. Then during spring we push to get the rest
of the year's schedule filled out with releases and remixers
lined up to give artists time if they need.
For me the label has that old tec
house sound was this the sound
you guys were going for through A
& R policy?
In the beginning during vinyl days and early digital
era, yes we did have a bit more of that old school deep
tech house sound. It was something my partner Jason
Lehman and I really liked at the time and wanted to
continue pushing out.
Can you tell us about the sound the
label is trying to push?
Now my focus is still tech house but the more
current cutting edge deep dirty tech. Tech house is such a
broad term now and can be used in so many different ways
and sound. I like music that just sounds great in it's on way
but still on that tech spectrum that creates a vibe.
How vital is it to have a A&R,
Distribution and Promotion policy to
run a successful label?
It's mandatory for labels to have all these different
branches running in harmony to have a successful release
and label. They all help push an artist release or a label
sound moving to consumers ears and eyes.
Do you have any advice for young
DJ's & small independent label
owners trying to make it in todays
scene?
Stay focused on your sound you want to push or
play and stay patient. It doesn't always happen overnight
for some so consistency is key. Stay relevant by constantly
pushing your sound with tracks, live mixes, edits or
remixes to your followers or just to share on social media.
Can you tell us what producers and
or labels influence you guys
today?
I like a wide range of artists and labels that cover
the different sounds of house, tech house, deep tech, deep
house and minimal tech. Few labels I follow are 8bit, Under
No Illusion, Deeperfect, Sibla and even some Toolroom.
Artists I love to play because their range of sound are
definitely Dilby, Max Chapman, Bizen Lopez and new fav of
mine J Matin who by the way I just signed to Household!
Who were your main influnces
starting out?
Main influences starting out were artists like H-
Foundation, Eddie Richards, Jay Tripwire, Tony Hewitt as
well as DJ's like Doc Martin, Terry Francis and Stacey
Pullen.
Can you run us through this years
release schedule?
Rest of the current years schedule will be Dubman
F. with Hrag Beko remix, Jon Lee with P-Rez acid remix, J
Matin EP, Acid Cats EP with Jake Beautyman remix, Joan
Garcia EP, Tome R EP w/ remixes and a Household VA
sampler some where along the way.
Take us trough your first lot of
releases?
Our first few releases were artists that helped
pave the way for our label sound and stability.
Household 001 was Onionz & Tony Hewitt "Drum
Circle" EP a bangin tribal tech sound that was popular at
the time in the early 2000's.
Household 002 was Jay Tripwire "Denver Diner" EP
another dubby tribal tech sound that was Jay's signature
sound at the time.
Household 003 was Grant Dell & Daniel Poli who brought us
a more deeper dirtier side of tech house we really loved in
that era.
Household 004 was Nils Hess & Nathan Coles "Get
Fucked" EP who once again brought that deeper groovy
tech house sound we all grew to love.
Household 005 was Evil Eddie Richards "9660" EP
which blew us away with his cutting edge tech house sound
that was another level in 2004.
Take us through the following
milestone release?
2012 - 10 years household.
10 years of Household was a selection of older
tracks from our vinyl years along with 1-2 new digital tunes
that were selected by DJ Tyler "T-Bone" Stadius of
Vancouver who did a continous mix for us. He selected
those back catalog tracks that we remastered for the 10
years of Household compilation and mix.
2014 ibiza and xmas essentials.
2014 Ibiza compilation was the same idea of
previously released back catalog and that current year of
digital releases that Evil Eddie Richards hand selected for a
continous mix. The 2014 Xmas esssentials was a end of the
year release with our top 10 sellers that year.

Tone Rangole & Jay Lehman
2015 ibiza sampler.
2015 Ibiza sampler was a selection of some of our
previously released summer vibe type sound along with a
handful of new tracks made strictly for that sampler.
2016 saw a new WMC compilation
how did you guys feel about this
and also your ADE compilation
release that year?
The WMC compilation was the same idea of
compiling spring time sound of previously released tracks
for Miami music week. The ADE comp that year was all
new tracks made specificlly for that VA with one re master
of an older Household Eddie Richards track that was then
compiled for a mix done by artist Horatio.
2018 saw a new ADE compilation,
how essential are these compilation
releases to you guys, do you see a
growth in demos received a result?
2018 ADE compilation was all new tracks made for
that ADE festival as we used it as a tool to help promote
our sound and label while I was in Amsterdam for ADE that
year. The VA and comp releases were used to either push
out quality tracks that we felt didn't get enough recognition
or to help promote our sound during those festival weeks
with the intent to get into top artists hands to play out. We
do sometimes see more demos as a result of growth or
artists promotion.
In 2019 you had your 100 th
release.
The 100th release was a huge milestone for us as
we always had a goal to keep pushing music as long as we
can since we first started the vinyl label. We brought
together a list of Household artists old and new to make
brand new tunes for this special release.
Have you done any HHD events?
Yes, in our early years we threw quite a few
events from club parties, rave parties and events during
Miami music week from 2004-2007.
Since then I held a few label showcases in the bay
area for either release promotion or label brand promotion.
Last showcase we had was in 2019 in San Francisco for our
100th release party.
Where else can we catch you
playing (radio show / soundcloud
mixes etc) ?
Yes, I have mixes on my souncloud @tonerangole
as well as regular gigs in my local surrounding cities of San
Francisco bay area, Sacramento and the next gig on St
Patty's day in Las Vegas.
Has there been any new artists
who have caught your attention?
Yes, lots of artists/producers that have my
attention like Dilby, Bizen Lopez, Dale Howard and George
Smeddles but they're not necessarily young artists they are
established. As far as young names I been following J Matin
and even Jake Beautyman as a guy on the rise.
How can an artist reach you with
their demos?
Artists can reach us through Household email
info@householddigital.com or my email
tone@householddigital.com as well as any social media
platforms from soundcloud, Instagram or facebook which
are all @householddigital with whichever said social. Just
send us a link!

