fabric club

Fabric Nightclub 19th birthday, every October the underground electronic music community in the UK descend onto Farringdon for the annual Fabric marathon club birthday which starts with the Friday night Fabric Live and then a quick reset before the main event Saturday night session that and rolls into Sunday ending somewhere exclusively into Monday morning. The club has seen a lot over the past few years its closer and opening the land standing residencies and its one in particular Craig Richards still going strong.

This year the line-up kept consistency with long time residents and friends including Ricardo Villalobos, all 3 of the Appolonia gang Dan Ghenacia, Dyed Soundorom & Shonky, DVS1 with both a House and Techno Set, Joy Orbison, Rhadoo,  Sonja Moonear & Helena Hauff to name a few. Up and coming talent and new blood also got a look in on the line up with names including Bobby Pleasure, Wayne Holland, Oli Silva, Dax J, & Saoirse to name a few.


We arrived into the Sunday in Farringdon to grab some booze and a few pre drinks to ease into the melle around 5pm, the streets around the club were unassuming and quiet with the few revellers coming and going. We had a relatively smooth, efficient and quick entry into the club with friendly door staff not sure on the day, the hour the time. As we breezed past the pay booth and cloakroom we could hear that background sub bass emitting from room 1 as we descending down those stairs and the chatter or people entering the smoking area.

the doors opened awash with new smells of fresh ravers and those that have outpaced themselves and lasted well into Sunday night with ease. You always get that eager anticipation and excitement to see the room 1 booth, the dj at work and what the energy on the dance floor will look like. We entered to Appolonia grooving away in room 1 with the dj booth looking lively. Appolonia still very much cart around with bags and trolleys full of vinyl which is very commendable. The sound was deep and driving, keeping the straight through crew and fresh feet engaged and interested. We grabbed a drink at the bar with walked into room 3 which just opened around 6pm.  Craig Richards opened the smaller space b2b with Joy Orbison which very quickly filled up with those wanting to was into a smaller occasion or take a break from the main room hedonism. Twim TM (Thomas MelchiorTim Hutton, ) The Fall Of The House of Shadows got the crowd elated with its ghostly chords and ravey stabs.  Craig also hammered N Gynn Dark Side Of The Moon EP out on Bobby Pleasure’s party turned label Pleasure Club. This release has unassumingly been making noise as the lead title track Dark Side Of TheMoon takes on this groovy shuffle with a very simply 1 chord drone that swirls and echoes. As Joy Orbison and Craig closed out the opening set of room 3 on the birth day the vibe was set with lots of breakbeat, deep house and some electro grooves.


next up we had Wayne Holland b2b with Oli Silvia 2 up and coming djs that have had stellar years with stand out sets at Houghton Festival amongst others. The pace and style picked up seamlessly as the sound eased into Cobblestone Jazz with its dreamy melody and funky percussion. By now the party was in full swing the energy in the room was very light and humorous as the djs weaved a new narrative of part tracks and forgotten classics to the old school DC-10 regulars.

Back to room 1 for a bit go main room action and the club appeared to shed a 2nd skin with fresh face dancers weaving down the stairs and room 1 was most certainly into full swing. Joy Orbison started around 9pm crafting his usual sound blending between skippy Garage instrumentals & House cuts which got the entire room shuffling and dancing. The main room sound system always delivers and as you recognise tracks being mixed in your ears always attend to new details & nuances that are heard on these big room rigs. As the time glided effortlessly towards midnight Joy flexed a Bjork remix as one of his final tracks.

Next up Ricardo Villalobos who had 3 hours to craft a story like he usually does in room 1. fabric looked very relaxed and alert, very playful and engaged as he entered the main room booth. Ricardo has a very loyal fan base and if you do ever see him play you will witness the energy and interaction the fans share. Ricardo opened his set with one of his own productions The Contempt which came out in the 90s on Landomat  & then Playhouse. This is a whopping 22 minutes long and opens with Latin percussion and a sultry guitar and no kick drum for a solid 10 minutes. The metallic and jagged stabs drive the song until the kick drum joins the soiree. the track also has this repeating vocal which can be hard to distinguish which builds as the track breaks down. Tracks like this seam to palette cleanse the crowd as you literally will forget the last song played before the dj started. The crowd started to get itchy as without the kick drum which provides the metronome for the entire space was not obvious. As soon as the kick slowly built  the crowd reacted and here we are, Ricardo in 5th gear and very much looking life he is enjoying himself. Room 1 became rammed and as we tried to take a bit of space equidistant from the front and back speakers we simply settled into the space and enjoyed the atmosphere. Later into his set Ricardo played LFO Leeds Warehouse Mix which came out on Warp in the early 90s and this track really gives the room 1 sound system a good workout with its outer space lead, spacious melody and driving bass line, the lower frequencies attack the room in waves and motions, big track, big reaction.


As the time etched closer to 3am Craig Richards appeared to close out the main room for the Fabric 19th birthday. Even at this time the club did not appear to ease on bodies and the bars were 4 to 5 people deep and the toilets busy with chat and action. We slipped into the green room for 5 minutes and caught up with lots of djs who has played in Fabric this year or over the precious years, the energy was high with old memories recounted and laughs witnessed. Back into room 1 to hear Craig do his thing as the sounds manoeuvred towards electro, breaks and old school techno. We struggled to track id any of the music Craig played the obvious number to a few was his own production ‘My Friend Is Loving His mind’ which has a pulsating bass line, snappy percussion and drone vocal relating the title track.

