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Winter is slowly fading in and the Halloween weekend is most certainly a big one and K / D – Keep it Deep chooses 5 parties that you should seriously check out for different musical reasons over the weekend including Butter Side Up, Colors, Art of Dark, Secretsundaze & Kaleidoscope, check the links for full information and ticket links.

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First stop is Butter Side Up which is a long standing leeds Deep House party run by a solid crew of resident with a super tight booking policy, this is as super friendly party with pure vibes and great atmosphere. They have two guests detailed below and we have picked this Jane Fitz NTS mix to give you some flavour of what you can expect.

Eric Cloutier is the first up guest, a real underground hero in the form of Detroit native and Berlin resident. This guy is a master craftsman both in his sleek techno & house production and his beautifully hypnotic DJ sets, as well as lending his extremely well trained ear to labels such as New York’s Bunker and the Berlin/Bristol based TANSTAAFL it is safe to say that this chap knows his onions! 
Next up we welcome not only one of our favourite ever selectors, but an absolute cult hero the world over…Jane Fitz. DJ, promoter, music journo, Jane has just about seen it all when it comes to electronic music as she has effortlessly glided through the last 15 years of electronic music sticking to her guns and keeping things underground without ever relenting to any sort of pretentiousness…and she does it oh so well.

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Next stop is Colors a party that has been going just over a year but has enjoyed a huge amount of success which included taking over room 3 at Fabric a few weeks back. This party brings any space to live with stand out dressing and show production of the space, this day of the dead party will be one of the best London has to offer. The music for this journey comes 3 solid gold djs and if you have been before you know the musical score. Check this mix from Thomas Roland who plays Colors often.

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 So that is Friday over with on Saturday we firmly recommend that your 1st stop should be Art of Dark who have Praslesh which consists of Raresh back to back with Praslea. These Romanians bring that rolling micro minimal house to the floor which suits the Halloween vibe. Check this mix to catch the vibe.
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The next stop Saturday night comes courtesy of Secretsundaze  with a deep line up which includes Dj Rolando, FunkinEven. Romare live and of course resident party starters Giles and James. These boys have been long in the game and they always bring a tight production to the venue with on point musical selection. Check the mix from FunkinEven for the score.

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Last stop for the weekend and the 5th recommendation is Kaleidoscope, at 93 Feet East, with a stellar line up of underground heads and crate diggers. Jane Fitz features again this weekend, Andrew James Gustav of Hi-Fi fame, Matteo Manzini from sunday rave Damaged, Chris Graham & Ewan Smith, Rupes & Dan Beaven. Check this mix from Andrew James Gustav to catch the energy pushed on the floor. This one will be a more intimate affair with subtle musical stories and an understated crowd. Happy halloween and pleas take care of yourself, other and be responsible, keep it deep, always!

 

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K / D Keep It Deep will review the Fabric 15th Birthday weekend from the Sunday and ask the key question, is the club still relevant after all these years?

The build up to the Fabric birthday is always noticeable, from friends talking about it, social media updates and of course all online editorials covering from their specific angle. The line up always throws up some surprises and some regular faces. Historically the Saturday night can be an extremely busy affair so we swerve the crowds and dig deeper into Sunday night, of course we pre plan and take the Monday off work, you know, just in case.

Our background to the weekend goes like this, Saturday night local dj gig, anything goes from new jazz, hip hop, soul, funk and disco, 11pm finish so an early night. Sunday I wake up apprehensive and excitable at what is to come and also the knowing fact that the club is actually already open, alive and kicking.

 I arrived for around 6pm with a gaggle of friends & the sky was clear, no rain just an easy breezy Sunday, but in Farringdon the sense of energy and small pockets and gaggle of people milling around was apparent. New faces, old faces resurfacing, people looking for friends and of course dj’s coming to check the vibe was evident.  On our travels in the club we saw Matt Tolfrey who had been out for a sold 12 hours, Dave Congreve had just arrived & Jonny Rock was inside the place.

 All queues Sunday night at 6pm looked relaxed, we didn’t wait to get in, we did get searched and then joined the queue for coats, as the bass from room 1 slowly crept into ear shot.

 After my coat was checked I know we had the pleasure of seeing Ben UFO in room 1, I double checked my pockets to ensure I was coming correct, lots of mints, cash, rolling tobacco, lighter and Iphone for jotting tracks and notes.

 As I walked to the bar in room 1, the club was very busy still with young trendy types from around 20-40 looking deceptively fresh as I knew some heads would have been in the space since last night, some fresh and some just looking amused and lost.

The very slim and clean-cut silhouette of Ben UFO took to the decks and I noticed he was using Traktor dj software. The booth was busy with dj’s and other Fabric staff awaiting Ben UFO to get into his groove.

 His first few numbers raised the energy and Ben likes to bring in mixes rough and ready, always tight but not gentle and meticulous. There was an assertive nature to his set, he looked confident flicking through Traktor laying down a bed of Techno and vocal led Tech House the type from the 90s that crate diggers tirelessly seek out on Discogs. The crowd enjoyed the intensity and quick mixes and I actually started to recognise some cuts, including Something Here by Terrence Parker, Que Tal America by Two Man Sound and also Medusa by Stephen Brown which helped build the energy and the story. I could sense the crowd locking into Ben’s groove & it was nothing clever just straight up danceable music with tough undertones and fun vocal elements to engage with the crowd. Every single part of room one was bouncing and the sound system easily handled the onslaught as I noticed sound engineers in the booth keeping abreast of the situ tweaking and fixing.

 Ben then played Thought in Action by Portable which really added character to Ben’s set and it really worked the floor, heads really enjoying the track and all the odd, metallic, outer space samples. The pace was popping and I really started to enjoy things. Seasons by Lil Silva with the trumpet lead and thunderous bass line kept the energy up. Skee Mask by Reduct Live really gave the sound system a solid work out with its acute sub bass and relentless pace. Ben a few moments later played Sweet Love 2k by Fierce a stone cold garage classic, which the entire floor reacted well to, gun fingers and all the London heads grinding was the order of play. Overall a stellar set that the majority of the crowd bumped and grinded to, it was not to serious and there snippets of light humour and fun, I wished he could have played longer to stretch out but next up was Mathew Johnson Live.