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featurelabel
__________________
Words Paul Newhouse
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Photography Sam Hayat, Rowanna Lacey & David Gonzalez
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Connect https://paperecordings.com/
Paper Recordings is a Manchester record company that played a
significant role in British club culture. It released contemporary
electronic music from an international roster of recording artists
integrating the genres of house, funk, jazz, techno and soul. Along
with Nuphonic, Glasgow Underground Recordings and 20/20
Vision recordings, it is credited as one of the key labels that drove
the popularity of the Nu-Disco genre in the late 1990s and 2000s.
Robodisco became Paper Recording's most recognised club night, hosting dance
parties between 1996 and 2005 at venues including Sankeys Soap, Paradise
Factory, Planet K, South Nightclub, PJ Bells, with associated nights Sonic Tonic, Out
to Lunch at The Roadhouse and State respectively.
Founded in 1993 by Pete Jenkinson, Ben Davis, Miles Hollway, Elliot Eastwick,
Andrew Gough and Stephen Page while all working at The Hacienda and Hard
Times club nights. The label has commercially released over 2000 recordings,
created by over 500 artists, producers, and remixers in over 50 countries across
imprints Paper Recordings, Paper Disco, Paper Wave, Repap Records and We Are
Woodville Records.
It released the debut album in 1997 from Tromsø band Those Norwegians,
comprising Rune Lindbæk, Ole Johan Mjøs and Torbjørn Brundtland who went on to
form Röyksopp with Svein Berge. This album was titled Kaminsky Park, a pun on
Comiskey Park that witnessed the Disco Demolition Night protests in 1979 and with
its LP artwork depicting a burnt and warped 12" vinyl.
Paper continues to be one of the world’s best-loved independent record labels,
operating as a thriving cottage industry. We have been pushing the creative
envelope since 1994. They have released over 2000 tracks created by over 500
artists, producers, and remixers in over 50 countries. Their style ranges from deep
house and disco to Balearic and leftfield on its imprints. The label has evolved to
incorporate Paper Vision Films, which made the award-winning Northern Disco
Lights with two films currently in production and critically acclaimed podcasts Paper
Air Waves & Paper Talk.

" At the outset there were six of
us, and we all worked in various
capacities at Manchester’s Hacienda
nightclub, behind the bar, DJ and
lighting. We were also in the team
that set up the infamous Hard Times
parties in West Yorkshire, and
Manchester’s Robodisco in the
noughties "
Pete
Ben
Chris
" Paper had some great legendary
tracks back in the day and I think it’s no
secret that Downtime & The Book are
what people always seem to mention
when talking about Paper. However I
think Leon Sweet's Sunny Bigler is
absolutely huge and Flash Atkins' Drug
Empire never, ever leaves my box. "
" I think every Sticky Heat party has
been pretty exceptional. Our most recent
Sticky Heat & Sprechen collaboration party
held just last month was incredible and
saw us host a 12 door outside rave with
Roman Flugel & Sean Johnston
headlining. Pretty amazing! "

First off, how are you doing guys
and its an honour to speak to you
today, I been a big fan, since your
first release!
Ben – Thank you, we are good, we all get a buzz
when we hear stuff like that!
Who are Paper Recordings? What
was the idea at the start?
Pete - At the outset there were six of us, and
we all worked in various capacities at Manchester’s
Hacienda nightclub, behind the bar, DJ and lighting.
We were also in the team that set up the infamous
Hard Times parties in West Yorkshire, and
Manchester’s Robodisco in the noughties. The idea
kind of presented itself; Salt City Orchestra had just
produced The Book, it didn’t have a label and one of our
resident Hard Times DJs at the time was Dave Piccioni,
owner of Azuli Records and distribution company; the rest,
as they say is history.
Chris - One of the longest serving labels in
Manchester I dare say! My involvement has only been over
the last (nearly) 10 years so I'm not one of the OGs though
I'm honoured to be part of the fold with the guys I consider
close friends as well as mentors (and mad uncles!).
Did you ever think you would
become so popular and respected
so soon, and be mentioned
alongside some of the top labels in
the industry?
Pete - Of course not, and thank for you for those
kind words! We got into it for creative reasons really, there
was no conscious business goal, there still isn’t, we assess
projects on their creative impact and whether we’ll enjoy
working with or on them. We like to work with people on
projects that ‘add’ something of value to our music
community. Now we have a film production company and
are in post-production on our second film called Wild Water
which is out this autumn. It’s really special to be
recognised for our music, values and positive approach to
music and all things creative. We have worked with some
many brilliant people from globally recognised US
superstars to bright young from all over the world. It
sounds like a cliché (and it is) but Paper has taught us that
as long as you treat people with respect and continue to
focus on the values that are important to you, the journey
just writes itself around you. Bit deep but it’s true.
Chris - I was always aware of Paper Recordings
and its significance in the world of dance music. If I'm
honest I was more of a trance/Gatecrasher kid in my
younger days so didn't own as many Paper releases as my
peers, but the striking imagery and record sleeves are
definitely things that stuck out when I was looking for
those latest Perfecto/Oakenfold releases.
Digital, Vinyl, or CD’s, and why?
Ben - I play all but if it’s a club, normally digital.
The fact that you can take a USB with your whole music
library is still pretty mind-bending all these years later. But
you still have to do the prep for each gig or the choice is
too overwhelming. Having said that, at small gigs I put on
myself, the guest DJ will often request decks and on those
occasions I have a dig through my collection and play wax.
I still buy records but it’s generally on the more home
listening, left field end of things. I tried to stop buying
records a few of years ago for environmental reasons but it
crept in again, I couldn't quite break the habit. It's great to
see green vinyl options now and we’re excited about doing
our first vinyl soon for a long time on that format.
Chris - All 3 and whatever I can get at the best
price! I do indeed! I'm 1 of 3 residents at a night called
Sticky Heat where we have booked the likes of Lindstrøm,
Roman Flugel, Justin Robertson, The Glimmers, Hannah
Holland, Alinka and Jon Carter amongst many more! I also
put on nights via my own label called Sprechen which has
had the likes of A Certain Ratio, Utopia Strong, Sean
Johnston, Bill Brewster & Raw Silk play. I'm pleased to still
hold down a few regular stints around Manchester where I
get to play a diverse range of music from club bangers to
more daytime/chilled vibes.
Festivals, super clubs, small clubs or
house parties, and why?
Ben - They all bring their own rewards. These
days I’m happy playing early doors or daytime to people
sitting down in a nice outdoor environment which means I
can really stretch my legs selection wise. My favourite club
of all time is Glasgow’s Sub Club; low ceiling, brilliant
sound system and about 500 Scottish nutters going for it,
things don’t get any better than that.
Chris - Small clubs (cap 500/600). I think
superclubs lose the intimacy and social community of which
clubbing is all about. I fear it’s a shame that there is now a
generation where clubbing of them is a multi-thousand
warehouse space with zero atmosphere and bad sound.
Festivals are great, especially if you source out the little
tucked away rave spaces & pop ups...seek & ye shall find!
Worst DJ gig and why?
Ben - Oh God, it’s one I still think about. I was on
tour in New Zealand and played in Queenstown. My brother
was friends with (namedrop klaxon) Frankie Goes to
Hollywood’s Paul Rutherford and we ended up getting
totally hammered beforehand on red wine. I didn’t think I’d
played too badly but reports came back later on that I’d
been terrible and they had considered pulling me off the
decks. The day after, the promoter had to drive me about 4
hours to the next gig with me lying in the back of his car
nursing a horrific hangover, which must have been salt in
the wound. To have been flown to the other side of the
world and treat the promoter and audience with such little
respect still makes me hang my head in shame. It was a
lesson well learned and I think I offered to return the fee.

