K / D Keep It Deep sit down with long time friend and guest Soho who lives in London but originates from & brings style and flavour from the middle east. Soho steps up for Keep It Deep podcast 16 and also gives an in depth and honest interview across many topics.  Soho forms part of The White Man & The Arab project alongside BLM of Fear of Flying fame releasing experimental house & techno on there self titled label. Soho Currently works at Phonica Records also working live and direct with vinyl, vinyl & even more vinyl. Soho is an digger from day one and collects and digs across all genres and has been booked to play several parties with the highlight coming to play at Fabric London as an key highlight alongside co-running the Like That parties way back in the day. Soho has also been an guest dj for our K / D parties last year and we are very proud to work with, support and share the back story to one of London’s dj / producers making waves. Enjoy the mix from Soho an showcasing and sharing an intricate repertoire of records spanning house & techno. This one has long been in the works and we publish this with immense pleasure, enjoy.  

K / D: Lets take it back to growing up can you share some of your earliest experiences and how this shaped your road into music?

Soho: I grew up in Abu Dhabi, a small coastal desert city on the Persian Gulf. Much more different to what it’s now seen as this glimmering shiny city. Wasn’t really much going on while I was growing up there as a kid. A kid of the 80’s & 90’s I was pretty fascinated and inspired by the music of that era like most kids of my generation. It was a good time musically to be growing up.  I wouldn’t say there were specific moments that lead me down a musical path, it was just the music that was around at the time that broadened my musical horizon. I remember hearing ‘M.A.R.S. – Pump up the volume’ when I was around 5 or 6 and that had a massive impact on me, I hadn’t heard anything like it. The music video for it as well was pretty special.  I also remember hearing Herbie Hancock’s Rockit quite early on in life and being mesmerised by the sounds. Definitely left a lasting effect on my musical taste.

K / D: As a teenager what music did you discover or what subcultures or scenes were you part of?

Soho: Like most teenagers of my generation hip-hop was the first kind of music that I was drawn to after my adolescent years of religiously listening to Michael Jackson. In Abu Dhabi hip hop albums were banned at the time, although they were all still easily found and purchased but usually it was an under-the-counter kind of vibe, I’m talking about the early to mid 90’s. So once I found out this type of music was banned we wanted to know more, I was intrigued by it all. That was the catalyst to discovering loads of new stuff like 2 Live Crew, Ice T, NWA, Snoop, NAS, shit like that. I stumbled onto discovering Drum & Bass around 14 when I found Fabio’s ‘Promise land’ mix cd thrown into a bag with a bunch of my cd’s after a house party. That was sort of the beginning of my exploration into the more electronic and dance music kind of sound you could say. I think I was around 15 at the time when I heard Sasha & Digweed’s northern exposure cd’s and that kind of opened a whole new world to discovering underground electronic music. As a teenager we didn’t have any record shops or access to good music from the radio like in England with John Peel and Pete Tong’s essential mix, so buying mix cd’s if we could find them at shops like virgin or our equivalent of was the only real way to hear electronic music and find out about artists and dj’s. I wasn’t really part of any specific subculture, because were I grew up there was a large middle eastern as well as American & European expat community, all these cultures merged, everyone kind of mixed together, so you’d have kids that were big on their heavy metal hanging out with kids so into hip hop they thought they were living in Compton or queens. So it was just this hodgepodge of all these different subcultures, we got the best of all worlds I guess.

K / D: What music were you surrounded by with family; do any family members play instruments?

Soho: My background is Arab & Persian so there was a lot of that kind of music around my childhood, lots of Umm Kulthum and Abdel Halim Hafez from my father’s side and lots of Persian folk from my mothers. My father was also a jazz fan, so that music was being played to me from a young age. My mother was also really into her disco, so all these types of sounds were around me.

K / D: How were college studies and what backdrop did music play whilst studying?

Soho: I made the move to London in the summer of 2003 to go to art school. I made a conscious decision to move to London specifically to pursue my passion for music. In my opinion London was and still is, always way ahead of the game when it came to the music that I was into, so it was a logical step.

K / D: Can you share with us the London experience, when you came and what you did here and how you explored music here?