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 Mathew changed the tempo more with rolling synth leads and warm drum programming, wearing a fancy dress onesie Mathew engaged with the crowd and this lifted the vibe, people enjoyed looking at him play with his hardware as he was the only live set for Sunday. The visuals really aided and supported the live act, accompanying the heavy chords and garage type bass lines. Mathew swinged effortlessly creating solid grooves with no nonsense accessibility. The whole room was vibing and smiling towards the end of his hour and a half set he played the Good Life acapella over his instrumentals, which was a highlight. Overall Mathews live set stood apart but also kept the story of the evening going, nothing to tricky or intricate as the floor by this point wanted heady, main room time bizz. I went for a walk to room 3 and I was pleasantly surprised to see Levon Vincent doing his thing, nailing the groove as he usually does, the crowd was mixed and not to busy but this was a very pleasant surprise overall. Levon is usually more accustom to playing in room & it was evident Levon was acclimatising to the the more intimate room 3. Room 2 was not open and I did bump into a friendly couple who were very excited to see Ben Klock & Marcell Dettmann play however I disappointed them as I broke the news, these guys played 10 hours ago Saturday night.

I assume Ricardo was running late as Mathew played past his advertised set times, however Ricardo entered the main room dj booth looking decidedly fresh and ready to do a job. I heard on the grapevine his records went missing which I could not confirm. I noticed a palpable energy increase with Ricardo in the same room, the tension rising, the anticipation, his fans, his critics, the also the heads who know nothing on the dj. As he slowly took to the decks…. In true Ricardo he played an instrumental Latin number with no kick drum for a few minutes, this signature sound antagonised and played with the crowd until the kick drum came in and then eruption. Lots of cheers and hands in the air. The first hour or so was very solid usual Ricardo stuff, lots of long tracks, tight mixes, with percussion being the focal point. Life Is Water by Maurice Fulton was a real treat to hear on the big sound. Overall if Ricardo did indeed lose his records he still brought the magic, played some tracks not many would recognise, he always paints his own picture and always makes a journey very distinctive to the rest.

Next up should have been Craig Richards and Ricardo back to back but I couldn’t see him in the booth. As the hours rolled on, I arrived at 6pm and it was now 5:30am and Seth Troxler was doing his thing with Ricardo back to back. I heard news of an after party in room 3 but I had done 12 hours and that was all I needed for the Fabric birthday.

After all these years and reading the Vice piece (link here) on the club and how it came about with Keith & Cameron definitely gave me some context. The initial few days after the party lots of different social very different critical feedback on the club, and the dj’s. Overall Fabric is most certainly relevant as ever and the ethos of the music and the sound being paramount still stand. There are still the residents and long standing relationships which must mean something. Lots of people always speak negatively about the club and its booking policy, but I always wonder about London’s clubbing landscape and all the club closures we have witnessed, this club is still open, still doing its thing and booking new dj’s and nurturing local artists. Lots of dj’s & producers still name check Fabric as a space they have played at and it’s still held in high regard. Things change and times change and this club keeps on doing its thing never looking at trends or commercial opportunities. With high standard and that super clean sound system, The Fabric 15th birthday was thoroughly enjoyable considering I have been to the club two weeks earlier for Raresh and I have already eyed up some future dates I would like to attend. Quietly understated, Fabric does its thing and I would recommend visiting the space in person and making your own mind up. I am still hooked after all these years.

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Fabric nightclub based in London turn 15 this weekend and K / Keep It Deep give you 15 reasons to join the celebrations in no particular order. Check the link here & here for tickets and more information 15th birthday

1.The line up overall for the main Saturday night speaks of a who’s who of dance music and over the years the birthday line up pulls together under 1 roof a gaggle of dj talent which is rare to find unless you compare to a festival. The 15th birthday includes 14 djs with extra potential surprises across 3 rooms & around 36 hours of solid continuous music, sweat bands at the ready. fancy dress

2.It’s a birthday party and there might be some fancy dress to aid the happy go lucky dance energy and vibe, keep an eye out for some birthday cake also.

bodysonic 3.Main room bodysonic dance floor sound system, I am not going to get all technical but basically there is a back section under the main room dance floor that has 400 bass transducers which means you have sound coming at you from below and above this can only be felt in person to believe. If you want to feel the music literally check this part of the dance floor out. Craig-Richards1

4. Check out resident Craig Richards amongst others, who quite simply demonstrates that playing music you like, pushing your own boundaries and being open as a DJ is really all the key ingredients required. Craig Richards is an esteemed pillar of the club and seeing him stretch out on the main room rotary mixer is always an inspiring journey into sound and story telling. Craig compliments the guests and likewise they compliment him, a very fair and dynamic two way exchange which has built and grown over the years. danceoff

5. Get down into 1 of 3 rooms wearing comfortable cloths and your tipple of choice and quite simply have a dance, leave your phone for a couple hours and engage with the story being told by one of many dj’s, please take care with the type of shapes you attempt at throwing but pretty much anything goes. benufo

6. This one is easy, go check out Ben UFO, he co-founded Hessle Audio with Ramadanman & Pangaea back in 2007. Ben has established his career without producing any music so go check this real selector out who will be one of many guaranteed birthday highlights to the weekend. Check his Fabric mix for a suitable introduction. dance djs

7.Throughout the whole weekend, from the bars, to the smoking area to the dance floors, spot check which of the 4099 dj’s that have played at the club are inside the venue enjoying the birthday weekend. You could end up rubbing shoulders with the dj that has made your track, album or mix of the year. b2b

8. Back to back is the rare art form of two dj’s sharing the decks together, sharing there story and co-conspiring the mood and vibe, last year we witnessed Craig Richards, Zip & Ricardo Villalobos which was a pleasure. This year we have 2 of the 3 in town, so Craig B2B with Ricardo Villalobos looks very likely.

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9. As London’s authorities try and tighten there grip on the nightlife scene, several clubs over the years have sadly closed for various reasons. Fabric is still going from strength to strength still undiluted from the ethos and attitude it opened with back in 1999.