Chris
Ben
Chris - I think it was the 2nd time me and my old
DJ partner played in Sri Lanka. We'd played there once and
it was amazing. Great vibe and turnout and an all round
amazing experience. Skip forward to the next time we went
to play and we got fleeced by the promoter who dodged
paying us and assured us it would be sent on to us (still
waiting for it!) as well as an attempt to get rinsed by the
locals who decided to be our 'tour guide' and kidnapped us
on a Tuk Tuk which took us to their mates shop who
wouldn't let us leave until we bought some stones (we
didn't buy any but it was scary experience!). To top it off,
the gig was shit and dead. It put me off ever going there
again (which is a shame as it was a beautiful place!).
Best DJ gig and why?
Ben - On the flip side of the bad gigs in NZ, we
used to play at Calibre in Auckland which was a small, late
night den of madness. I did a three hour set after The Big
Day out which is the biggest festival of the year and it was
amazing. The Chemical Brothers were seen cutting a rug
and Vern Troyer (Austin Powers’ mini-me) was throwing
shapes on the bar. Clubs used to shut at 2 in the UK back
then so to play 2 - 5 am with everyone off their faces and
going mental, on the back of a festival and going for it was
really special.
Also, we ran Robodisco in venues throughout
Manchester for about 10 years and some of those were
great. Lil Louis on one of the birthdays in Planet K is the
first one that springs to mind.
Chris - I think every Sticky Heat party has
been pretty exceptional. Our most recent Sticky Heat
& Sprechen collaboration party held just last month
was incredible and saw us host a 12 door outside
rave with Roman Flugel & Sean Johnston headlining.
Pretty amazing! Also playing back to back with Sean
Johnston at Electric Elephant (a festival I used to manage
in Croatia) at Barbarellas will always be cherished. Playing
about 3 - 4 hours from darkness to sunrise was one for the
memory bank!
When you go into the studio, tell us
about your process.
Ben - It’s different every time. Often for an
album, I’ll spend a few weeks or months thinking about
what I want to do and start gathering ideas and samples to
choose from. That usually sketches out the parameters of
the project and gives it a sound. But it can also be a matter
of making a load of tracks and realising that you’ve got
enough for an album which is what happened with Stubb.
When I’m on my own, I work really slowly so nothing
happens in a hurry but with Tom, we can do track in an
evening.
Chris - I tend to just jam some stuff down, see
what sticks and go from there. I'm pleased to say that I've
been able to leave the days of trying to do absolutely
everything in one sitting way behind me. I always try to
take a much more relaxed approach now.

You started off as Paper Recording,
but you have more labels, and other
projects, tell us about them.
Ben - Production wise I’ve got Flash Atkins which
seems to have turned in to slow, psychedelic house music
project. As an off-shoot I’ve done an all-live afro disco
track by the' Flash Atkins All Stars' and will come out on
vinyl as mentioned earlier. I also produce as Stubb for
more Balearic, leftfield stuff. I did an album called Canopy
a couple of years ago and haven’t done anything since but
feel like it’s an itch that needs to be scratched again. I’ve
also nearly finished an afro-tech album with Tom from 2
Billion Beats as BOM which reflects a lot of the the music I
listen to these days. There’ll be gqom, Shangaan Electro,
afrobeat and all sorts of other African influenced stuff by
way of Yorkshire. I’m really excited about getting that
finished off and released.
We have had various label off shoots,
including Repap and more recently Paper Wave and
Paper Disco but have recently decided to put them to
bed and release everything under the Paper
Recordings banner. It will make things more eclectic
than what people are used to but hopefully they will
come with us.
We also have Paper Vision Films for the full
multimedia experience! We did Northern Disco Lights about
six years ago not having a clue what we were doing and it
came out really well, eventually selling to Red Bull which
gave us the itch. We’ve been doing the record labels for a
long time so it’s great to challenge ourselves with a new
way of being creative. Wild Water, our new film on cold
water swimming is nearly finished then we’re moving on to
our new one ‘Inside The Outside’ about musical outsiders
fairly quickly.
Chris - As mentioned I have my own Sprechen
label which was set up as a side project for my own
productions and choose people I wish to work with. I had
always wanted it to be a representation of my own musical
styles and diverse selections which I think it is now seen as
being!
What’s the worst thing about
running so many projects? And the
best thing?
Ben - I’m about to totally re-do my studio.
Currently I run off Logic 9 with hooky software on a laptop
that’s about 12 years; that and my Mackie desk have been
slowly falling apart for a while and it’s reached critical
mass. I’m going to get rid of most of my outboard
compressors and reverbs and take it all in the box.
My new set up will be the following then I’ll tweak it from
there; Mac Mini M2, Kontakt Komplete Kontrol, Soft Tube
Console 1, Midas MR-18. Synths wise, I use the Novation
Supernova a lot, it’s a real workhorse, Moog Voyager, an
Andromeda Alesis which was the first synth, one of the
MS-20 remakes, Prophet Rev 2, Korg Polysix plus some
other bits and bobs. I’ve also got a nice range of mics
including an Aston Sprit and Røde NT3 for different
projects.
When I can, I like to try and take things live so
have got a drum kit, Rhodes and two big boxes of
percussion with all sorts of weird and wonderful things. I
share a studio with someone who has got a harmonium
which we recently used for the Wild Water soundtrack. It
sounds fantastic, proper Penguin Cafė Orchestra. It may
not seem so, but I no longer have gear acquisition
syndrome!
Chris - ANA synth by Slate Digital is what I use on
lots of productions and my Roland TR8S is an essential
piece of kit for jamming out drums and percussion. The
Slate Digital plugins are also absolute essential to my work.
Oldskool, neuskool or a bit of
allskool?
Ben - It’s got to be a mix of it all! One of the
benefits of getting older is more musical knowledge and a
bigger collection. Classics are classics for a reason and it’s
brilliant to drop them in now and again, especially ones
that feel like they’ve been slept on for a while or forgotten
about. But the thought of classics all night makes me want
to run for the hills. There’s so much much amazing new
music coming out all the time, I don’t think there’s ever
been a better time. Personally, it’s been interesting to
notice how my music tastes have been evolving and my
sets probably reflect that, these days I play a lot of African
influenced music and I’ve started digging in to jazz.
Chris - Embrace it all. Always look forward as
much as possible. Nostalgia is a dangerous tool!
Ben - Keeping all the balls in the air at the same
time can be tricky at times, there are only so many hours
in there day. Chris runs the social media side of things
which I’m not too keen on doing myself. The best thing is
being constantly excited by the various creative projects
that come through.
Chris - Time in the day and the sheer lack of it is
the worst. Being creative & working with like- minded souls
is the best!
What gear is your go to? And tell us
about the equipment you use in the
studio.