Soho: When I moved to London it wasn’t my first time experiencing the city. London was always a home from home for me, I’d been coming and spending my summers here since I was born as my parents had a strong connection with the city living here before moving back to the middle east, so I was fortunate to come to London and spend my summers here. Musically at the time when I moved to the city the whole ‘minimal’ sound was exploding on to the scene. It was a totally new sound for me and I fully embraced and explored it. There were a lot of great labels and music coming out during this time. Party wise I used to hang out and hold a residency at this little spot called the pool bar on curtain road with a group of other dj’s playing for a party called Multi Vitamins. It was on every Tuesday between 04 to around 07, so there was healthy number of residents playing week in week out. It was kind of where all the London kids that were into that micro house and minimal sound converged. Lot’s of artists came through out of the scene that I was in from this night. Later on there was another seminal crew that I was hanging out with an experiencing the whole 3-day long after party scene with the famous Central street crew! Those were great years, meeting and rubbing shoulders with the loads of different personalities from all over the world all sharing a similar interest in music.

K / D: Can you talk to us about Like That; it’s inception and its story?

Aaaah the Like That years. I look back at them very fondly. I miss those days immensely. That was the time you and I actually met. Like That was a night that myself, Nick Moreno and Pablo Cahn started together in 2006. I had already been playing in London a number of years already by that point with the Multi Vitamins nights and at small parties around London, but our concept grew out of a frustration of not being able hear artists that we were feeling at the time at smaller venues as opposed to big clubs. Before the whole east end warehouse party scene exploded onto the London nightlife there weren’t many promoters doing that kind of thing in London at that time. Of course there was Secret Sundaze and Mullet over but they were huge events for big crowds. We came along and brought it all back down to earth slightly, organizing smaller and more intimate warehouse style parties. There was Sud Electronic that was also kind of doing that around then, but that’s about it really. I mean I’m sure there was stuff going on, but they weren’t on my radar especially the scenes that I was a part of. We tried to book artists that hadn’t played in London before. Artists like Dandy Jack, Ryan Elliot, Matt John, and Cabanne to name a few. Eventually the party died down in London when both Nick and Pablo moved out of London and the whole of east London became saturated with ‘secret’ warehouse events, which weren’t very secret at all. Although Nick has been able to continue hosting one off events all over north and south America since he left London, and we’ve hosted a few parties in berlin in the last few years at the now defunct Kater Holzig so it’s still somewhat alive and kicking. Maybe in the future we can recreate it once again in London.

K / D: What London clubs, dj’s, scenes, record shops and experiences can you share?

The club that obviously had the most impact on me was fabric. There were other great venues like The End and The Cross, but fabric was my clubbing mecca. It seemed to take all the good points from other venues and enhance on them to create a space for people to really lose themselves within. I remember reading about its opening and the sonic dance floor when I still lived in Abu Dhabi and thought to myself that I was definitely going to visit once I returned in the summer. I used to religiously go and party there on Friday nights for the Drum & Bass and break beat nights and then go on the Saturday for the house and techno. It was the Saturday nights that influenced me the most. I remember hearing Craig Richards for the first time work that main room and was totally blown away. Nights like Tyrant were Craig & Lee Burridge played epic back 2 back sets had a huge influence on me musically. They were playing a mixture of house, techno and breaks that I hadn’t heard many other dj’s playing at that time. The Amalgamation of Sound who also used to hold a fabric residency as well in room 3 was always a high light for me. Andrew weather all was another DJ that was pretty influential on me, I first heard his blood sugar mixes around 98 or 99 and had no idea what that sound he was playing was, which I later learned was Dub Techno. I’d make it a point to make sure to catch him play at every opportunity I could. Then obviously with the whole minimal sound, Ricardo Villalobos’s early appearances at fabric were pretty special too. Those were the days that he would actually warm up the main room as opposed to the circus it is nowadays. Another hugely influential night was LTJ Bukem and MC Conrad’s logical progression nights that used to be held at The End on a Thursday. Another influential dj for me was Theo Parrish, I’d try and visit Plastic People to hear him play whenever he was in town. More recently I’ve been attending more Dub / Reggae sound system nights, University of Dub is probably one of my favourite events in London at the moment, it’s not really a new night either, it’s been going on for years. The first record shop I remember visiting was Plastic Fantastic around 99, which used to be in Covent Garden. I was still living in Abu Dhabi at that time, so I’d come to London during the summer and buy between 40-60 records that would last me a whole year till I was able to visit record shops the following summer and repeat the whole process again. Eukatech and Swag records were shops that I would also frequent on my summer trips to London. Wasn’t till around 01-02 when a good friend of mine had moved back from the U.S. to Abu Dhabi who was also buying and playing records had introduced me to the one and only Jay Robinson aka Jay Massive from Massive records in oxford. He would send us a load of stuff in the post that we would listen to over the phone, this was before online ordering took off. We would have to wait a few months before the package would arrive because of the shitty postal service that we had over there at time. Then obviously when I moved to London in 2003 I would hit all the shops around the west end like Koobla, Vinyl Junkies, Black Market and eventually Phonica. M.V.E. and Honest Jon’s in Notting Hill were also shops I spent a lot of time in because I lived west so it was pretty convenient for me.

