Zone Magazine Issue 037 Spring 2023
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!
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.
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!
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.
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.
- Page 9 and 10: " We’ve already been working with
- Page 11 and 12: Paul, you recently celebrated 30 ye
- Page 13 and 14: " Ive been releasing music for 25 y
- Page 15 and 16: " I was lucky to be around the club
- Page 17 and 18: OUT NOW
- Page 19 and 20: " I think my favourite nights were
- Page 21 and 22: Tell us all about your Djing and re
- Page 23 and 24: Where do you see the future of Elec
- Page 25 and 26: DBM - Real Dream (1991)- [UMM] UMM0
- Page 28 and 29: Who is Harry and who is lemon8? Har
- Page 30: Festivals, Superclubs, small clubs
- Page 33: Digital, vinyl, or CD’s and why?
- Page 37 and 38: Stuart Paterson & Terry Hobbs
- Page 39 and 40: " The festival scene is where every
- Page 41 and 42: Emma Noble Tito Pulpo & Terry Hobbs
- Page 43 and 44: Stuart Paterson & Terry Hobbs Dave
- Page 45 and 46: The Headliners Crazy P (DJ SET) Cra
- Page 47 and 48: " Most of the gigs I have had where
- Page 49 and 50: What label has been the best to wor
- Page 51 and 52: WIND DOWN SHOW PRESENTED BY AMARE N
- Page 53 and 54: Who are we chatting to today? Digit
- Page 55: Tone Rangole & Jay Lehman 2015 ibiz
- Page 58 and 59: featurelabel __________________ Wor
- Page 62: You started off as Paper Recording,
- Page 66 and 67: DJ CHARTS - spring issue 2023 Jens
- Page 68 and 69: featuring ANA BE fly released 15th
- Page 70 and 71: Albums - Dance Deejay.de / Vinyl /
- Page 72 and 73: Vinyl + Digital Albums - Dance TECH
- Page 74: 30 YEARS A DJ available now to stre
Chris<br />
Ben<br />
Chris - I think it was the 2nd time me and my old<br />
DJ partner played in Sri Lanka. We'd played there once and<br />
it was amazing. Great vibe and turnout and an all round<br />
amazing experience. Skip forward to the next time we went<br />
to play and we got fleeced by the promoter who dodged<br />
paying us and assured us it would be sent on to us (still<br />
waiting for it!) as well as an attempt to get rinsed by the<br />
locals who decided to be our 'tour guide' and kidnapped us<br />
on a Tuk Tuk which took us to their mates shop who<br />
wouldn't let us leave until we bought some stones (we<br />
didn't buy any but it was scary experience!). To top it off,<br />
the gig was shit and dead. It put me off ever going there<br />
again (which is a shame as it was a beautiful place!).<br />
Best DJ gig and why?<br />
Ben - On the flip side of the bad gigs in NZ, we<br />
used to play at Calibre in Auckland which was a small, late<br />
night den of madness. I did a three hour set after The Big<br />
Day out which is the biggest festival of the year and it was<br />
amazing. The Chemical Brothers were seen cutting a rug<br />
and Vern Troyer (Austin Powers’ mini-me) was throwing<br />
shapes on the bar. Clubs used to shut at 2 in the UK back<br />
then so to play 2 - 5 am with everyone off their faces and<br />
going mental, on the back of a festival and going for it was<br />
really special.<br />
Also, we ran Robodisco in venues throughout<br />
Manchester for about 10 years and some of those were<br />
great. Lil Louis on one of the birthdays in Planet K is the<br />
first one that springs to mind.<br />
Chris - I think every Sticky Heat party has<br />
been pretty exceptional. Our most recent Sticky Heat<br />
& Sprechen collaboration party held just last month<br />
was incredible and saw us host a 12 door outside<br />
rave with Roman Flugel & Sean Johnston headlining.<br />
Pretty amazing! Also playing back to back with Sean<br />
Johnston at Electric Elephant (a festival I used to manage<br />
in Croatia) at Barbarellas will always be cherished. Playing<br />
about 3 - 4 hours from darkness to sunrise was one for the<br />
memory bank!<br />
When you go into the studio, tell us<br />
about your process.<br />
Ben - It’s different every time. Often for an<br />
album, I’ll spend a few weeks or months thinking about<br />
what I want to do and start gathering ideas and samples to<br />
choose from. That usually sketches out the parameters of<br />
the project and gives it a sound. But it can also be a matter<br />
of making a load of tracks and realising that you’ve got<br />
enough for an album which is what happened with Stubb.<br />
When I’m on my own, I work really slowly so nothing<br />
happens in a hurry but with Tom, we can do track in an<br />
evening.<br />
Chris - I tend to just jam some stuff down, see<br />
what sticks and go from there. I'm pleased to say that I've<br />
been able to leave the days of trying to do absolutely<br />
everything in one sitting way behind me. I always try to<br />
take a much more relaxed approach now.
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