What affect did lockdown have on
you, good bad, or both. Did you
learn anything from it, on a personal
and pro level?
Ben - It didn’t make a great deal of difference to
me work-wise as I work for myself from home anyway. The
biggest change was when the schools shut as suddenly my
work day halved. Lockdown threw up some interesting
ideas on how to keep things moving label-wise and
creatively, one of which was our DJ Tag Team series which
was kind of a video back-to-back with jocks only knowing
what the last record and BPM was of the last person. I also
did a Party For One which started with me playing outside
at my Yorkshire smallholding next to a fire and has
expanded to Party For Two with myself and Chris. In fact,
it’s probably time for a new one!
A personal level, it was quite nice to have nothing
in the diary for a while.
Chris - Weirdly I really enjoyed it. I seemed to be
at a really beneficial scenario whereas I got paid for a lot of
work I had done of which I was then not spending but I still
had small bits of work coming through so I (very luckily)
didn't have a financial worry. I had also always done my
accounts and so I was able to receive funding. I found it a
great time to reflect on what I wanted to do and what I was
really interested in and started to work on music which is
much more personal to me.
Where do you see the future of
Electronic music?
Ben - Not a big question at all! It’s going to be
really interesting to see what AI brings as we seem to be
on the cusp of a major revolution in everything we do.
Dance music has always been on the front line of new
technology and I’m sure there will be amazing
developments artistically. On the flip side, the audio
version of Chat GPT and Midjourney must be just round the
corner which I can see it substantially reducing income for
licensing and synch. Why would an advertising agency or
film license music when they can get exactly what they
want for virtually nothing. Also, I can see those Buddha Bar
kind of comps getting the AI treatment and getting massive
traction on streaming platforms which would be taking
revenue away from artists. However, I can’t see the club
experience changing that much as getting 500 people in a
room, sharing a communal experience through music is
essentially the same it has been since the times of
cavemen.
Chris - I think it will continue to be as healthy as
it’s always been. Trends come and’ go and they will
continue to do so. I'll just exist in my own eco-system
away from all the noise!
Tell us about new productions, and
DJ gigs?
little bar, Barbary’ in my home village with a fantastic
outside space. We’ve got Jeb Joy Nichols playing on Friday
evening, the Craft Ale and Record Society with special
guest and Paper original Miles Hollway, Léna C then Chris
and I are playing with Supernature to close. Sunday is local
heroes The Duende Collective and CP. The artwork is going
to be in a 70s wrestling style. It’s going to be a lot of fun.
Chris - I've got an album coming out on vinyl
later this year under the name 'The Thief Of Time' which
was started in lockdown. It’s very much a non-dancefloor
sound and draws on personal life experiences as well as a
love of electronic music. I also have some collaboration
tracks I have done with Elliott Lion from the band the
Editors which is really exciting!
For gigs I’ll be playing at Blue Dot Festival &
Beatherder in the summer as well as at the Calder Del Sol
Weekender which we're putting on via Paper Recordings
and some local gigs at Ramona. I also have Sprechen
presents ALFOS coming up and in September we're
welcoming Cinthie to come & play at Sticky Heat which I'm
mega excited for!
What’s the most successful track on
the label, and why do you think it
is?
Ben - The one that seems to keep coming around
is Downtime. It never seems to quite go away and Colleen
‘Cosmo’ Murphy recently checked it on her radio show. It
can be a bit frustrating that people hark back to the early
days all the time as it was going on 25 years ago and we’ve
released so much brilliant music since then. But those early
days were a moment in time and I think evoke a certain
nostalgic feeling for a lot of folk. Our first release had a
message that said ‘Look Forward Not Back’ and we’ve had
that as our unofficial mission statement ever since.
Chris - Paper had some great legendary
tracks back in the day and I think it’s no secret that
Downtime & The Book are what people always seem
to mention when talking about Paper. However I
think Leon Sweet's Sunny Bigler is absolutely huge
and Flash Atkins' Drug Empire never, ever leaves my
box.
Tell us a little about what you guys
do when not making music, running
labels, and film companies!
Ben - I live on a smallholding and have a couple
of fields that I love to mess about in. Paper Vision Films
seems to have taken over for me on a day to day basis.
Chris - Walk my dogs and try to stay healthy!
Last words?
Ben - Sign up to our newsletter for to keep up
with the lastest and thanks for having us!
Ben - I’m putting on a mini festival called the
Calder Del Sol Weekender on June 23/34/25 in a brilliant