K / D: You work at Phonica how has this been?

I do indeed. It’s been 8 years now that I’ve been working their part time. I’m not really up on the shop floor but work downstairs for the website, although I do help out upstairs whenever need be and always happy to hook my friends up that come in looking for the hot shit. I guess like a lot of people into records and vinyl culture working in a record shop is a dream, and that was the same for me. I always thought I had a pretty good knowledge and understanding of music before I started working at the shop, but in reality I was a novice. Obviously working in a shop like Phonica you are exposed to a huge selection of all sorts of music from old to new, this has been the best thing for someone like myself who collects records totally across the board.

K / D: The White Man & The Arab can you explain
this project?

Ben Micklewright (BLM) from fear of flying and myself had been making music together for a number of years, eventually we realised that we were sitting on a number of potential tracks that we thought were good enough to put out. We thought of sending out the tracks to labels that would be interested but in the end realised that it would be best to put it out ourselves that way we wouldn’t need to compromise anything. We thought of putting the tracks out using our own solo artist names but decided that we should use something wholly new. We thought we’d come up with a name that was a bit tongue and cheek and that would stand out and that represented our relationship. The name kind of came about out of that. I’m very proud of our output, we aren’t trying to wow anyone with what we do, we are just making music that we know how to make and if people like it then we are doing something right.

K / D:  Records, collecting records, the ones that mean something can you talk us through the wax you have some of the gems you have found and some of your personal favourites?

Soho: I’ve always had a collector mentality if that’s even a thing. When I was younger I used to be a massive comic book collector. I guess, as I got older and become more interested in music that moved on to record collecting. I’m pretty proud of my collection today; it’s been 17 years now that I’ve been collecting records. I collect a wide range of music but I’d say I’m most proud of my jazz and dub / reggae records.

K / D: White Man & the Arab can you explain to us the work flow from ideas, the studio, equipment you use to getting some ideas down and then ready for eventual release?

Soho: I’d say we have a pretty lax approach to making music together. We never sit down and say ok let’s try and make this sort of sound or that kind of beat. It’s a very organic process. We trust our ears and know what we would like to hear if we were on the dance floor. We usually jam for a little while trying to build a foundation to a track, and then once we feel that we have something substantial we jam out one live recording that’s pretty loose. We then go back and clean it up, taking or adding things in and out and tightening it all up. The setup starts with the Jomox Xbase 888, we use this mainly for percussion although not exclusively. We also use Ensoniq esq1 as well as a Dave Smith Prophet 08, which is all wired up to a bunch of delay pedals and the eventide space reverb machine. All of this is sequenced in Ableton by sequencers made in max4live. Both of us bringing our own flavor to the table are what make the WMA sound. Long may it continue?

K / D:  London’s current nightlife, venues, sound system, promoters, musical trends & your take on it can you share some experiences and thoughts?

Soho: I’d say London is still at the forefront of cutting edge electronic music. You can go out any night of the week and be treated to a wide selection of great music. In my opinion London has always been leading the trends as opposed to following any.

With regards to venues, ever since I’ve been in London we’ve seen the closure of many key locations, The End, The Cross, old and new Tbar, Plastic People, etc. These have hit the city hard, but London clubbers are pretty resilient when it comes to going out and having a good time, they always find away. The scene is still thriving with a lot of young blood coming through organising events all across the city. Although when it comes to promoters I feel that a lot of them tend to play it safe with obvious bookings, or they tend to stick to a certain sound. I’d like to see promoters taking more risks with bookings and not making things so clique and exclusive. At the end of the day its dance music, it’s for everyone to have a good time, not for a select few in the know.

K / D: What does the future hold for the young record collector, dj, producer, label owner what are your next steps?