As the night slowly reached 5am the birth day celebrations came to an end with the dance floor full, lights on, claps and cheers with lots of people grinding with joy. It was now Monday morning and the club has been opened around 36 hours from the Friday night, another birthday completed, rock solid music lots of regular marquee names and also new up and coming djs making their mark. The club quite simply cracks on with its ethos, consistent music policy, up for it and open minded crowd and one the best sound systems you can find in a space this size. Now time to plot out the nights to attend in 2019 at Fabric which is going as strong as ever.



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HIGH EMOTION is a party and podcast series based in Manchester which had a unique and very distinct visual art direction which started in 2018 by Neil Diablo & Richard Kelly. High Emotion Podcast 002 has been curated and supplied by Mohson Stars.  

The party has a loyal following and the High Emotion residents have been gracing the radio waves on Reform Radio which has been steadily growing since 2013. Reform currently helps young adults into employment coupled with support from Allied London as one of their St John’s Projects.

High Emotion entered the wonderful world of podcasts with its 1st edition in August supplied by Wes Baggaley who is based in London. Wes has had a stand out year with his co run party with Dan Beaumont called Bottom Heavy. Wes has played at Chapter 10, Fabric, Frankfurt Pride, Breakfast Club Tel Aviv, Farr Festival & Pickle Factory to name a few.

For the 2nd edition High Emotion approached Mohson Stars who is resident for Dream Sequence & K / D. Mohson has also had a stand out year playing for Paradise Alley at 93 Feet East, playing at numerous Pop On Over parties including very recently at the Magic Roundabout before it closes its doors for good. Mohson has played the main room at the new north London club The Cause with its Core Sound System, underground bookings and hard-core rave crowd. Mohson also collaborated with the Untitled crew at Rolling Stock who used to run parties at the Horse & Groom & have a regular show on KMAH Radio. Mohson has also been holding down various shows at Netil Radio and will continue to do so rolling into next year. Secretsundaze have also booked Mohson Stars to play in the main room for their Jan 2019 edition at the Pickle Factory with friends.

Mohson Stars has shared a tracklist for this mix and statement relating to the idea behind the mix picking up where Wes finished the 1st edition. The mix was recorded with 2 x1210s, CDJs, Xone 92 mixer, a couple of active monitors and a sub for extra warmth. The mix is invariably focused on US House by way of Moodymann, Delano Smith, Fingers Inc, Metro Area & Masters At Work to name a few. It is a strong energy mix with quick transitions and lots of vocals. check the Soundcloud link above to hear the mix and follow High Emotion here or Mohson Stars here, here & here.


*st germain whats new f communications
*choo ables hard to get bt’s massive groove e-sa records
*dj assassin a face in the crowd cross section records
*moodymann i can’t kick this feeling when it hits planet-e
*boobjazz midnight ceremony stir15 recordings
*delano smith message for the dj jimpster red light remix still music
*julien jarre jungle beats basic recordings
*baaz don’t mention quintessentials
*fingers inc never no more lonely alleviated records
*focus marvin is one versatile records
*maurice fulton presents boof life is water spectrum
*logic the warning strictly rhythm
*metro area square pattern aura environ
*peven everett burning hot timmy regisford remix tribe records
*kerri chandler what is 623 king street sounds
*mood II swing do it your way groove on
*dj romain its the spirit dub mix nu faze records
*masters at work the ha ha dance cutting records
*rework you’re so just playhouse
*satoshi tomiie and i loved you ffrr


collisions flyerAs summer winds down and the nights get darker, London club programming comes into full affect and Craig Richards has named his monthly party at Fabric, Collisions. In Craig’s words ‘the aim being to cover as much musical ground as possible’. Collisions is the event in which two or more bodies exert forces on each other in about a relatively short time. the concept is simple inviting close friends to stretch out and explore records, genres, frequencies and sounds. All these main room marque names play with a certain degree of confidence but what does that look like and sound like when carefully collided together..?

Fabric turns 19 this weekend check the RA ticker link here for line up and tickets.

For this outing we had Craig Richards colliding b2b with Nicolas Lutz for 5 hours an extended warm up passing the baton to Ricardo Villalobos for 6 solid hours. Room 2 saw Dave Clark flex out the Pioneer system for 4 hours with support from Mr Jones.

We know the Ricardo billings at Fabric mean a long night with a late start and later finish, the final curtain close have sometimes grooved effortlessly into Sunday afternoon. Party preparation, patience and party stamina are key. We arrived at 2:48am the club had a small queue or the usual mix of international dancers and local heads who step out to.

As we enter the club and swerve past the cloakroom queue we can slowly hear the sub bass and low-end piercing through the doors. We descend into the main room and get hit with the warmth and atmosphere, it still amazes the room 1 sound system that casually punctures each crevice in the club. The strobes flicker and strut in formation to the groove. In the booth we had the ever so serious Nicolas back to back with Craig Richards, it’s a hard game to play but we do try to track i.d when we are out and about however with certain djs the job gets very difficult.

We popped our heads into room 2 and it was already getting serious, heads down and driving 134bpm techno for those that like it serious and no-nonsense. the new Pioneer system sounds great and really details all the nuances and minor details within each composition. The story in Room 2 was already being told and from wall to wall the room was sardine like packed with bodies enjoying the techno on display.