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10. The only live set Saturday come from Canadian born Mathew Johnson who is the founder of Wagon Repair and in groups including Cobblestone Jazz, Midnight Operator and the Modern Deep Left Quartet. Mathew has produced classic hits including Decompression, Return of The Zombie Bikers, Freedom Engine & When Love Feels Crying to pick out a few.

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11. No one embodies the term fun better than Seth Troxler, expect an gregarious birthday outfit which he flamboyantly adorned last year and also some music to match the occasion.

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12. Ben Klock & Marcell Dettmann are Berlin’s Berghain residents and expect nothing less than high octane relentless Techno from start to finish.

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13. Matt Tolfrey is a Nottingham lad born and bread and we love to support local talent from our home town, Matt always brings his own repertoire of groove with some added soul, check his Leftroom label for his discography & mixes.

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14. Besides the music the lights and visuals shows in Fabric are completely stand out and sincerely aid and adjust to the music being presented and add to the sense of atmosphere and energy.

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15. Ricardo Villalobos always commands a certain air when he takes control of room 1 and as last years back 2 back with Zip & Craig Richards was a key highlight, expectations are high and Sunday night Monday morning will set the scene. Check out Ricardo’s Fabric mix for a teaser of what to expect.

SCOTT

In 1994 Scott Ferguson was introduced to the House & Techno scene in Detroit, Michigan.  By the next year Ferguson began Deejaying and consuming a wide range of vinyl records which included, Detroit & Chicago House, Detroit Techno, Disco, & Funk.  On the recommendation of UR founder  ‘Mad’ Mike Banks, Ferguson purchased the Ensoniq ASR-10 in 1998.  The ASR workstation would become the most intregal part of his sample heavy, filtered down sound.  Ferguson released his first 12″ record on his own imprint in 2001 and since has released records on Kenny Dixon Jr.’s ‘Mahogani Music’, as well as Reggie Doke’s ‘Psychostatia Recordings’.  In 2012 Ferguson started two new projects, the ‘Black Boxx’ project using only 3 black hardware boxes to compose simple, yet effective, loop based machine music and JBSF with fellow DJ/Producer Jitterbug.   Scott’s productions have been played and charted by legendary Deejays including Derrick May, Larry Heard, Theo Parrish, Moodymann, Marcellus Pittman, Rick Wade, and Mike Huckaby.  Currently Ferrispark Records is still manufacturing and selling 12″ vinyl records and Ferguson is still travelling the world playing them.
Scott Ferguson we met many years ago through Lakuti who runs the Uzuri booking management and label in East London. Scott is an underground head who lives and breathes his art form. He keeps on keeping on with regards to running his label Ferris Park releasing pieces from artists including Scott Ferguson himself, Keith Kemp, Marvin Belton, Silvio Manuel, Dubbyman, Joy of Sound, Juju & Jordash, JBSF & Black Boxx. Scott is a very open, honest and true cat that is extremely well versed in all facets of the game as he Djs, runs a label, works for a record shop and now has a new exciting live project called Black Boxx with his debut show at Panorama Bar lined up for the 24th October. Lots of notes and loads of highlights have past and will continue to come as this American born artists that now lives in Europe keeps creating and contributing using his environment as his canvas. Check the mix as it is a strong representation of Scott Ferguson and also a welcomed excursion into crate diggers, vinyl,  collectors and somone who lays his soul bare, mad love Scott, Keep It Deep brother.
1. We go way back, i remember it was my birthday and you got married and we had a joint bbq at Lerato’ place all those moons ago, how has it been since then?  
Oh yes, lot’s of wonderful things were happening at that time.  Obviously since then you and I have had a few more birthdays and I’m still happily married to my favorite person on Earth.  Lerato is still my booking agent, and of course, you and I are still in communication.  I’m still gigging, running the label, and accumulating more vinyl records but probably the biggest change since the wedding has been the addition of my two sons to the family.   All in all, everything is great.
2. How have you found London personally and also for work?
London is great, multicultural, beautiful, safe, etc… Its only drawback is that is expensive as hell.
3. Detroit is your original home have you been back in a while? 
I was born just outside of Detroit in Clawson and then moved to the city when I was 20.  I have not returned to Detroit or the United States for that matter, since I moved to London.  I will be going back to Detroit next year for a long overdue visit and then onto L.A. to celebrate my older brother’s 40th Birthday.
4. Whats your take on the current music scene in Europe and the USA?  
I remain underground so the music scene that I’m involved in really doesn’t change much.  I’ve noticed that Europe has been going full force into festivals recently and the US is going wild over EDM or whatever you want to call it.  This has happened before in the US and across Europe there has been a mainstream in dance culture for sometime.  As I stated before, this really does not effect me at all.  I have very little interest in the mainstream of dance music.  As far as the underground goes, represses of classic or rare Chicago & Detroit records seems to be a huge part of the game these days.  It seems to me as well that for the past few years a younger generation has been taking a real interest in underground dance music.  I’m hoping many of these younger people will become lifers, the underground always needs new blood to keep moving forward.
4. Ferris Park is the label you run, how has it been going for you, are record sales up for FP as press report?
Record sales have never really changed for me.  They are no better or worse, just steady.  The ‘vinyl resurgence’ that everyone is talking about doesn’t make much of a difference for an underground label that does little promotion and does not follow trends.  What I’m happy to do is break even so that I can press more records.  My goal has never been to sell as many copies as possible of a single release, my goal has been to produce releases.  The vinyl resurgence is nice and all but it really pertains more to Indie rock, and major label stuff like classic rock & pop then it does to underground dance music.
4. since your last release there has been some time, what have you been up to?  
I have been doing less under my own name and more under the Black Boxx moniker.  This week will mark the release of the 5th, and second to last Black Boxx 12″ EP.  This year, I also released a second 12″ with Uzuri artist Jitterbug as JBSF.  The major setback for my label and I feel other small labels, has been the ‘vinyl resurgence’.  Now that major labels are back on the bandwagon, the pressing plants are backed up.  Its taking months longer then usual to go from mastering to pressing and therefor I have only been able to manufacture two Ferrispark 12″ releases this year.  I guess on a positive note, the so called ‘vinyl resurgence’ is slowing down the output of underground dance music releases and I believe that this might actually create more longevity for the scene. It is almost becoming self regulated, preventing the flooding of the tiny, tiny vinyl market that is the underground.    Even though I see the positive side to underground record production slowing down I also would love to get back to 4 releases a year and I would like to see record stores still getting enough stock to sell.
5. Black Boxx Live is your new live concept, can you explain how it came around, what gear you will be using live and also how is the prep going for the October show at Panorama Bar?
I can tell you how the entire Black Boxx project came about by saying the name of possibly the greatest Techno producer of our time, Jeff Mills.   I thought about how Mills keeps pushing himself by constantly creating new concepts for his projects.  I then decided I was ready for a concept.  The Black Boxx concept was to use hardware boxes together in a simple and effective way, aimed more at dance-floors, driven by simple loops.  Hopefully that makes sense.  My ASR-X, MPC1000, and XoXboX are all black in color, hence ‘Black Boxx’ for a name.  I wanted to complete 6 EPs, 1 LP, and a live show and I’m almost there.
The live show is comprised of the hardware boxes I just mentioned, a small effects unit, and a 16 channel Mackie mixer.  The live show is more or less based on Rap records I love combined with the influence of Detroit Booty Bass and Chicago Ghetto House that was a huge part of my life all through my late teens and twenties.   In other words its energetic and sample heavy with funk, soul, and disco loops sprinkled with infectious vocal snippets.  My preparation for Panorama Bar has been live shows already in Paris & Offenbach plus my experience of being involved in this type of music for the last 20 years.
6. How is the studio work going, besides creating Black Boxx, have you bought any new gear,  learned new things?
I think in total over the last 2 and a half years I have created over 90 tracks for the Black Boxx project using up a significant amount of my studio time.   Within the last 2 years or so I have purchased an Akai MPC1000 to be used as my main sequencer.  I found it more appealing then an older MPC because it is smaller, weighs less, saves better, and runs JJOS.  It is also more appealing because I don’t use if for audio, only sequencing.  On top of that I purchased a Ladyada XoXboX from Specter, I am super happy with the sound.  I have been concentrating on learning the latest version of the JJ operating system for the 1000 and learning how to program the sort of bass lines I want from the Xox.  The next thing I really need to do is figure out what happens when the Black Boxx project ends.
7. Any plans as we near the winter months and NYE comes close? 
I will visit Italy during the Christmas holiday and I mainly just want to spend an easy and peaceful time with my wife and children and my in-laws in Italy eating, drinking, resting, and laughing.  It’s looking like there is the possibility I’ll be doing my live set in London for the Secret Sundays NYE party, fingers crossed.
 Show message history
This mix was recorded at home, in one take on the 2 Technic 1210s I purchased in 1996 and my Vestax PMC-25 mixer I purchased in 1999.  I brought all three with me from the US when I moved to London.  The thing I like most about this mix is that its not just a bunch of rare records thrown together.  I often try and do mixes that are simply music that I deem good.  I also like to mix newer releases with older stuff.   To me deejaying has always been about technically putting records together as best as possible and also not getting trapped in one style of music during a session.  To me, a real part of the art of deejaying is selecting records that get me from one style to the next without it being too abrupt.  I feel like this mix demonstrates my feelings about mixing records, rather well.  I hope anyone who takes a listen will get an understanding of the vibe and enjoy it.  Below I have listed the records I played in the order they were played.  Big thanks to you, Mohson for your continued support of the underground. SOLID.
8. THE MIX YOU PROVIDED CAN YOU BREAK IT DOWN AND SHARE THE TRACK SELECTION AND VYBE?
 