I wouldn’t say I’m a young record collector with 17 years of collecting under my belt and almost 15 years of DJ’ing. Of course there are others in the game that have been collecting and playing out much longer than I have, so i would like to think that I fit somewhere in the middle. As for the future, I hope to continue doing what I love which is playing music for people to dance to, continue collecting music that means something to me and continue putting out music that people enjoy, whether it’s as The White Man & The Arab or as Soho or even putting out other people’s music.
Stay tuned for the 5th installment of The White Man & The Arab, we got a got some serious heat lined up!


The White Man & The Arab



hamish cole copy

Next up to the plate K / D Keep It Deep are proud to present Hamish Cole who currently lives in Leeds keeping things busy with djing and promoting his co run party Butter Side Up & also more recently starting the KMAH radio station to name a few highlights. Hamish has energy to dig for rare or hard to find records across specific genres including house, tech & hip hop. Hamish has an distinct flavour and presence when he dj’s and this is one of the reason’s Hamish is growing as an dj based outside of the capital making waves. We caught up with Hamish amidst his busy schedule to talk shop and get the skinny on the past, present and future. Check the KMAH radio link here & also Hamish Cole on RA with various social media links here. Enjoy the mix also with full track list at the bottom of the interview.

K / D: Where did you grow up and what part did music play?

HAMISH COLE: I grew up in Norwich, lapping up the exotic country side of Norfolk. My interest in music started at a young age, I have my two older brothers to thank for this. They were always making beats and blasting music out around the house, so I was introduced into great music from an early age.

K  D: What scenes were you part of as an teenager?

HAMISH COLE: I was a huge hip hop head from 15-18 years old, collecting old and new US & UK hip hop records. When I was around 16 I started hanging out with local mc’s and DJs from Norwich and soon after, we started our own hip hop night in the basement of a scruffy old pub called The Marquee. We did about 3 events there and they were great, it was vinyl only and we had an open mic at the end which was always fun. Unfortunately we couldn’t do another event after this as there was a huge fight between the hip hoppers and the local moshers from the pub…

K / D: What was the was club you went to?

HAMISH COLE: The Mustard Lounge (RIP) in Norwich was the first club I ever went to, using my brothers passport to get in. They used to have some quality breaks nights there back in the day. The first club experiences that really opened my eyes to quality house & techno were going to Back to Basics at Stinkey’s Peep House & Louche at Mint Club in my first year at Uni in Leeds.

K / D: When did you get some decks and what was the first record you bought?

HAMISH COLE: I bought my first set of turntables when I was 15. They were a pair of Stanton Str8-30’s if I remember rightly! Oooh tough question, I think it might have been Runnin’ by The Pharcyde.

K / D: How did Butter Side Up begin?

HAMISH COLE: Basically Bailey and I met from playing together at the Louche pre parties at Distrikt. After a few shandy’s one evening we decided we wanted to start our own night, so that we can play out more. It all started at a little bar in Hyde Park called Hukaz in October 2009. There was never ever any plan for it to be a proper club night with bookings like it is now..

K / D: KMAH can you explain your involvement and role?

HAMISH COLE: I am a co-founder of KMAH alongside a few other wrong’uns. My role for KMAH is working more behind the scenes with Kristan managing the station, together we sort out the schedule, sign up new shows, social media, upload shows to soundcloud and generally be on call 24/7 ready to deal with whatever problem is around the corner. It was a tough first year, but now thanks to our trusty interns and a lot of troubleshooting, I am really happy with where we are at with the station.

K / D: What does the summer hold?

HAMISH COLE: This year, I’ve got a busy summer with Butter Side Up & KMAH related gigs/festival partnerships. We are hosting a stage at Gottwood on the Thursday night with a very special guest indeed. We are off to Croatia a few times, firstly with BSU to host a party at Electric Elephant and then we are also hosting a stage and doing some live streaming out at Dimensions with the KMAH crew in August. Plus a few other bits and pieces in Leeds & London.

Also, literally yesterday I was asked to be a summer resident of a very exciting new Island project called Obonjan in Croatia. Full details have just been announced here.

K / D: Can you talk us through the mix?