Back to Room 1 as we saw Craig and Nicolas exchange words and hold vinyl in their hands as if this was an ongoing discussion of sorts. Nicolas casually rolled out electro and breaks which sounded Drexciya inspired lots of 808 & 909 drum patterns and metallic, caustic bleeps, clicks and stabbing chords. The main room dance floor was deceptively busy it never looks that full until you try to meander into the dance pit and try to find a spot. We aimed for in front of the booth in the middle to try and obtain the best audio signal from the speakers up front and back. The many bodies bobbing, weaving, bumping, sliding and flowing in, and around the space was noticeable. The atmosphere was palpable as the energy slowly started to glow & creep. Craig and Nicolas pushed the story into harder techno territory, restraining the bpm which felt patient at less than 125. Craig dropped in a rave number which caused applause and pockets of reaction which looked like hands in the air and fist pumps. It was now 4am and Nicolas then took a diversion playing a skippy hi hat garage number with fidgety claps and snares. Craig and Nicolas play b2b often and the musical diversity and range is vast, it never sounds the same and also results in intrigue and strong story telling which comes across as easy & considered.

Around 4:30am Ricardo appeared in the main room booth and as always as soon as the majority of the dance floor see his floppy, relaxed and casually approachable tall slender frame the cheers and happy smiles infect like waves. It is very noticeable when Ricardo takes over as he effortlessly keeps the same energy, intensity & drive but alway’ plays these minimal stripped back numbers that palette cleanse the ears for the new chapter of the story being told, a continuation and nod forward long into the night. the label ODE springs to mind with is dreamy subtle detail and super swing shimmy shimmy bass lines.



Ricardo these days looks more focused, sober and attentive, he most certainly looks like the most relaxed person in the club which is no mean feat considering its all eye on him and he most probably is the marquee name on the billing in most clubs we works in. After a solid 45 minutes of settling in the main room Ricardo started to slowly unravel the story line, the tracks mixed easily and the crowd appeared to relaxed and sit back for the journey to unfold. the main room significantly got busier as it always does, The main room can feel very intimate on nights like this. As Ricardo eased through the gears, time slowed till it didn’t really have much importance right now. the room 1 sound system always amazes as it details the various tracks being shared with ease, grace and clarity. LFO Leeds Warehouse Mix got the crowd really hyped as the siren and stabbing chords rolled around the room, the immediate faces around me had smiles, closed eyes, or hands in the air. This was slowly feeling like Ricardo at his best, playing with ease and going in all types of strange ways and funky directions. as it rolled on past 8/9am the rave was in full swing, Ricardo was into the groove and the tracks just kept building the story and carrying the baton very well from the confident and clinical display from Craig & Nicolas.

Paul Rutherford Get Real Happy House Mix which came out in the 1960s with the distinguished vocal of Paul who was the 2nd vocalist in Frankie Goes To Hollywood. Ricardo has a playful humour to his sets and always plays a few vocals throughout the performance. Fingers Inc with the magical keys and vocal snippets of Larry Heard also raised the bar as we started to push on past 9/10am. It was getting later into the morning, only the stamina crew remained.  the bodies on the dance floor had thinned slightly, it was not a fling your hands in the air spacious but enough to get down and throw some shapes. As it etched closer to 10am Ricardo has been playing a rework of Madonna Justify My Love which appears to be a 2017 re edit on ODE which i do not know who is but Ricardo played this later into his set at Dekmantel, Houghton & now Fabric. For the last few closing numbers Ricardo totally curveballed the dance floor playing El Cantante Hector Lavoe which is a Puerto Rican salsa singer. This salsa segment played out the last 20 minutes of the night, half the dance floor had the ‘is he kidding me face’ the other half myself included couldn’t stop smiling, trying to desperately salsa which feels the total opposite to 2 step which i had been masterful at for the last 8 hours.

I have seen Ricardo play countless times around the world and several times in main room Fabric for the last few occasions he has played solo and really still looks to enjoy himself, he has that childlike imagination and confidence to go seek, share and explore  the muic which he collides together with ease and grace. After all he’s years it sounds fresh and new, the desire and passion has not waived one bit. Ricardo consistently plays with confidence and it really is a joy to witness, don’t believe me join the many revellers on the dance floor and judge for yourself. The Fabric birthday is around the corner and he will play again with confidence i am assured judging by this outing.


Fabric 19th birthday RA ticket link here.

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For podcast 22 we have approached Italian dj, radio host and bonafide vinyl enthusiast Luca Schiavoni who holds a residency on Netil Radio. Luca also co-runs a party with Miro Sundaymusiq at audiophile hangout Brilliant Corners famed for its choice programming and Klipsch 4 way speaker system. Luca started djing back in 1996, and in the 90s was a journalist for various Italian publications. Luca has played at London clubs MOS, Oval Space, East Village & festivals including Gottwood & Field Maneuvers to name a few, check his Mixcloud link here to learn more. 
Luca speaks openly about his younger years, moving to London, his favourite record shop for digging and everything in-between. Luca has provided a strong message within his mix with lots of curves, turns and range, check the mix & follow K / D Keep It Deep blog, podcast here & Facebook page here for the latest on our moves and grooves. 
What did you study from college to university and how did you find yourself in London?
I got a political science degree in my hometown.
I’ve always been strongly interested in politics and social sciences; it is another thing I’ve taken from my parents (especially my mum) which is fitting with what I said above – I care about the future of mankind much more than I do about my own. Even now that I’ve become less passionate and more cynical about it, I follow politics a lot. It’s depressing, but it makes you understand where the world is going.
Once I graduated, I soon realised my title would have had little value in looking for a job. It’s a pretty useless degree unless you specialise in some related subject.
Combine that with the fact that I had enough of my hometown and wanted an international experience, and here I am.
Initially I had no clear plan of what to do here. I got a job, but soon took the opportunity to do an MSc in Media & Communications at the London School of Economics. Without that, I’m not sure I would have a job here now.
How would you describe your time in London from those early moments to know, the cultures, the people, music scene etc?
It was in stark contrast with my hometown, as I expected. But you could also see the signs of the decadence it’s had during these years.
On the one hand, it did immediately look like a place where anything and everything can happen, and there’s a lot on offer – you just need to know what you want.
That year at uni (2008-2009) was fantastic. I studied fascinating subjects, met great people from everywhere in the world, went to the most insightful talks and events.
And the same applied to music. You would get in a record shop like Phonica, start listening to stuff, and have DJs you admire doing the same on the deck on your left on your right. At the start it sort of seemed unbelievable.
In clubs, I had the feeling there were many more people genuinely into music around me, compared to what I would experience in my hometown.
It was all much less driven by hype; at least that’s the impression I got back then. Later I realised that it was down to a more diverse offer, but hype does play a huge role here too.
On the other hand, soon after I moved I witnessed the closure of some of the iconic places I was looking forward to see and live, which I hardly had the chance to know properly. I went to The End only once before its closure, and never saw Turnmills. T-Bar in Shoreditch also closed at the end of 2008, to become what we know today as a renowned pizza place (!) and it reopened a few months later in Aldgate, but didn’t last very long. Surely there’s always been a lot of potential, but the city has not managed to fully express it in the last 10 years or so. We need a new kind of politics to make that happen, even in music.