01. MOODYMANN – SHATTERED DREAMS – PEACEFROG – [DETROIT]
02. CALLISTO – CAN’T WAIT – GUIDANCE – [CHICAGO]
03. MCDE – RAW CUTS (RECLOOSE REMIX) – MCDE – DETROIT
04. THE OLIVERWHO FACTORY – NIGHT LIGHTS – PLANET E – [DETROIT]
05. BLACK RASCALS – SO IN LOVE – POLAR -  [NEW JERSEY]
06. BLACK BOXX – A1 BLACK BOXX EP-2  (MINUS 2) – FERRISPARK – [DETROIT]
07. BAM-BAM – GIVE IT TO ME (INSTRU) – WESTBROOK -  [CHICAGO]
08. WILLIAM S – I’LL NEVER LET YOU GO (INSTRU) – TRAX – [CHICAGO]
09. STRAFE – SET IT OFF – STRUT – [NEW YORK]
10. NANCY MARTIN – CAN’T BELIEVE (INSTRU) – ATLANTIC – [CANADA]
11. MEL SHEPPARD – CAN I TAKE YOU HOME – TSOB – [NEW YORK]
12. T.C. CURTIS – BODY SHAKE (INSTRU) – QUALITY – [NEW YORK]


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K / D Keep It Deep returns for podcast 009 with a mix and interview coming from London local Bruno Schmidt. Bruno has been a long time friend of K / D and over the years we’ve seen this artist grow and develop at a natural pace with the raw power of dedication to the fundamentals of the game; buy nice records, that you love. But look a little bit closer! Bruno has been djing for a number of years and his highlight to date will include being resident for the illustrious Leeds-based music brand, Louche. Bruno is also resident & programmer for Meadows In The Mountains festival based in Bulgaria. Over the last few months Bruno supplied a podcast for Berlin-based Lize Records, which most certainly caught lots of attention for its more experimental and conceptual edge. Bruno also co runs the hifi party with Andrew James Gustav and Gwenan which will be a new longer term project we are looking forward to supporting and seeing grow. Bruno is a character, a train spotter, a lover of all art forms & most importantly some one who believes in the sense of community and sharing. When it comes to music and records, he is a digger, a person who cares dearly and also someone who pays attention to the detail, he has charm, humour and style when he djs. If you really want to catch an underground vibe, a groove, a very unique individual with style and witness the emergence of one of tomorrow’s, then read on. In a game riddled with politics, opinion, hierarchy and bureaucracy, this artist cuts through the fodder and keeps to the fundamentals, be true to your art and your art will be true to you. K / D try to nurture and expose electronic music and with Bruno the revolution will not be televised. As it becomes more and more apparent that dance music flirts with popularity and pop culture, it is very refreshing to see the other side of this spectrum from some young eyes, inspired, motivated and acting with a sense of respect and good taste. Enjoy. K / D proudly present podcast 009 which is an 1 hour and 22 minute mix of records from an older era, a sound that has been carefully researched with a hint of something less obvious less tangible and definitely more refined and honest.