HAMISH COLE: It was recorded from our KMAH Studio in Leeds using 2 technics decks and a stack of records. It’s a mix of mainly old house & techno records, however it also features a couple of drum&bass records slowed down at 33rpm. See below for the track list…

Lawrence – Bonheur (Mule Musiq)
Astral Vibes – Deep Groove (Precious Materials)
Undercover Agency – Clever Endeavours (Music For Freaks)
BRS – Bouncing (Imperial Dub Recordings)
Morgan Geist – Womandre (7th City)
Titonton Durante & John Tejada – What You Like To Do (Residual Recordings)
Laid – Punch Up (Frankie Feliciano Original Edit) (Symple Sound)
Tom Ellis – Karma (MA Citysport Edition)
Marcus Intalex – Taking Over Me (Hospital Records)
Sycophant Slags – Ends With a T (Bombis Records)
Amir Alexander – Transcend (Anunnaki Cartel)
Ciudad Felix – Positive Directions (Silver Network)
Gemini – Ahi (Distance)
Swag – Felony Funk LP (Version)


K / D Keep It Deep has been very much editorial based through the blog & podcast series since its inception back in 2010. We have put on some small parties with friends and we proudly present our next adventure, new years 2016 will be our biggest party to date and we plan a few more throughout the year, full details and links on Residentadvisor here & Facebook here

New years day at Tipsy Bar Stoke Newington, London is the venue an small wooden basement space with an capacity of 150 fully powered by Martin Audio.   We have x2 Technics 1210s and we start any 5pm going straight for 12 hours till 5am. We have 8 djs for the occasion in no particular order. Isherwood (Toi Toi, Lize) Gwenan (Hifi) Ciaran Hansen (Dogeatdog, Butter Side Up) Chris & Ewan (Untitled, KMAH) Loren Heer (Rework) Michael Yume (Yume Records) & Mohson Stars (K / D). All the djs have been briefed to dig deep and to play there best representation of themselves and there sound, from the heart, uncompromising and raw. Expect to hear some unreleased music, uk tech house from the 90s, american minimal, us house, deep house from chicago, techno from the uk, disco from the 80s and some choice breakbeat & electro cuts. High quality underground house & techno that doesn’t scream, more speaks to you in little voices exercising the details and styles presented within the music.

Tickets available on Residentadvisor here & here and the Facebook page for updates is available here & here. Check the artwork it gives you an insight into the mood, intention, energy, character and style of the party. London new years day come join us.

K  / D Team.

mitja copy

Next to step up to the plate is an local artist we would like to welcome, K / D P Keep It Deep Podcast 14 comes from Italian dj, record collector, digger and vinyl fiend Ajtim who works at Vinyl Pimp record store in Hackney WIck London.  Mitja Del Bono aka Ajtim is a vinyl enthusiast born in 1993 in Trieste, Italy. After relocating to London and subsequently working in a record shop, his interests in researching new music have grown rapidly. Following a period of attraction regarding a more industrial and dark techno, his approach turned into a more minimalistic, electro and breakbeat sound. Although he has no specific boundaries, his interests lie in deep-rooted sonorities which are evidently detectable from his mixes and collection. 

We first met Mitja working behind the desk at Vinyl Pimp and his on point and vast knowledge was very evident, a few months later we caught Mitja playing in the house room at an off the radar Sunday party which had Marco Shuttle & dj Pete on the lineup also. Mitja carved out an careful selection of rare or hard to find 90s tech house and missed techno gems that fit his sound and style. We actually received 3 versions of the podcast as Mitjas discovered new records he wanted to include, so without much more to deliberate enjoy the solid hours worth of Mitja digging deep for podcast 14 flexing with techno persuasion. The feature photograph was taken by Lawrence Carlos.


Mark Old lives in Newcastle and would be recognized on the underground for running the Ringrose Recordings label which showcases all his own weirdly vortex beautiful and honest interpretations. The most noticeable release would be Ringrose 001 Low End Theory Pt 1 which has a rough round the edges tapestry to it, garage shuffle & crunchy strong basslines which got rinsed by the likes of Zip & Ricardo Villalobos. Mark takes noticeable and distinguished influences from various musical genres and his immediate surroundings having lived in various location which you will discover from the extensive, open, honest and frank interview below. 

Mark has an instant & tangible warmness and sincerity to his music, its fairly obvious from the get go Mark world is music and all you can feel and see I the music is Mark. His own label releases under different guises increase and value and this is an true testament to his craft and artwork. Mark plays various instruments and loves to share space, time, energy to collaborate with other musicians.