Fast forward to your musical output now with Netil Radio, the party at Brilliant Corners with Miro describe how these started and what value they hold for you?
Well what can I say… 2017 was a very nice year in many respects, and being given a regular slot on this new radio was a definite highlight.
I have to thank Miro for asking me to take on a weekly show. At first I thought it would be a big responsibility, but then I immediately thought “f*ck it, if I don’t do it now it will never happen!”
It’s a great way to look for new music, know my records better, and invite people to play with me.
I’m focusing on record players whom I believe need more recognition than they currently get, although there have been some noteworthy exceptions. Mainly it’s about connecting with music heads in the surroundings, which fits well with the name of the show (E2-E8, a tale of postcodes and landmark electronic music albums…).
The first year has been all about figuring out how to play this. Let’s see what 2018 brings along – I’m intrigued to develop this further and I’ve got some ideas in mind already..

BR has a reputation for the djs it has grace the decks and the term ‘diggers’ gets mentioned often. It was a risky idea to propose playing house music in a bar famed for championing everything but house, what have you got in store for your sessions at BR in 2018 & can you also walk us thru the set up & experience using the Klipsch speakers, rotary mixer and valve amp?I think it might seem risky to think of house music at BC, but it isn’t really. There is absolutely no reason why you shouldn’t hear Masters At Work, Larry Heard, Ron Trent, Claussell’s records in there.And guess what – they sound incredible through those speakers. It’s just that some people are inexplicably growing scared to play that stuff, as if they associate it with “banging it out”.There are many ways to do it while staying very musical and melodic – and that’s what Miro and I are doing in there.We don’t plan our dates in advance – we decide the next one after we see how the previous one went. It’s roughly every 3 months though.As per your last question, there’s nothing to say really. You just need to turn up with some great records and know that the system will get the most out of them. That’s it. Let’s not complicate what is simple please…

How has your show shaped up thus far in 2018 with guests and musical orientation  and what have you got planned going forward towards summer for the show?This is the year when I want to give the show a clearer musical identity. It’s already starting to happen. I’m steering it toward a more clearly electronic direction, because that’s the sort of journey I’m going through.This obviously means techno, but not just that. Anything challenging will fit in.I’m glad that Valentina Magaletti, who is an internationally renowned drummer, is joining me on a monthly basis; she plays some really crazy, out-there records, and pushes me to do the same.And my recent and future guests will be along the same lines – watch out for some serious shows coming up!  I am also expanding the show geographically – the plan is to have guests, and guest mixes, from anywhere. It will still be about discovering the undiscovered, but it will no longer be only local. I’ll aim to keep a healthy mix of guests.

You dig at Phonica Records in Soho, do you also spend hours on Discogs or still like to visit stores? Vinyl searching, researching, digging & playing records has been discussed at length can you share some memorable experiences from the past?Stores are key. It’s not just about flicking through the crates – it’s also about meeting the people behind the counters.I only use Discogs for old stuff on which I feel I really need to catch up.Memorable experience – probably the time when Four Tet played an in-store set in Phonica. Never seen the walls of a record shop so dripping wet. It was crazy.

Can you explain the concept behind the mix if you had one & also the labels and artists & tracks presented? 

I have tried to stay away from the new stuff – most of what I’ve played in the mix is more than a year old, with a few exceptions. Other than that, I wanted to build tension, as always. For me, tension is the key word – dancers need to ask themselves what will come next, and how. I hope I’ve managed to convey that. All this while aiming to “keep it deep” of course 😉

Where can we catch you over the next few months and any future plans?I will also play at the next Astral Industries night at the Rolling Stock on 21st April; it’s such an honour to play for one of the best ambient labels in the world, on a line-up which includes label boss Ario and an amazing artist like O.utlier. On the 19th of May, Miro and I are back at Brilliant Corners, and it will be my Birthday Party. You are all invited!