K /­ D: What are your earliest musical experiences from when you were a kid?

Bruno Schmidt: Earliest musical experience was running around my front room in circles aged 3-ish to “Buddy Holly – 25 Golden Hits”. After revisiting this again recently, it seems like lovely music to play really young kids. Second earliest musical experience was being played Ultramarine – United Kingdoms album in the car on my dad’s Sony cassette walkman on camping trips to keep me occupied. My favourite track was called “Dizzy Fox”. Upon revisiting this recently it seems as though this track has a massive acid bassline, a housey piano hook, and one of the most killer snares I ever heard. Maybe subconsciously the reason I got so into house music eventually. Also mad to think I’m still listening to it now.

K / D: How did you discover music & sounds did your parents purchase music, play instruments or go to concerts?

Bruno Schmidt: No they never played any instruments. But yeah they bought a lot of music and went to gigs etc. I’d hope that everyone’s parents purchased music at some point. I guess I got weened onto to appropriate music at the appropriate age by my parents. Buddy Holly came first, along with the Beatles following second and this weird Ultramarine album that got listened to till the tape chewed itself up. Then when I was a little older The Smiths, maybe aged 8, as Morrissey is a bit serious and depressing to be playing to a 3 year old. When I was 8 I reckon I was just old enough to get the irony of Morrissey, and I found a lot of Johnny Marr’s guitar riffs super catchy, dancey and quite repetitive/hypnotic.

K / D: Where did you call home growing up, and how has the education system treated you on the way?

Bruno Schmidt: Home was a town called Huntingdon, just outside of Cambridge. The education system treated me ok I guess. I never got abused by any RE teachers…

K / D: Nice a varied background, can you remember the first bits of music you purchased, like cassettes or CDs?

Bruno Schmidt: First music I purchased myself was probably Ultra Nate – Free single on cassette. Hanson – Mmmbop single on cassette. Madness – Divine Madness. Then Puff Daddy & The Family – No Way Out, bearing in mind I was around 9 years old. Then came Hip hop from the UK & East/West coast, the more poetic and melancholy side of things. When I was a skater I was proper into punk. Loved 80′s cheese a lot at one stage, when me and my friend Josh had our 80’s B-movie phase. Folk, Neil Young Joni Mitchell etc. Rolling stones upon watching fear and loathing and becoming mildly obsessed with famous people who took drugs. A shit tonne of stuff man.

K / D: Some nice youthful chives there, what scenes did you start to discover as you become a bit older, and what was your first house party slash club experience?

Bruno Schmidt :My first club experience was a fully underwhelming night the only place open past 2am in our little town. I had to wear a collar and smart shoes to get in. Then pretty sure I snogged a girl and vomited, not sure which order. I was 16.

K / D: Where did the intrigue into famous folk who got high come from?

Bruno Schmidt: Haha I really don’t know. I guess I just think it’s interesting how a lot of the more interesting artists, usually have a darker side to them, or have experienced some type of suffering or hardship.

K /D: I understand that feeling about these falling stars, caught doing bad things. Back to the sort of less exciting club experiences, how did this develop especially alongside your music musings and discoveries?

Bruno Schmidt: You mean how did my club experiences develop?

K / D: Yeah.

Bruno Schmidt: When I was 18 I got a job in a clothes shop in Cambridge. My manager Sam ran a techno party in Cambridge (the only one at the time) and would have Derrick May, Carl Craig, Weatherall, Ivan Smagghe, Luke Slater & Kevin Saunderson in a 250 capacity Moroccan-themed club. Fucking insane to think back. But that’s where the partying started. Cambridge is baron now as far as I know but back then there was a small army of ravers. I would come back from uni in Leeds on the train to come to these nights. It was a beautiful time, and the place where I met most of my long time friends.

K / D: These new djs, sounds, nightlife experiences how did they affect you and any memorable stories you can pick out?

Bruno Schmidt: A lot of very blurry memories, that was the honeymoon period. A lot of memorable stories but none I can tell you on record. I remember when I was 18 watching Carl Craig sit on a curb in the rain outside Fez club, eating a tray of shitty doner kebab meat and chips with a wooden fork, utterly miserable. Surreal but hilarious!

K / D: What captured your passion, what was it that underpinned more than just a night out filled with smart shirts, shoes, shit drinks, and silly girls, like for so many up and down the country most weekends?

Bruno Schmidt: The Priory was the thing that captured my passion initially, ultimately, I noticed that people at these nights, were a lot more fun, more likeminded and having a lot more fun on drugs, listening to louder, better music, than all the small town people were in their shirts and smart shoes, getting off on shit chart music and vodka Red Bull.

K / D: Is this when the inquisition towards Djs / decks and record shops began?

Bruno Schmidt: Nope not ‘til a lot later. I played using CDs for a long while as I was a poor student, and my flat mate owned some cdjs. Took me a fair few years to figure out what music I liked, and that most of it was on wax, not mp3. initially my biggest aspiration in djing was just to play at new years to a bunch of my mates. I didn’t really see it going a lot further than that.

K / D: And so it begins how did this journey develop into discovering and learning?

Bruno Schmidt: I think its just natural progression really, for someone who is into music, no?

K / D: Were there any certain significant heads, figures or characters that showed you way in some respect, for instance djing, introducing you to record shops etc. I just wondered if there are feelings or experiences from the past of people who helped you on your journey?