We most certainly learnt new things with every exchange and we grew even closer and respected his outlook and output and the mix provided is an 2hr solid excursion with Mark performing live and then also playing some records in the latter part flexing through the Ringrose back catalogue. Keep it Ringrose deep and enjoy this sublime and sequential unraveling of the wonderful world of Mark Nicholas O ladies and gents. 

K / D: Where was you born and raised? how was your youth and growing up? what are your early recollections or introductions into music? how was family life when you was younger, any musical influences from family?

Mark Old: I was born in Newcastle and lived there most of my youth before living in Denmark for 2 years of my life. My youth was working class and happy. My dad died when I was 16 and my mum when I was 21, so from then on I pretty much only had my nan close in my family but this has never been an issue perhaps it makes you grow up quickly.

K / D: What are your early recollections or introductions into music?

Mark Old: Soul, jazz disco and funk some light electro rock and gospel music, mostly from my dads record collection, once I started to buy records I bought Spandau Ballet and Tangerine Dream, also learning classical piano and organ.

K / D: How was family life when you were younger, any musical influences from family?

Mark Old: My dad played music quite a lot of the time he had quite a few records I still play and use myself from the Manchester soul scene early soul, disco and funk even some electro rock and experimental rock influenced me. Dad preferred jazz and my mum disco so some of that must have captivated my ears through my childhood. I used to play scratched records in a box I made with a pretend handle and then I progressed into having a record player intact, even one that played 75rpm jazz. Dad also used to cut music using a tape splice Bell & Howell and this was my first introduction to editing music on a 4 track reel to reel, a very old method and that certainly introduced me into phased sounds. Musically I learned to play initially the organ and also a bit the guitar which quite a few of my family could play in various degrees, at one point in my musical life I was quite into rehearsing and performing pieces of music but as I got more and more into digital production I think I have certainly turned my mind more to composition rather than performance, although maybe not for ever. I have gone from djing to playing instruments to editing and sequencing and producing music, all using a different skill in terms of music. My first computer production sounded like drum step computer music when i was a schoolboy on my uncles BBC computer, before moving to Cubase on Atari and then to various flavours of Cakewalk and Mixcraft on pc’s. also when I left school I got a Boss Dr Rhythm drum machine this was my first understanding of drums and drum patterns, i have also learned the bass guitar something i recommend to most serious producers / composers in terms of understanding one of the fundamentals of rhythm and style and how to add that significantly to music, this is something i do want to improve in the future in terms of live performance. A lot of my family play guitar and a lot better than me, quite a few old members like my grandfather played other traditional instruments such as bagpipes and my dad also dj’d and collected rare vinyl and radio equipment capable of listening to shows throughout the world so it also must have had an impact on this. Also because my parents also were extremely artistic my mother made clay pots and dad made pictures sculptures and furniture out of wood I suppose it also very much set my mind to be creative and artistic.

K / D: Your youth seemed very rich in character, experiences & music, what music scenes influenced you or was you part of including bands singers, labels etc?

Mark Old: Initially my influence is from disco early house electro and funk as well as jazz, for djing that too and for playing instruments it was electro sounding beats and breaks and keys originally i then moved mostly into underground garage / house / techno Detroit NYC and Chicago but still also played some UK but only “underground” listened to d&b and d&b jazz crossover just as much and made this although from a dj point of view only really the underground house/garage/techno scene. In terms of playing production although initially electro none of that was ever saved so the first track was a collaboration with others and this then ended up with the first actual release i made entirely myself played and produced alone was Low End Theory Part One. I have produced from reggae to jazz to house/techno/garage d&b and I also have made 2 CD of an alternative rock band me on keys / drum programming and two mates on guitar.

K / D: How long have you lived in the UK, Manchester, how do you find it there being an artist, any interesting highlights or lowlight stories to share?

Mark Old: I have lived in the UK most of my life apart from 2 years in Denmark 4 months in Desio in Italy. Being an artist I feel is better than most things from a creative point of view in that I can often make something that I enjoy hence I come into a strange category of people who have never owned a tv but like anything unless your super famous life is always a struggle in general.

K / D: Can you tell us a bit more about Ringrose and also your own release Low End Theory which caused alot of attention especially on Discogs.