CVX – Zibaldone I of CVX (Part A) – Laura Lies In

Kuniyuki Takahashi – You Should Believe – Music From Memory

DJ Fett Burger & Telephones – 252 Lakes In Asia (Acido Liquid Mix) – Acido

Ongaku – Mihon #2 – Only One Music

Phase90 – Terram – echospace [detroit]

Kiny – Pain Is Full – Last Drop Records

Lena Platonos – Witches (Red Axes Remix) – Dark Entries

Fishermen – Six Pounders – Kontra Musik

The Invisible Menders – To Be Discontinued – Porn Wax

Helena Hauff – Queens and Horses – Analogical Force

Transform ‎- Transformation (Club mix) – It.sounds

Donato Dozzy – D – Afterhouse

Ex-Terrestrial – Paraworld – 1080p

Dj Sotofett – Detour Dub – Wania

Luke Slater – The Secret Gardens – Peacefrog

Erik Jäähalli ‎- Dagen Vänder – Börft Records

Der Zyklus – Mathematische Modelle – Clone Aqualung Series



Oval Space are really stepping up their programming schedule in 2018 including this ‘Golden Age Disco’ offering including man of the moment Hunee, Sadar Bahar & Lee Collins b2b as Soul In the Hole, Soichi Terada performing live & Donna Leake. 

On entering the venue just past midnight the venue was already busy to the level most promoters would accept this head count at the end of the night. As i weaved through the dance floor i noticed a distinct switch in set up since my last visit to see Larry Heard perform live. The dj and live area has moved front left with raised stairs surrounding the dj area creating a tighter more intimate space. This brings the crowd around and over the performer and much closer to the action. The crowd on Saturday night looked decidedly hip with several on trend bumbags and designer sports sneakers & streetwear labels flashing by in corridors and in the smoking area as youthful clubbers rushed in and around the venue with urgency. 


Donna Leake of Brilliant Corner’s fame warmed up proceedings on the E&S DJR 400 rotary mixer which is a lovely compact mixer providing a full & rich sound to the usual Xone 92 or Pioneer equivalent. As we get back to the grooves Donna flexed quite effortlessly through bpms and frequencies including The Fatback Band Is This The Future a true fuzzy slow bpm chugger with a sleazy freaky synth line that really impressed the dance floor & added some tropical energy into the space. The next tune straight switched the bpm slower by way of Wayne Smith Under Me Sleng Teng which is a bona fide Reggae classic. Donna has a knack of going from genre to genre whilst keeping the energy and intention locked in, it is a joy to watch a real selector enjoying the music as much as the dancers down the front.


As Soichi Terrada made final preparations to his live set, which included ensuring the Kaos pad was fully working and also not forgetting to change into one of his colourful pattern all over print shirts. The rave kids down the front could not contain themselves and really made some noise when Soichi took the mic and started his live set which consisted of what looked like an old school  Akai sampler with floppy disc, a few FX units including Kaos pad, mobile compact keyboard, loop pedal, 8 channel mini mixer plugged into a Pionner DJM mixer as a master out and Ableton loaded into the MacBook Pro. Sochi also looked liked he was travelling with a well well used silver Rimowa luggage case adopted by heavy touring djs and producers. The first tune came in and the crowd really showed some appreciate with hands in the air, whoops and cheers, as it was Saturday Love Sunday with its slow waves chords underpinned with a simple synth line and broken beat drum pattern. Next up came Do It again probably the most recognised song from Soichi’s work with Shinichiro Yokota produced way back in 1992 on Far East Recordings. This original pressing has 1 copy for sale on Discog’s for a eye watering £707. House music with an Asain influence is really seeing some prominence and this booking alone supports that growth. Soichi occasionally interacted with the crowd on the Mic and also stood on the equipment table with a origami bird and microphone to add some liver performance theatre. Soichi is full of life and energy and sincerely enjoys performing and sharing the moment with the crowd, it is really refreshing to see live performers enjoying the experience in contrast to fully concentrating on every beat and bar ensuring no mistakes or diversions. As we neared close to his 60 minute set the last tune eased into the speakers which was Got To Be Real with its sample heavy production including vocals by Cheryl Lynn & Vices In The Dark & Raw Silk. Soichi used samples heavily back in the early 90s when these songs got produced and they all sound very fresh and light all these years later. Soichi took the mic one last time and sincerely thanked the crowd for the joy, interaction and support. Soichi has an in demand live set that is pretty slick, well rehearsed and full of energy and high moments which would do very well on the festival circuit.


Sadar Bahar & Lee Collins stepped up into the booth just before 2am carrying several backs of vinyl  plus brown boxes of newer vinyl and a heap of 45s. It is always nice to see lots of vinyl in the booth it feels more considered, meaningful & authentic.  The crowd looked fully up to speedy by now and the programming thus far from Donna Leake to the Soichi Terada live set flowed very well and weaved a consistent story. The first groove brought by Sadar Bahar was a Al Tone Edit which carried the energy from the live set seamlessly.  As Lee Collins looked deep in thought eyeballing various tote bags full of wax. Elbernita Clark Awake O’Zion really raised the energy as the vocals and string section gave the speakers a good old work out. Both djs started to let loose and have a little dance and bump in the booth as friends came to say hi and enjoy the occasion. Lanier 25 Hours was another highlight with its infection groove and melody. As the time past you can see why Sadar Bahar has risen to fame with a killer selection of disco, rare groove and soul underpinned with high energy and consistency. The heaving crowd stayed glued to the floor and as i surveyed the smiles, and several hands in the air, kids popping moves down the front helped keep the energy high and infectious.

As the time inched closer to 5am Hunee appeared from the green room smartly dressed and shaven as usual looking focussed and relaxed. The crowd acknowledged the main guest had arrived and as he was soaked in the atmosphere assessing the dancers down the front and the selection in full swing soon it would be his time.