Bruno Schmidt: Maybe there will be some significant times in the future, but I’m still very much at the start of my journey. Priory was first thing that got me into the music. Louche, a brand from Leeds who also happened to be from around Cambridge too was a transition from liking the music solely as a consumer, into playing the music and caring more about the music than just partying. In order to really take yourself seriously when you are trying to move forward, tunes have to become number one I guess, haha.

K / D: You are a Louche resident can you explain how this came to be?

Bruno Schmidt: I went to see Seth Troxler and Maayan Nidam like in 2008. Fully buzzed off it, and Mint Club. I asked if I could sell tickets, and gradually became mates with Tom, Brinsley, Matt and Josh. I think it was a case of being in the right place at the right time. But I was thoroughly bored by university at this point, so it was nice to actually be part of something that I enjoyed.

K / D: Can you remember your first gig, at which point did they ask you to become resident?

Bruno Schmidt: Basically I sold loads of tickets and then they gave me a bunch of 10-12 slots for a year or so, or let me warm up at after parties. The story is the same with pretty much every kid who starts to play music in clubs, mine is really no different. I mean the first gig stuff etc its the same for everybody I think, no, you’ve got to do your hard time.

K / D: What switched you up the most to get you to where you’re at musically now?

Bruno Schmidt: On my second trip to Meadows In The Mountains ( this super cool festival in Bulgaria, I am very lucky to be a part of) , I met my friends Andrew and Gwenan on the bus on the way there for the first time, and got chatting. After I got back to London Andrew sent me a mix he made, full of tracks with a sound I never knew existed before. Slowely I started going to parties like Toi Toi, and Undersound in London among others, where I could hear music like this. Some of the other residents at MITM festival that were playing that year too influenced me massively! Guys from Sofia, called Bosha, Laylla Dane and Garo. The first time I saw them play, it influenced my sound so massively. So I started “digging” and spending a lot of time looking for records, rather than buying mp3s. Then a few trips to Berlin for Get Perlonized influenced me further. Became mildly obsessed with the music Zip was playing. Now there are a lot of smaller parties emerging in London that are inspiring, Get Well, House of Sound to name a few, and also, notably, a little living room in Camden where many hours have been lost mixing in the past year, many friends have been made, and perhaps a few to many glasses of vino have been consumed ; ). And that about brings us up to speed I think.

K / D: The search for this sound, mixes, partys, djs, and of course records, records, digging and more records, can you describe to us what this looks like for you today and what it means?

Bruno Schmidt: Putting emphasis on the DJs with amazing records, rather than say massive producers that are making a lot of releases I think in London at the moment, this attitude is on the rise, record sales are rising for the first time in over 10 years, the scene for this seems to be healthy, and there are a lot of people I met recently that seem to care a lot about the music, which is great to be a part of I guess. Parties like Sud Electronic that you mentioned were a bit before my time, but they were doing something very cool too! You actually told me about these parties.

K / D: Sud was awesome, lots of nice memories from that time. Can you share as little or alot of how your record purchasing process looks like, do you track id in clubs? search through Discogs? hunt record fairs or 2nd hand shops?

Bruno Schmidt: I’m a massive trainspotter, and never had a problem with asking a DJ for a track either. Then more recently Discogs took a lot of my time and money haha! And obviously mixing and sharing with friends is a great way to learn. I most recently went to a friend’s house in London who is an massive digger/Discogs seller, and came away with a shitload of vinyl. Best record shopping experience I ever had actually. Came away with a very big smile and very empty wallet haha. He even made me a smoothie! That’s the dream.

K / D: What was your last purchase? The one record in your want list you cannot find anywhere?

Bruno Schmidt: Last new tracks I purchased were the new Redshape on Running back, Bonuz Beatz, and a new thing by this French guy Vadim Svoboda. There are so many records I would love to own that I cant find anywhere haha! I found a really lovely Herbert remix in record loft Berlin last weekend that I wanted for years.

K / D: From your sets I distinctly hear some older 2 step garage, US deep house and UK tech house/breakbeat from around 1996 to 2004 ish, can you describe these sounds and what they mean to you?

Bruno Schmidt: When I was 14 or so I bought all the DJ EZ pure garage compilations. Then at Backtobasics in Leeds I’d hear a lot of Mood2swing, Kerri Chandler, Masters at work. Definite similarity in the drum patterns and swing. On the whole, it makes the majority of people lose their shit in a club. I guess I figured a lot of UK garage would do the same to a house/techno crowd.

K / D: Fancy opening the can of worms on the whole vinyl dj debate?

Bruno Schmidt: I don’t care much for the vinyl DJ debate. After all, the main thing is having fun, playing records (or CDs or whatever) and for the people who come to your night to have fun dancing. If David Guetta is playing a mix CD (or whatever, for example) and 20,000 in a stadium are losing their shit. Then fair play. You won’t find me at any of those parties, but I’m not waste energy on letting it piss me off. People are having fun and getting their monies worth. In a different scenario, you have people playing records, through a really sharp system, on a rotary, in a really intimate environment. You aren’t going to find any Swedish House Mafia fans at those parties either, just people who care a lot more about the fundamentals. I don’t think either is necessarily right or wrong, I just know which I prefer. It depends how much music means to you, and how big a part of your life it is. Lets not forget all the other music genres, and lovers of music out there in the world who think that the music we like is the most boring repetitive shit they ever heard, who wouldn’t dare come to any of the parties we like.. People are different, diversity is what makes the world beautiful. After all this is part of the entertainment industry. Do what makes your happy and don’t condemn people who are different to you. Life is hard enough as it is, try not to be a cunt. And don’t forget to have fun.

K / D: Nicely put, you have played a few more parties lately, published a podcast for Lize which is impressive to consider you have been studying also, was it easy to manage the extra curricular activities?

Bruno Schmidt: Well I was studying music production and business, so making music tied in nicely with university. The podcast I made for some friends from Berlin. I didn’t even get asked to do it, but been pretty lazy on the press front and doing a mix was well overdue. So I sent them it to se if they liked it, and they did!

K / D: You have now graduated, what would you like to crack on with in London?

Bruno Schmidt: buying some nice bits and bobs for my studio, learning more about sound, because its pretty much endless. Making music. Enjoying the summer And also working on a project I have with Andrew and Gwenan

K / D: Can you describe the project more?

