Zone Magazine Issue 037 Spring 2023

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.