Just after 5am Hunee stepped up to the 3 cdjs and the crowd made enough noise to welcome the change over. As Hunee got to work he left little to be warmed up and went straight in with some sort of vintage Italo Electro numbers which really raised the bar from the get go. It was quite impressive to see the elevation within 3 tracks from Sadar Bahar straight into Hunee’s groove. The energy now in the room was thick and the crowd stayed on the floor and did not thin out as it reached the early hours. Hunee masterfully careered from tracks that sounded from different genres, continents and time periods. Hunee definitely plays with intention and a clear vision on the impact and power of the tracks he presents in his own style. After a few minutes Hunee in his trademark white shirt started to ease into his groove dancing away and the next 60 minutes was very enjoyable from one of the most in demand djs of 2017s.


Overall this was a very well programmed event and the subtle changes to dj booth set up are a game changer for this spacious venue. Overall the music was on point and flowed effortlessly from Djs to live set and then Hunee to close. I would strongly recommend trying to catch Donna Leake at Brilliant Corners or other spots as a true digger of weird and wonderful gems on wax across all genres. Soichi Terada impressed with his emotive and distinctive live set which was really animated and brought to life with Soichi’s energy and origami theatrical dance. Sadar Bahar and Lee Collins really carried the vibe with more vinyl than most people can imagine, flexing good time party disco tracks. Hunee as the  marquee main act delivered a high energy and very accessible cross section of Italo, Disco, House and obscure gems to close out a musically rock solid and footloose evening. If Oval Space continue to programme this tight the venue will really start to produce a distinct voice within the competitive London club scene. With Juan Atkins, Peggy Gou, Luke Vibert & Norman Jay amongst many others booked in Q2 & Q3 the next few months are stacking up and the future is looking positive.



Oval Space presented a Sunday show with Larry Heard AKA My Fingers performing live with hardware & Mr White on vocals for a 90 minute piece. The musical support came from Tama Sumo who is a famed Panorama Bar resident, & co-owner of the Finest Friday’s project at Panorama Bar with Lakuti who also runs the Uzuri artist agency & record label. Tama & Lakuti are well respected and recognised for work within the house community they both proudly champion and support. On warm up duties included Hamish Cole of Butter Side Up fame and Toby Nicholas who co-runs the Dog Eat Dog party based up north in the UK. Larry Heard does not need any introduction but if you want a refresher check the interview Mohson Stars penned back in 2008 for RA here. Larry Heard has produced some of house music’s stone cold classics which have most certainly stood the test of time and Larry still is credited as being one of the most highly regarded names in house music pure and simple, house music would not be what it is today without his consistent high level of contribution. 

Larry Heard creates emotive, emotional, spiritually deep and instantly memorable house music, recognised for using signature hardware that have helped define and crate a sound not many can replicate with real honesty & integrity. Larry sings, produces, djs and also runs Alleviated Records for which most of his celebrated works spanning two decades have released on and still counting with new material to release in 2018.

A few aliases include Mr Fingers, Disco D, Gherkin Jerks, Loosefingers & Fingers Inc to name a few. Some of Larry’s most recognised pieces of work across albums include Alien on Black Market 1994, Dance 2000 part 1 & 2 on Distance in 1997 & 98. Singles including Black Oceans on Black Market in 1994, Missing You on Alleviated 2000, The Sun Can’t Compare featuring Mr White Alleviated 2006 & more recently with Virtual featuring Mr White on Alleviated released earlier this year. We have not even scratched the surface with this artist which can be easily discovered on Discogs here or YouTube here. Larry has a very distinct sound encapsulated with soulful melodies and keys, underpinned with strong rhythmic drum programming to create a real sense of soul and genuine feeling which have touched so many on the dance floor the world over. Classic and timeless are some of the regular words used to describe a Larry Heard production. Larry is very much recognised for his production front and centre and out of this Larry does not actively engage with the wider media outlets which has probably helped keep the focus on the key factor his production over his persona or personality.

We arrived early around 5pm with Hamish and Toby slowly warming up the huge PA which sounded loud and strong for the occasion. The early grooves included jazz ensembles, Cottage by Warren Harris warmed up the place with its jazzy piano rift. A few moments later Soul Fusion’s Bass Tone got the vibe rolling with its broken beat and strong bass line. One of the final numbers played included a Kerri Chandler number which got the party started and heads grooving. The crowd started to constantly stream in with a mix of older heads, various djs and producers known locally and a more clued up younger audience. The energy was palpable with everyone arriving early to enjoy a live show not witnessed that often but carries so much importance and relevance to this day. As 8:30pm rolled on Hamish & Toby did a very respectable job warming up for a very special occasion which saw heads arrive early for on a Sunday.

Mr White took to the stage first with his crowbar moustache and jet black shades, Larry very humbly took to the stage very modestly. Larry has these piercing eyes that resonate and engage as he looked out into the crowd with sincerity and joy. The crowd packed in tight front and centre and as the first kick drum rolled through the speakers the mood and tone was set for a very emotional ride through a very small portion of an artists most celebrated works. On My Way was the first track with its smooth keys, and brooding closed bass line. Larry took to the mic aided by Mr White and the first composition was played out in full with little to no deviation from the original production which came out in the early 90s.

As the 1st track ended Larry engaged with the crowd thanking them for supporting, loving, caring and stepping out to see him. It felt like Larry did not really understand how much of a big deal he is, if you are not glued to media outlets or the internet daily then you can understand at his age why, it was very humbling and refreshing to see. Track 2 and the piano rift took off and glided around the 3 chord bass line, seaguls & ocean wave samples, it was none other than Missing You which was a much anticipated number. As the slouchy & relaxed bass line consumed the space Larry sang the vocals as the entire room started to join in and sing the words that speak of missing a loved one, to love and lose, to have and to hold. I took a quick look around the floor and the dancers down the front really started to let loose and find their moment within the music. The majority of the crowd smiling unashamedly it was a beautiful sight seeing a dance floor united, all colours, creeds, sexual orientations, persuasions and ages. As Larry tweaked the mixing desk and flicked his attention to the laptop and the crowd effortlessly. As the track rolled out the grooving bass line which is so recognisable and decaying piano rift slowly faded out to rapturous applause. This seemed to be a bit of a moment for many people and the opening to the show met the majority of expectation.