Bruno Schmidt: its called hifi; at the moment we are using a tiny venue, which is super cool. 150 capacity, just the three of us really, playing records we love. Its small, ticket only etc, but want to try and lose the “exclusivity” tag anyone can come, no pretence, and I am sure to be honest, we are all pretty unknown in the grand scheme of things, so the only people who will come are people who care enough to know about what we’re doing maybe later there will be a larger venue with some bookings, maybe a label, but lets see. Right now it’s such a pleasure to work with these two. I want things to happen naturally, as I am sure they will.

 

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K / D Keep It Deep are proud to announce our 8th podcast from Berlin based busy guy, Finn Johannsen who originally was born in Kiel a small town just outside of Hamburg.  A very commonly known saying ‘love what you do and do what you love’ is a statement we feel Finn truly bestows quite simply from his actions, and also his words, but that’s because Finn also scribes for De:bug, Sounds Like Me, Groove Magazine and of course not forgetting Resident Advisor. Finn is also a highly regarding and in demand DJ (a true purist that respects the acetate) playing internationally at various underground spots worldwide & finally is a buyer at internationally acclaimed record store Hard Wax check link here. Check the mix for an unfiltered 2hr house exploration into a dedicated and inspiring mind with ounces of swag. Check Finn’s website for more links on mixes, interesting features on vinyl culture, sharing track names, djing and also club culture in Germany here & here.  

Finn also co-runs the Macro Recordings label with Stefan Goldmann which is run very democratically as both minds have very differing tastes and ideas which is unusual and quite unique for label heads, the usual idea is that both parters have this 6th sense to agree on and have exactly the same taste in music. these two cats run things a big different and have released material from artists including Stefan Goldmann himself, Raudive, Santiago Salazar, Peter Kruder & next up a Kink longplayer in May full Juno link here. 

 Finn has worked at Hard Wax record shop in Berlin for a number of years and continues to as one of the main buyers. Hardwax has been open well over 20 years and going very strong, the modest Berlin record store is owned by Mark Ernestus of Basic Channel, Maurizio & Rhythm & Sound fame.A few noted staff members to have put in a few hours working at Hard Wax include Dj Hell Modeselektor, Marcel Dettman, Sleeparchive, Prosumer & Cassy to name a few. This record still carry’s huge cache and with the city enriched with an overwhelming amount of artists and producers the buyers at Hard Wax are most certainly influential in music exploration from Detroit, Chicago, New York, London and of course a heavy selection of dub reggae. Hard Wax link here and here.

Finn has a very well reasoned and researched opinion or observation on music consumption the club scene in Germany since the 80s and also all the other in between facets and veins that make up the underground dance community which you can check for yourself in his feature pieces you can find on his own web site here.

Finn started his record collection and voyage into something special begin at the youthful age of 6 in the 70s and Finn sneakily tasted his first clubbing experience in the 80s. Since then there has been a fair bit of time for music to grow and express the social and political times of many different faces, feelings and emotions across the globe. Finn still buys records and frequents clubs so naturally patterns, repetition or seasonality in music and record buying can be observed and noted which Finn has expressed in interview or through his own published work. Enjoy the music as it stretches out so eloquently over 2 hours exploring the finest deep house.

TRACKLIST:

Travis Nelson ñ Travis’ Theme (Attitude Mix)

Freedom Authority ñ Expressions (Rub-A-Groove)

Foremost Poets ñ Reasons To Be Dismal? (City College Mixes)

Paris Grey ñ Don’t Lead Me (2001 Version)

Robot D.J.’s ñ Remote Control

Lovechild ñ Sweet Ambience (Club Mix)

Mystique ñ Passion (Extended Instrumental)

The Sound Vandals ñ On Your Way (Deep Mix)

Doctor Mixx ñ The Spirit In Me

Incog-Needle ñ Can U Feel It (DJ Bonus Beats Mix)

Matt Warren ñ Bang The Box (Bang The House Mix)

New-Ro ñ Music Trance

Keith, Kat & Blondie ñ Gotta Get Some Money (Eerie Instrumental)

Vincent Floyd ñ I’m So Deep

Infra-Red ñ The Verge

4th Measure Men ñ The Need (Henry Street Dreams Mix)

Johnick – Tales Of Jerry Morbid

Unknown Artist ñ Untitled

North Avenue ñ Solutions (Instrumental)

Tommye – I Need To Go Away (Principle Theory Version)

Dark Side Rhythm Tracks Vol. 1 ñ The Real Garage

Voices ñ You And Me

MondeÈ Oliver ñ Make Me Want You (Club Mix)

GallifrÈ ñ House Rhythm

Mark rogers ñ Twilight For Some

KID Image copy

2nd podcast of the year for K / D P – Keep It Deep Podcast 007 by Rubin who co runs the underground party in London Make Me with Rupes and Nic Baird. Rubin and the Make Me brand have slowly and quietly been doing there thing crafting there sound and booking names they believe in past the hype for over 5 years. Past guests include Soundstream, Prosumer, Steffi, Ben UFO, Dj Qu, Tevo Howard, Kassem Mosse, DVS1, Dj Deep, Madteo Trus’Me, Bodycode and a handful more. Rubin supplies 120 minutes of quote ‘it’s deep, dubby, moody tunes for a cold rainy day in London’ as the city flexes between seasons, changing moods and demeanor and disruptions of one kind and another, forms of escape, reality and wonders become precious, seeked out and treasured. Find your space, find your mood and seek out what makes you feel good inside. This all vinyl mix exploits long transitions and creates a certain dialogue which we hope you can interpet and enjoy over time and space. Keep It Make Me.

K/D: Where and when did you record the mix?

Rubin: I did the mix on New Year’s Eve during the day while I was hanging out at home. It’s one of those weird periods where days just roll into each other and you lose track of time.

It was raining and cold outside and I was feeling pretty chilled and full of food and booze after Christmas.

K/D: What equipment did you use?