DJ CHARTS - spring issue 2023
Jens Lissat [GER] [TECHNO / HOUSE]
1. Jens Lissat - The future (Rave forever Remix) Studio3000
2. Derb - Berb (Jens Lissat Remix) / Studio3000 Records
3. Dennis Bauer - Techno Is My Soul / Affenkäfig Red
4. Alignment - Close your eyes /KNTXT
5. Bisou - Technology / Studio3000 Records
6. Tommy Libera& Zeuz - Don Kalle / Affenkäfig Red
7. Jens Lissat - Jesus Loves Acid / Affenkäfig Red
8. Thommes Jay - Fuck you up / (TBA)
9. IGDA - Ride or die / Affenkäfig Red
10. 8288 - Technokind (Tommy Libera remix) Affenkäfig Red
PAUL SAWYER [UK] [KRAFTED] [HOUSE/Trance]
1. Paul Sawyer, Carla Werner – Gold [Pure Trance / Black Hole
Rec]
2. Paul Sawyer – Express [Tanzgemeinschaft]
3. Dylhen – Hope feat. Rion S (Paul Sawyer Remix) [Pattern]
4. Kris O’Neil – Till You Tell Me feat. Waves On Waves (Ruben
Karapetyan Remix) [Krafted Underground]
5. 08 Orbit, Sinova – Low Tide [Krafted Underground]
6. Elena Kulstof, Eirikr – White Horses [Krafted Underground]
7. Enrico van der Merwe – I Can Hear You [Sounds of Krafted]
8. Propa People – Dirt [Krafted Digital]
9. Booka Shade – Flat White [Blaufield Music]
10. John Cosani – One Dollar [Sudbeat]
DJ Samer [Usa] [HOUSE/Progressive]
1. thebassmonkey - Malaba (Remixes) [Pangea]
2. Trilucid - Athena [UV]
3. Freek Strano - Child Inner (Jamie Stevens Remix) [ASTIR]
4. Southern Cross - Hey Rocco! [Pangea]
5. DJ Samer - Danya inc. Vocal Remix [Vapour]
6. Luke Brancaccio & Gai Barone - Curious Of Humble [Music
To Die For]
7. Bonobo & Jacques Greene 'Fold' [OUTLIER]
8. John Monkman & Rinzen - Fade [Desert Hearts Black]
9. Paul Sawyer - Riotous (Ext. Mix) [Krafted Underground]
10. Jaap Ligthart - Black Rabbit Sky (Extended Mix) [Kollectiv]
JAY DOBIE [UK] [Progressive House Classics]
1. Dave Seaman – Right Side of Wrong [Audio Therapy]
2. Sasha – Vapourspace [LNOE]
3. Tilt – Here Is Not Now [Pro B Tech]
4. Fishead -Inescapable [Saw Recordings]
5. Luke Chable – The Shepherd [Vapour Recordings]
6. Fever Ray – Triangle Walks [Rabid Records]
7. BT – Blue Skies (Blauer Himmel Mix) [Perfecto]
8. Echomen – Radar [Forensic]
9. Lemon8 – Lose Control [Bedrock]
10. Stephan K – Numb [Saw Recordings]
AMBER LEIGH MELBY [USA] [Trance]
1. T. Reilly, C. Connolly - Down With The Underground
[Tranceformer]
2. Sunlounger, Zara Taylor - Found Feat Zara Taylor (Roger
Shah Uplifting Extended Remix) [Armada Captivating]
3. M.De Jong - Bamboo (Extended Mix) [Who's Afraid Of 138?!]
4. Mark Sherry, David Forbes - Galvanizers (Extended Mix)
[Outburst Records]
5. Casey Rasch - The Witching Hour (Extended Mix)
[Nocturnal Knights Fusion]
6. Ben Gold - I'm In A State Of Trance (Extended 2023 Edit)
[A State Of Trance]
7. Sneijder - In And Out Of My Life (Extended Mix) [Afterdark]
8. Anthony Syfer - Lost Star [Treehouse Tribe Records]
9. Rank 1, Shanokee - Such Is Life (Xijero & Pitch Extended
Remix) [High Contrast Recordings]
10. Richard Durand, Christina Novelli - Fall Through The Earth
(Extended Mix) [Muse Music Records]
MARK NEENAN [UK] [Techno] [Filth Infatuated]
1. Michael Wells a.k.a. G.T.O. - Bring The Drums [Dataflow]
2. Oliver Rosemann & Alexander Kowalski - Most Monkeys Live
In Trees [Recorded Things]
3. Brad Lee - Extraction Point [Corrupt Systems]
4. Perc - Resistor (Interceptor's TNG Borg Remix) [Perc Trax]
5. 'Bad Boy' Pete - My Pain Forever [Tense Trax]
6. Toni Alvarez - Fantasy Delerium [Hydraulix]
7. The Southside Warriors - How Do You Like That [Tense
Trax]
8. Wetworks - Blueprint To Revenge Part Two (Alexander
Johansson & Mattias Fridell remix) [PLAYER]
9. Ghost In The Machine - Ensnared [Perc Trax]
10. Donzil - The Twillight Zone [Filth Infatuated]
lemon8 [UK] [House/Progressive]
1. MC Kasper - Universal (Thomas Compana Remix) [AH
Digital]
2. Facundo Navarro - Melodies of Traveler (Darren Bray Remix)
[AH Digital]
3. Whoriskey - Save Yourself (Ruben Karapetyan Remix)
[J00F]
4. Jerome Isma-Ae - Baharat (GMJ & Matter Remix) [JEE
Productions]
5. Kayinda - The Legend [AH Digital]
6. Mariano Giacinti - The Edge of Space [AH Digital]
7. Chambord, Roze (FR) - Fortune Teller (Valentin Huedo
Remix) [Around Midnight]
8. Peres - Freedom Is Past (Fabri Lopez Remix) [LuPS Records]
9. RNX - Collective (Extended Mix) [Pure Trance]
10. Uone - Thought Control (Original Mix) [BEAT & PATH]

https://www.discogs.com/seller/Redbox-Vinyl-Shop/profile
PAUL NEWHOUSE [IRL] [House/Techno][Zone]
FRANK DUEFFEL [Germany] [Trance]
1. Gorge, Marc Lenz - Yuna [8bit Records]
2. Eddie Richards - After All Vol 1 (2x12") [REPEAT]
3. Prok & Fitch, Leonardo Gonnelli - Lullaby [8bit Records]
4. Joyhauser - Crawler [Terminal M Records]
5. Eddie Richards - After All Vol 2 (2x12") [REPEAT]
6. Pablo Say - Old Child [Terminal M Records]
7. Various Artists - Sammelwerk IV [Konflkt]
8. RWN - Apres L'Heure [Koi Series]
9. Thomas Schumacher, Various - Reworks 1 [Electric Ballroom]
10. 14. Raffaele Attanasio - Quasar EP [Mutual Rytm]
Weissach [UK] [Drum & bass]
1. Synth System, MC Kerizma – Shut It Down [Viper Recordings]
2. Mollie Collins, Ruth Royall – Remedies (Vibe Chemistry Remix)
[UKF]
3. Alpha Rhythm, Echomatics – Empty Promises [Celsius
Recordings]
4. Weissach, Ana Be – Fly [Krafted Records]
5. Electrosoul System – Smoozless Day [Offworld Recordings]
6. Matt View – High [Yumi Recordings]
7. Aleyum, Istoria – She’s Never Enough [Celsius Recordings]
8. Motiv, Luke Truth – Done For Me [Liquid V]
9. Alibi – Liquid State [Intrigue Music]
10. Telomic, Susan H – Underwater [Liquicity Records]
CHRIS CARGO [N.Ireland] [Choo Choo]
1. Chris Cargo - Future Elements [If You Wait]
2. Mindlancholic - Lost In A Dream [AH Digital]
3. Chris Cargo - Jackdaw [OneDotSixTwo]
4. Freedo Mosho - Paradise Lost [Electronic Groove]
5. Alexander Church & Chris Cargo - ID [Configurations of Self]
6. Circulation - Potes [Stripped Recs]
7. Chris Cargo - Aurora (Antrim Remix) [If You Wait]
8. John Cosani - One Dollar [Sudbeat]
9. Chris Cargo & Frerunners - ID
10. Luis Damora - Altered Stars [If you Wait]
1. David Broaders - Evenfall [Euphonic]
2. Frank Dueffel - Atardecer De Eivissa [Vandit Rec.]
3. Final Fantasy - Controlling Transmission (Sans Souci Remix)
[Esprit De La Jeunesse]
4. Mark Sherry, Smith & Brown - Tambores De Carnival
[Outburst Rec.]
5. Underworld - And The Color Red [Underworld Rec.]
6. Revolution 9 - Tundra [Ascent Rec.]
7. Fuenka - Power [UV Noir]
8. Marc van Linden & D-Gor - Pentode [Vandit Rec.]
9. Claptone - Euphoria [Golden]
10. Paul van Dyk & Weekend Heroes & Christian Schottstädt -
Venture X [Vandit Alternative]
Terry Hobbs [Spain] [what the house][Soulful]
1. Horizon Red - Pete & Zoe Kypri [Crosstown Rebels]
2. All I need Ft Sara Garvey – Steve Silk Hurley, Sara Garvey –
Silk’s S&S (House Mix) [Hard Times]
3. History Repeating – Ezel, Rona Rey [Bayacou Records]
4. Wanna Be Down – The Journey Men & Anna-Marie Johnson
(Extended Mix) [Raising Records]
5. City Soul Project & Man Go Funk Downtown (Pat Bedeau’s
Bedfunk Remix) [Soul City Recordings]
6. Relentless – Grant Nelson [Swing City]
7. Vibe – Wez Whynt & Hannah Khemoh (Wez Whynt Vocal Mix)
[Vibe Boutique Recordings]
8. Lose My Mind – Jamie Jones (Extended Mix) [Helix Recordings]
9. Surrender (Dr Packer Radio Edit) [Easy Street]
10. Ask Yourself (Can You Dance) – Angelo Ferreri [Soulfuric
Trax]