 Track 3 The It Donnie with its searing synth lead which is instantly recognisable and this number really raised the energy as the heat and energy started to rise with more hot and sweaty bodies colliding down the front with hands in the air. The crowd looked locked into the show and the first few numbers set the distinguished tone.

We did not fully recognise the next few numbers which brought the acid and tougher drum programming to the floor which did not need any vocals. Mr White really added energy to the show constantly engaging with the crowd whilst supporting Larry on vocals when needed. Larry seems quite shy and unassuming and Mr White helped direct and engage energy whilst Larry tweaked away at the laptop and large mixing desk.

Larry’s latest single released early this year called Virtual Emotion featuring Mr White which was next and this had signature Larry all through it, sultry vocals with an intricate drum programme and catchy cute bass line. As Mr White sang the chorus virtual emotion the crowd looked very receptive to the new material and it complimented the classic material that opened the show.

Next up we had Closer To Me with Larry on vocals as the delicate percussion and subtle rhythm section supported the vocals and brought the energy warmer as the crowd joined in singing the vocals. Still lots of smiles, eyes closed and hands in the air cascaded across the crowd.

Larry took to the mic to introduce a new track which might feature on a longer player alluding to a new Larry Heard album at some point in the future. This futuristic number had all the hall marks of a Larry Heard production with 303 style acid drums & long signature keys.

the final track for the evening could have been one of many which arrived with the ping pong melody of The Sun Can’t Compare which received an instant reaction from the crowd as Mr White sang the words which the entire crowd joined in with …..’You are my life….’

This was the perfecting ending to a much anticipated live set from a living legend. The overall words spoke of love and intimacy raised the bar for the finale of the 90 minute live show. As the hard hitting claps gleamed and shone through Larry faded the music which brought about rapturous claps and applause for a few minutes from the entire crowd. Larry looked genuinely humbled and modest after his set finished and thanked the crowd for the love and support. Mr White brimmed with infectious energy and kept dancing like a New York club kid still high on the energy in the room. for the long standing Larry Heard fans it would appear from the crowd that the majority got what they expected with a little more energy and sincerity provided by Mr White.

Next up we saw Lakuti take to the decks with a strong vocal number keeping the energy high from the Live Set.  Lots of people filtered out and everyone else who did not mind staying out late on a Sunday crowded around the decks as Lakuti masterfully created a space complimenting the music that had been presented since the warm up. Tama Sumo appeared later on and as a celebrated Panorama Bar resident really drove through the gears really expressing flare and style. The programming from warm up to closing was on point and Oval Space really set out an intention we hope they continue into the new year.

Oval Space pulled out a very memorable booking with Larry Heard that did not disappoint and the warm up of Hamish and Toby did a stellar job which leaned into the main show with ease. Tama & Lakuti closed out the night in style with pure solid house music which the remaining 200 strong enjoyed till close. The main attraction was Larry Heard and with new material on the way and a live set that is being much talked about.

If there are more bookings for this live show it comes highly recommended for people who like their nights out filled with musicality, sincere vocals, classic house production and high energy. Not to mention being steeped in more history and relevance than people realise. If music is the form of expression to unite and bring people together on the dance floor Larry Heard still does that job with style and grace, his productions are still very powerful, unique, emotional, spiritual, one of a kind, period.



miro FINAL

We caught up with Miro SundayMusiq by accident we saw the name, saw some posters and flyers and then we heard the music and became suitably impressed and nourished. Miro quite simply has that undiluted, child like spirit, energy, gusto, charm and natural inquisition that really shines and shares the pure magic of music, nothing more or less. We can discuss his repertoire of music across genres and his effortless ease to story telling, or early exposure to music in his home country. We can discuss his choice Sunday programming on fast rising Netil Radio. We could discuss his regular excursions at the already famed Brilliant Corners with its Klipsch audiophile sound system and carefully selected rosta of djs. We could detail his first release which has sold out and caused a slight stir in some circles. I wont focus on any more except the music. Thats the true essence of what we love, believe in and try to represent. This mix is a positive detour in the very best of way and we welcome you to listen, enjoy and explore this nearly 2 hour journey across energies, frequencies and emotion which truly showcases Miro at his finest. Soundcloud link here or tumblr here or Facebook here.

K / D: Where did you grow up and how were your early years?

MIRO: I grew up in small town called Poprad in Slovakia. First 12 years living under communism regime were… well too simple. And beautiful. I’m from poor workers family. We had nothing apart two massive gardens. I played ice hockey professionally as a kid. That allows me to experience “west” a little. When the system fall apart finally, the doors to freedom were open. In age of 16, i met the guy who’s parents opened small hotel in historic part of city. The guy had pair of Technics turntables. One of five pairs in whole country i found out later. And that was beginning of my story…

K / D: What music was you exposed to at home?