Rubin: I recorded the mix on two Vestax PDX-2000 turntables that I bought about 12 years ago when they first came out and an Allen and Heath Xone 62 mixer which has seen better days. All but two of the channels are blown, the filters don’t work – it’s been battered, but it’s mine and I like it and it still sounds good. I also used a Samson power amp and Tannoy Reveal monitors that I’ve had forever.

K/D: Describe the mood and break down some of the tracks for us?

Rubin: Well I was told to Keep it Deep so it’s deep, dubby, moody tunes for a cold rainy day in London. It’s not really a dance floor set, although under the right circumstances I would definitely drop all of these tracks in a club.

It’s a pure vinyl mix, not for any aesthetic reason but mainly because I’d been sorting through my records with this mix in mind and thought these would fit well together. It was recorded in a single take and I was definitely winging it with some of the transitions but overall I think it comes together well. I tried to blend and work the tunes for as long as I could and, wherever possible, to use the full track from end to end. When I play in a club I’m usually far too impatient to do this but it’s definitely a technique I use more at home when I’m just mixing to listen to tunes rather than move a crowd.

In terms of the tracks, it’s a really broad cross section of producers who I think have really pushed the boundaries in electronic music over the past few years – Shed, Pearson Sound, Ricardo Villalobos, Levon Vincent, Shackleton, Moritz Von Oswald, Peverelist. There is a big emphasis on sub bass and there are quite a few breakbeats – something that I still reach for a lot in the right circumstances.

K/D: Rubin you DJ and also run a party can you detail how this journey began and detail any key highlights and low lights?

Rubin: I’ve been promoting parties for 12 years, DJing for 15, and clubbing for a bit longer than that so the journey has been quite a long one. Underpinning all of it is the fact that I just love club music and club culture. There is something genuinely amazing about what can happen when you get the right crowd in the right room, with a proper sound system and a DJ who knows how to work a dance floor. I still get the same buzz today that I did when I went out to my first ever club when I was 16.

When I was a kid I was obsessed with Jungle, so when I got my first decks on my 17th birthday I completely disappeared into that scene for about 6 or 7 years. I still went out quite a bit to house and techno nights and was seeing people like Richie Hawtin (v1,0, no hair), Laurent Garnier, Dave Clarke, Surgeon, Craig Richards and many others but from a DJing and promotions perspective I was a total purist. I could go on about Jungle for hours, but I’ll spare you ;)

In about 2004, like a lot of people, I started to lose faith in that scene, the music became incredibly formulaic; quite the opposite of what it was supposed to be, and the parties were attracting a lot of attitude. At that point I ended up heading in two directions musically – into house and techno in a big way, and also into dubstep, which was starting to emerge from South London and make an impact at a national level. As well as going to Technique in Leeds (where I was living) and traveling down to London to go to Fabric and The End, I was also going to DMZ in Leeds and London and listening to Rinse sets by Youngsta, N-Type, Hatcha, Loefah, Skream and all those guys who were completely redefining UK urban music at the time.

In 2006 I moved down to London and kind of carried on in that vein – I went to FWD>> every Friday for 2 years between 2006 and 2008, but at the same time was going out to the Minus parties at The End, going to Ibiza most Summers, Sonar festival and getting my minimal kicks at the same time. All of which leads us to Make Me, because it was at this point that I had started buying lots of house music and decided that I wanted somewhere to play it.

Long story short, here we are 6 years later and we’ve gone from a small illegal rave in a pub basement to a relatively well known club night having the absolute honour of being able to book and play with people that we genuinely think are the best DJs in the world. As far as low lights go, as with any promoter there have been some parties that just didn’t work – whether that’s financially, musically or in terms of the vibe in the venue. Luckily that hasn’t happened for quite a while now and actually the last 2 years have been pretty much amazing from start to finish. The loft parties are always a highlight – it’s such a unique space – and the warehouse sessions we did at the end of last year were incredible too as we got to work on a much larger scale than we ever have before. Musically there are too many highlights to mention – Ben UFO, Fred P, Ewan Pearson, Prosumer b2b Soundstream, all blew me away in their own way in 2013 alone. As well as having the opportunity to develop our own sound through the Make Me residency, as eel as playing as resident for Bloc since April last year on a more straight up techno, bass driven tip.

K/D: Make Me is the party you run and last year saw some significant presence built, can you outline and describe its success and motivation?

Rubin: The motivation today is the same as it ever was – to put on proper parties with the best crowds, venues, sound and music that we can lay our hands on. Our ‘success’ is little bit harder to put my finger on to be honest. We’ve had a wicked couple of years and definitely feel like we’re doing the right things, but I genuinely feel like we’ve only just scratched the surface of what’s possible – particularly when I look at people like Fabric, the guys who used to run The End, the big labels in London like Hessle Audio, Metalheadz and especially the people who’ve walked this particular deep house path before us like Sud Electronic and Electric Minds. If we get anywhere near what they’ve achieved then I’ll start to think in terms of ‘success’. In the meantime we’ll be focused on the next run of parties and making plans for the back end of the year and hoping that it all doesn’t go to shit!

K/D: London is a seriously competitive location for Djs and parties to breath, exist and grow how is the scene evolving and how do you see it moving forward?

Rubin: You know what, I try not to pay too much attention to what other people are doing. We are focused on our own parties and making sure they work for us, our DJs and our crowd. The only evolution I’m interested in is where the music takes us next – that’s what it’s all about for me.

Tracklist:

1. Sebbo – Watamu Beach (Moritz Von Oswald Rework) – Desolat

2. Asusu – Too Much Time Has Passed – Livity Sound

3. Simian Mobile Disco – Hustler (Shackleton Remix) – Wichita Recordings

4. Ricardo Villalobos – Dexter – Playhouse

5. Pearson Sound – Crimson (Beat Ritual Mix) – Pearson Sound

6. WK7 - Higher Power (Hardcore PCK Mix) – Power House

7. Peverelist – Salt Water – Livity Sound

8. Shackleton – Death Is Not Final – Skull Disco

9. Levon Vincent - Revs/Cost – Novel Sound

10. Innerspace Halflife – Dogstarr – Skudge White

11. Ricardo Villalobos – Sieso – Cadenza

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