featuring ANA BE
fly
released 15th may 2023

VINYL TOP 20
1. Kirik - Dance Of Confusion [Simbioza Records]
2. Rob Acid - Acid Chronicles 3x12" [Esprit de la Jeunesse]
3. RWN - Apres L'Heure [Koi Series]
4. Eddie Richards - After All Vol 2 (2x12") [REPEAT]
5. Matt Prehn - Qualia [Oh So Coy Vinyl]
6. Teenage Mutants, Heerhorst - PTT [Terminal M Records]
7. Eddie Richards - After All Vol 1 (2x12") [REPEAT]
8. Thomas Schumacher, Various - Reworks 1 [Electric Ballroom]
9. Gorge, Marc Lenz - Yuna [8bit Records]
10. Sisko Electrofanatik - Ametista [Terminal M Records]
11. Various - Bangers Vol. 7 [Terminal M Records]
12. Umwelt - Dead Eyes Society 2x12" [Monnom Black]
13. Pablo Say - Old Child [Terminal M Records]
14. Raffaele Attanasio - Quasar EP [Mutual Rytm]
15. Joyhauser - Crawler [TERM213]
16. Various Artists - Sammelwerk IV [Konflkt]
17 . 808 State - In Yer Face (bicep Remixes) [Feel My Bicep]
18. Joyhauser - Crawler [Terminal M Records]
19. Prok & Fitch, Leonardo Gonnelli - Lullaby [8bit Records]
20. AGE OF LOVE - THE AGE OF LOVE (Charlotte De Witte & Enrico Sangiuliano Remix) [DIKI Records]
https://deejay.de

Albums - Dance
Deejay.de / Vinyl / house & techno //
Albums - Dance
TOP TUNE //
10
Thomas Schumacher, VA –Reworks 1 [Electric Ballroom]
First found on Thomas Schumacher’s Patreon, these until now unreleased
versions are now seeing they light of day! His takes on “Rage Control” by Zajon
and “Telegraph” by Mark Porter are full of nervous techno energy. “Konfusion”
by Maketech is taken on next and given a full acid techno makeover. Finally the
original by Maketech rounds things off, and embraces the glitchy electronica
side of heavy techno.
https://deejay.de/Thomas_Schumacher_Various_Reworks_1_EBM030_Vinyl__1004674
9
808 State - In yer face (Bicep remixes) [Feel My Bicep]
Dance music superstars Bicep continue their world dominance, headlining arenas and touring
the world. However they still seem to have time to put out some seriously good white label
remixes on their Feel My Bicep imprint. In a nod back to their early days, this set of remixes
had been released with a limited run with little fanfare. Taking on the classic from 808 State,
they cook up two versions. Their first is a trademark steccato basslines and sharp sounding
percussion. Their “Acid Dub” slows the tempo and ups the 303 vibes. Great stuff.
https://deejay.de/808_State_In_Yer_Face_bicep_Remixes_FMB007WHITE_Vinyl__979285
8
8
Patrick Topping - Be Sharp Say Nowt [Hot Creations]
The northeast of the UK’s most beloved export after chicken parmos, Patrick Topping
moves away from his own Trick imprint to drop this 2-tracker on Hot Creations. Title
track “Be sharp say nowt” is a peak time house bumper. Punchy drums and a rolling
bassline are combined with a wonderful gospel vocal from LaShun Pace. The flipside
“Track Change” takes us into more experimental territory for Topping, featuring
glitchy 8-bit samples and bouncy percussion. A great reflection of his varied styles.
https://deejay.de/Patrick_Topping_Be_Sharp_Say_Nowt_HOTC104SPLATTER_Vinyl__975757
Raffaele Attanasio - Quaser Ep [Mutual RYTM]
Raffaele Attanasio drops his first EP for nearly two years on SHDW & Obscure Shape's
Mutual Rytm for his 'Quasar' EP. Six tracks showcasing his excellent production styles and
musical tastes. “Quaser” kicks things off and brings the energy, with each track
culminated with the frenetic energy of “Chara”. A great mix of peak time flavours that will
be at home in any dark room late at night. Great stuff.
7
https://deejay.de/Raffaele_Attanasio_Quasar_EP_MR-009_Vinyl__1012630
Matt Prehn - Qualia [Oh So Coy Vinyl]
Having been releasing underground house music for nearly a decade, Matt Prehn arrives
on Oh So Coy Vinyl’s 10th release. With a funky bassline and obscure vocal samples
”Qualia” is one for the DJ with the more avant garde tastes. TMBSH! Brings the funk with
his remix, adding guitars and strings to proceedings, whilst Paul Rudder goes for a more
up-tempo deep house vibe. Finally, Matt brings us “Inunison”, full of deep house energy
and jazzy chords.
https://deejay.de/Matt_Prehn_Qualia_OSCV010_Vinyl__1007244