MIRO: Very bad music in the beginning. Communism destroyed creativity. We had “commissions” of political reviewers controlling who can and can not record music and play public. They were watching lyrics, melodies, even style of music. Everything “too west” was simply shut. Imagine who was actually able to make music and be successful. It was pretty bad. Respect to all exceptions. Only way to get music to listen, was getting illegal tapes or records through truck drivers and people able to travel outside the iron curtain, their family members etc. Kind of ninth copy from original or illegal “original” tape. I was too young for having such connections anyway, but i did my best. My simple family have nearly no interest in culture. Bless them 🙂 My dad couldn’t know that i dj until i was 18 years old! For him doing music was all about drugs, bars alcohol and generally wrong, all together with usual “it’s not a real job” way of thinking. And that was most of my surrounding… i still don’t really get how comes music is so strong inside me with no background in my childhood for. I had to play ice hockey not piano

K / D: What cultures and scenes did you experience as a teen?

MIRO: As a teen i experienced only scene – amazing panoramic view on our High Tatras mountains every morning haha. There was no scene, culture was half dead, regime damaged even traditional music and culture. Took us a while to find our real roots and don’t get overwhelmed by impact of west culture too much

K / D: When did you discover music culture, genres etc/?

MIRO: I think i managed that in age of 20 when i used to live in Munich. I lived there as illegal worker, because Slovakia was not in EU that time / sorry Germany! /. I had to leave my small city. I felt it will kill everything inside me if i stay. I took a first chance – my friend worked in restaurant, he managed kitchen porter and cleaner job for me, and i went. In Munich i discovered sooo much about music, genres, start to read magazines, but mainly – started to buy loads of records.

K / D: How did you enter the music scene with regards clubs / records / musicians and djs?

MIRO: In my teenage we had no clubs. I played commercial disco, weddings, student parties, and together with likeminded friends, we thrown few techno nights. Funny enough – in Munich i managed to have ONE gig in nearly three years. It was very tricky for a boy from Slovakia with no connections. I think that was a reason i moved to Prague. With records i had from Munich, took me only month to get residency in small after hour place Le Clan. Soon i realised that Le Clan is the secret door to scene, as every promoter and dj came there after night in big clubs. Doors were open…

K / D: Can you remember your first vinyl?

MIRO: It was actually 400 records at once. A collection of the guy with pair of Technics with From Cool & the Gang, through Naughty by Nature to Ultra Naté and Mood II Swing.

K / D: Describe your years before moving to London?

MIRO: I came back to Bratislava in 2000. As a dj from Prague I met few very interesting people who were trying to create a scene of, let’s say – jazz orientated dance music. I moved to Bratislava properly and start working with Nu Spirit bar as music director. And until the moment i moved to London, i’ve been creating program, organising events in and outside the club, helping curate festival line ups, selecting music for first record shop in Bratislava, writing about music for political magazine, collaborating with best musicians in country, making waves and obviously mess sometimes.

K / D: What did you think when you first arrived?

MIRO: This is not going to be nice hehe – I’ve been shocked. No small clubs with dedicated people coming there on weekly basis. People follows promoters instead of clubs. Clubs expect djs to bring the crowd, instead of having their own crowd and book djs because of music they play. Booking big names djs in clubs people call “vision”. To me it’s just booking big names. Vision is something else. And the best thing is dj in residency is called here a resident dj. On the other hand – i feel, breathe and live London. After ten years here i still don’t really understand why i love this city. But i do. Entirely.

K / D: What clubs and dos had an impression on you in London?

MIRO: My big ups goes south London. It’s amazing to see Canavan’s Pool Club, Rye Wax and plenty new smaller spots doing exactly what was missing here. While ago i wanted to believe that The Pickle Factory can be first small club doing same. Not sure about that now, as they decided keep doing the “big names” game. There is a light in east, as Five Miles has been open recently. The Lion & Lamb is doing it’s thing right, Total Refreshment Centre is back in game seems like. There is a light

K / D: Can you explain your journey that led to Now?

MIRO: Intergalactic

K / D: How was FM festival this year?

MIRO: I will just say – it’s best festival i ever been to.

K / D: Your playing out a lot at Brilliant Corners and other spots, how do you see the scene?

MIRO: Too focused on “rare records”, or “classics” agenda instead of story telling sets, but Brilliant Corners is best place to play records at the moment for me. I can do whatever i feel, however i want and if i do it right, it does magic to people. Best part on it – people are open to that magic. Strong feelings.

K / D: Explain your first release on AOP?

MIRO: Accident? haha I am DJ not a producer. I’m able to make music when i feel it. A side track “this is not a butter, Carolin” was my dj tool. i did the track when i first time connected my Rane MP2015 to computer and use it as sound card. I did it in one night, using Logic / ok one sound was from real synth /. I like that track and i played it last year on Field Manoeuvres. Carl Hardy, who runs Animals on Psychedelics along side of another bunch of people turned “track id monsters”, and when he found out it’s just demo, we shake hands and here it is. And seems like it’s even sold out. I still don’t get it 🙂

K / D: What is planned for 2018?

MIRO: Loads. Working bringing Sunday Club* back after small break, making more music as people asking, but mainly – working hard on our little space station called Netil radio. Watch that space!


01. matthew burton & kate rathod – analog systems
02. koni – zex plongeon
03. michal turtle – are you psychic?
04. mura ora – horizon rouge
05. steve moore – lwaxana
06. cerrone – generique-debut
07. evan stalker – ganzfeld
08. pixelife – platonic ideal of snowstorm
09. savvas ysatis – alright – surgeon’s keith 4 nat mix
10. unknown artist – knowone 003 – c
11. rené audiard – memory
12. donato dozzy – in bed
13. patrick conway – sandy lane
14. land of light – flares – tambien remix
15. vimana – servant
16. eszaid – ambr flashing light
17. kasper bjørke – black magic – demo version
18. franz underwear – aereo dance
19. invisible menders – the genie
20. miro sundaymusiq – can U
21. symmetry – over the edge
22. jaz – move to the beach