John Ricketts \\ TUNES
9
8
Kirik - Dance of Confusion [Simbioza Records]
4 tracks of blissful deep tech house music from Kirik, with the bonus of Mikhu on the
remix as well. All 3 originals have the distinctive swag of Kirik’s style, “Dance of
Confusion” and “Everything we say” keeping things quite subdued whilst still being
able to do the damage when needed. “Paradise only” ups the energy. Finally to
round things off Mikhu takes on the title track of the EP and gives it a summery
outdoor vibe.
https://deejay.de/Kirik_Dance_Of_Confusion_SMBZ001_Vinyl__996285
Prok & Fitch/Leonardo Gonnelli - Lullaby [8bit Records]
Brighton house music legends team up with the Leonardo Gonnelli with this 2-
track ep aimed straight at the dancefloor. “Lullaby” combines it’s heartfelt vocal
samples with deep undulating bass and drums that push the track along. Flipside
“Hooked” ups the energy and brings the funk!
https://deejay.de/Prok_%7C_Fitch_%26_Leonardo_Gonnelli_Lullaby_8BIT169_Vinyl__978527
RECOMMENDED
10
Teenage Mutants, Heerhorst – PTT [Terminal M Records]
Terminal M Records brings the heat with three heavy hitting techno numbers.
Those familiar with the Terminal M sound will know what to expect here. “PTT”
kicks off with rolling basslines and huge kick drums. ”Tut Ench Amour” brings
more trance elements into the mix, whilst “Angel Dust” rounds things off with
more of that signature Terminal M sound. Great stuff.
https://deejay.de/Teenage_Mutants_%26_Heerhorst_PTT_TERM216_Vinyl__1003004
8
RWN - Apres L’Heure [Koi Series]
4 deep house nuggets here from the elusive RWN as he joins forces with
Re.Face Records sublabel Koi to bring us a 4-track ep full of deep and melodic
delights. From the beginning to the end, this is pure daytime on the terrace
vibes, ready for the summer.
https://deejay.de/RWN_Apres_LHeure_KOI006_Vinyl__1002993
8
Umwelt - Dead Eyes Society [Monnom Black]
30 years in the making, Umwelt’s new album takes on a journey through the sounds of
techno. Weaving between the grooves of “Captive Universe” and “The Lost Dreamer” and
the frenetic energy of tracks of `”Cosebreaker” and “Generation One”, it’s a great
collection of heavy techno. Amazing work from one of the greats of underground techno
https://deejay.de/Umwelt_Dead_Eyes_Society_2x12_MONNOM029_Vinyl__1007690

Vinyl + Digital
Albums - Dance
TECHNO & HARD TECHNO / Mark Neenan
Albums - Dance
TOP TUNE //
10
Tense Trax 02 (VA) (Tense Trax)
9.5
8.5
8.5
French acid prodigy 'Dica' showcases his modern driving acid style with a banger of a tune called 'Mind
Blowing Side Effects' which has bags of energy and is full of cool hip house vocal snippets. 'How Do You
Like That' by The Southside Warriors (Acid Choci, Marcio M and Tiago Santos) is a proper old school
sounding bubbling Acid Techno track with one hell of a groove and an awesome sounding ascending
airplane engine take off kinda noise (Total Departure stylee) Wicked! 'How Do You Like That? They ask,
well I like it a fucking lot! 'Squadron 303' by a solo Marcio M this time is another great track full of
squelchy 303 work but my favourite is 'My Pain Forever' by the ever brilliant "Bad Boy" Pete. Tough,
driving Hard Acid Techno with dark synth stabs and an eerie Hellraiser sample! Lots of plays from the A
List on this one. Quality. By the time these reviews are out I'm sure you'll be able to buy this on all digital
platforms as well as a cool Clear 12" Vinyl from the Flatlife Bandcamp page.
https://flatliferecords.bandcamp.com/album/tense-trax-02-acid-techno
PERC - Resistor remixed (PERC TRAX)
Wouldn't be a review without some PERC In here and yet again PERC TRAX and Ali Wells deliver the goods, this time with some
very special remixes. Originally released in 2021 as part of Ali's 'Greed EP' Resistor, is a monstrous thumper that has destroyed
dance floors ever since and has a epic atmospheric break down that soon turns nasty with resistor type glitches and a zappy bell
like clang before re entry. First up on remix duties is underground legend and all round top man Tassid, of SKUXX records fame.
Jamie turns it into a crisp and driving warehouse monster with all the quirky edits and fx fills we love from him whilst still
maintaining plenty of the original sounds. Really wicked remix this and it's gonna get rinsed for sure! Up next is Jenson
Interceptor (named after the legendary Car built in 1970s West Brom) I am a HUGE fan of Mikey's work and am always playing his
Electro gear. For this remix we are treated to a very crossover 4x4 Hard Techno / Electro / Jackin rework of epic proportions! This
is the real deal, you must listen to this! Finally Berlin based 'Wallis' brings the Industrial heat with a relentless and gritty version,
hardly recognisable to the original other than the occasional snippet of lead line slipping through the darkness every so often. Love
this, she is certainly one to watch and im gutted i missed her Bristol gig last month.
https://perctrax.bandcamp.com/track/resistor
RECOMMENDED
Oliver Rosemann & Alexander Kowalski Muzzle Blast EP (Recorded Things)
Oliver Rosemann & Alexander Kowalski need no introduction and are 2 of my favourite producers. This release on
recorded Things features 4 of their best works which have been released before, but this time they are getting pressed
onto those beautiful black plastic disc things for the first time! You know what you are getting with these guys, Dark
Intelligent and tough 'Proper' Techno! 'Chinese Water Torture' and 'Wasps Attack When Drunk' are excellent in their
own right, but for me its all about 'Muzzle Blast' with its dark hypnotising groove and marching percusion and my
Numero Uno of the EP 'Most Monkeys Live In Trees' which is just so damn quirky! Stuttering groove fuelled mayhem
with bendy synths and plenty of jack! Love this tune.
https://recordedthings.bandcamp.com/album/muzzle-blast-rect010
FRANKIE VEGA - Pyramid Trax (UKR Special Series)
10
Chicago legend Frankie Vega returns to the awesome UKR with 2 excellent originals. 'Pyramid of the Moon' is a crisp
Jackin affair full of Chicago influence. It's packed with a synth, subtle stabs, tight percussion and all the good stuff you
come to expect from Frankie. My picks though are the other 2 tracks. The original of 'Pyramid of the Sun' has a subtle
acid line running through it accompanied by some clanking tribal beats and a lovely deep undertone. Add some mesmeric
bleeps and you're onto a winner. Would sound ace outdoors this! Finally, Mark Therblig from Mastoid Kollective ups the
pace and gives us a harder version of 'Pyramid of the Sun' This is a beast of a remix and it only relents slightly on the
break as the original synth line comes in. Other than that this is a heads down dark dancefloor destroyer! Sweet!
https://urbankickzrecordings.bandcamp.com/album/ukrss193-pyramid-trax-ep
Developer - Hexmode LP (Modularz)
Was blown away by Developers set at Tresor last month, and a few days after I get back what should land in my promo
box.. A huge album from said Developer on his label 'Modularz'. There are a huge 12 tracks on offer here in varying
techy styles weaving in and out of Bleepy sounds, Sci Fi, and there'seven Classical undertones on 'Volver' but for the
most part, just like his explosive DJ set in Berlin the main emphasis is Hard Hypnotic Tribal Rhythms, which is right up
my street! If I had to pick a couple of favorites, I'd go with the dark 'Divine Shine' and the crazy 'Pure with Intent' I
recommend you check out this album and If you've not heard the man from Los Angeles DJ, go and check his sets out
also!
https://modularz.bandcamp.com/album/modularz-75-hexmode

\\ TUNES
9.5
8
8
10
8
Brad Lee - Enter Whitespace Remixes Part 2 (Corrupt Systems)
My old mate from America Brad Lee has had somewhat of a resurgence in the studio since having a bad accident and being laid up
for the last few months. (Wishing you nothing but the best mate) but in his downtime he has been making some absolute face
melters! This release is part 2 of a remix series on Luke' (Oris) awesome Corrupt System's label. The 2 originals are probably my
fave, this is the kinda proper real hard Techno I love and reminds me of the seminal 90's sound. 'Enter Whitenoise' is a Sub heavy
industrial roller, with machine like noises and hard building layers of percussion leading up to an evil sounding vocal and eerie
breakdown. 'Extraction Point' is equally as hard and has some amazing metallic synth sounds, which makes it sound like a cyborg is
having dirty relations with a broken washing machine. Amazing! There are 5 remixes to choose from including label owner Oris,
Sean Devine and Myself. But I am loving 'Wetworks' hard loopy Tribal version which is subtly infused with some dark disco grooves
and the EXIT7 Remix which is an energetic modern tough warehousepounder! The release has already had some killer support from
the likes of Cristian Varela, D.A.V.E The Drummer, Dax J, Daz Furey, Louk, Modular Phaze, Oliver Kucera, Slam, and Samantha
Togni to name but a few. Go and grab a copy now!
https://corrupt-systems.bandcamp.com/album/enter-whitespace-remixes-part-2
Audioklinik - Chronos EP (Open Source)
Pat Hurley's ace Open Source label has delved into the vault and picked two amazing tracks from
Audioklinik to get a re-release digitally. Fifteen years after first appearing on vinyl 'Chronos' and
'Darkness' have been digitally remastered by the legendary Patrick DSP at his Neptune Studios in Berlin!
Both of these originals are certified Hardgroove stompers and it's great they have got a new lease of life
for the digital world. Pat Hurley himself takes on remixing both tracks, with his quality version of 'Chronos'
going down a deep and stripped back journey whilst his rework of 'Darkness' is a bass heavy broken beat
techno offering of the highest order. Cracking EP this, check it!
https://www.beatport.com/label/open-source-records/24558
Various Artists - Back To Basics EP (Collective Details)
I've never come across this label before and when flicking through the mountains of promos it's the second
tracks name that made me stop in my tracks (and laugh out loud to myself) 'My Mom Gave Me Chlamydia'
what the actual fuck!? Hahahaha Anyway, said track by an artist called 'Cindy' is actually bloody brilliant.
Rolling warm Techno grooves are accompanied by a Lovely twisted evolving synth line throughout and it
also has these quirky almost out of time bell noises that are pleasing to the ears. Beauty! There are 6tunes
in the VA release, but 3 stand out for me. The already mentioned track from Cindy, Plus a rather weird and
wonky roller from Tav Shi titled '8 Traxx 00_s' and the tough Tribal workout of 'Something Cronic' by
Backrill. Ace heads down Hardgroove cut this. But yeah, back to Cindy. Their Mom should be on the list.Ha!
https://glbdomrec.bandcamp.com/album/various-artists-back-to-basics-gdwax001-12
Toni Alvarez, D.A.V.E. The Drummer, Chris Liberator Hydrailix X03 (Hydraulix)
Top Spanish producer Toni returns to the legendary Hydraulix for this Vinyl Exclusive on the top London
label. 'Fast and Dark' is exactly that, fast paced dark Techno grooves with searing and building squelchy
acid. I prefer 'Fantasy Delerium', slightly slower on the pace but has a great warping bassline and the acid
is more of a builder on this cut. Add into the equation the classic 'Fear and Loathing' sample (Uppers,
downers, screamers, laughers etc) and you've got a sure fit Techno hit on your hands! If these tracks arent
enough for you, then theres only 2 slamming remixes by Chris Liberator and label boss D.A.V.E. The
Drummer! Chris goes vintage Liberator, energetic London sounds with a hypnotic synth leading you into
the chaos the ensues, whilst Henry's version of Fantasy Delerium is 7 minutes of Tough, driving warehouse
techno with the mind bending squealing acid not coming till the latter part. Ooh, i nearly forgot to mention,
it comes in a sexy clear green vinyl too Epic!
https://hydraulix.bandcamp.com/album/hydraulix-x03-vinyl-exclusive
KOR Tephra EP (Nodding Heads)
This came in as i was finalising my reviews and i had to sneak it in. Never heard of KOR, but whoever they
are, they have a new fan. Trippy, Hypnotic, full of deep grooves and intricate percussion and thats just on
track 1, Caldera! The other 3 tracks range from hard groove vibes, Wonky weirdness and the last track
'vapopur Phase' is a punchy futuristic jam. The Nodding Heads label keeps on making heads nod thats for
sure (and People dance!) Go check this out.
https://mildfantasy.bandcamp.com/album/tephra-ep

30 YEARS A DJ
available now to
stream/download
INCLUDING REMIXES AND TRACKS BY
PAUL OAKENFOLD, SOLARSTONE, zoya, SUNSCREEM
BLUE AMAZON, LOSTLY, VALLERAPHON
GUYRO, WILLIAM MEDAGLI, SHEMSU, DARKERSOUND
STORMSHAKER, DAMIEN SPENCER, NICK MUIR
BLACK 8, JAN JOHNSTON,