Mark Old: Yes mate in fact I was still thinking of any more things for your last one but its often difficulty to answer right off the spot, the story’s not really funny either, but The Calico Vibe track on The Low End Theory was named after the street I lived in Salford because it was there that I first loaded that vocal into the sampler and changed it and kind of created the beginnings of that track before I did it in the studio. Ringrose Recordings has so far released 10 pressings, Ring001 Low End Theory Pt1, Ring002 Belizbeha Inhibitions, Ring003 All Nite Long Erggie Hall, Ring004 Pelnty Luv Reggie Hall, Ring005 La Papa, Ring006 Rete Urbana, Ring007 Militants Of Funk, Ring008 Jazz Freeform, Ring009 Dirty South, Ring010 Funk Ep. All the vinyls are produced by me, under various aliases and some are collaboration with other friends. The Low End Theory EP I made at my friends studio in hull and it was the first EP I played programmed and sequenced entirely my self. I had a few meetings for distribution and the first company Global Dance in London signed me and all my pressings were distributed through that group. After it stopped distributing records my work was released on 15 CD’s on Vitaminic / Peoplesound. Eventually all these went down and I kept making music and distributing among friends. I noticed a few events that people were playing my music over the last 3 years in more popularity in the USA, NYC, LA, Chicago and also in Europe, Paris and Berlin, after a video by dj Zip and later Villalobos as well as mixes from Nicolas Lutz and others, my popularity has now risen. Also I set up a Soundcloud https://soundcloud.com/ringroserecords and can also be found on Deep south sounds and Mixcloud as mark.old6.

K / D: can you explain the idea behind having different aliases? how would you describe your sound? and why Ringrose as a label name?

Mark Old: On Discogs the track was promoted and initially all interest and contacts to me came from here but I released some re-pressed vinyls with two new tracks included which had been getting some interest from dj’s in the USA from the demo CD’s I had made for the SSW1 event. I have used initially different aliases because I produced various different underground styles in those days it seemed more cool to have a different name for a different style that changed through the years, the Ringrose name is the symbol on ring002 label.

K / D: There is a rough raw edge to your sound, and definitely some garage and of course subtle deep house keys, what is in your studio and some key influences musically and inspirations non musically?.

Mark Old: Musical influences early funk soul and jazz from my parents early electro rock like Tangerene Dream synth rock like Keith Emerson and then house and garage music e.g. Tony Humphries, Kerri chandler, Roy Davis Jnr, the Chicago and Detroit techno/house scenes including Larry Levan then other forms of garage uk garage and other scenes, but just as equally drum and bass and reggae influence from the d&b scene and Speed Club London after that French, German Japanese Brazilian, African and other music from the world.

Mark Old: The concept of my music was always to create original and different sounds therefore I dont use one method or technique entirely each peice I see as a different art so some are made in samplers some on instruments some played some programmed some using samples and some various combinations, the sequences arrange from full musical midi to cut up distorted and changed sampler sound so there has never been one single studio or set of instruments or programs used, some are all hardware others all software and others combinations I think this helps to keep the musical texture changing and varying and always breaking different ground some people strive to sound like someone I also try & think I try to sound original perhaps sometimes taking the hint of the fashionable sound to that music.

Mark Old: The studio I made Low End Theory in comprised of lots of instruments and a large Allen & Heath desk, some of the instruments I particularly like are the Korgs, Moogs 303, 707 but then using analog pedals like Wah Wah low pass filters and EQ variations i have an Moog, an Nord Lead, an Vermona, an Crumar Roadrunner 2 and a couple Yamaha keyboards as well as various outboard pedals and effects, vocoders parametric EQ’s, wah pedals tube pedals etc.. I use both h/w and s/w drum machines, but I can just as equally generate music from tones or sit detuning sounds and reversing parts of notes and vocals in samplers, so I have no real preference, for sequencing I used cakewalk studio pro I have all the instruments the sonar sequencer and grid sampler, on the laptop im using Acoustica Mixcraft 6 and Beatcraft for mixing and linking to vsts in a virtual way although ive only been using this maybe 8 months i also play a bit bass guitar and ive got a Bass and Marshall amp. I’ve owned various other instruments but often sell them after ive made a few tracks on them as I cant afford a great big studio in space.

Mark Old: as well as music im also making a few videos again which is kind of an extension to the 200 projects of visual arts on my websites militants-of-funk.tripod.com and rose2000.4t.com with my art work and photos in video with my music. If you are interested this is instructions of how to look at the old websites realising some people liked the old visual arts pages i started working out what you needed to view them you need java and this needs to be set to a low priority to allow you to run it.

Mark Old: Also as a dj my influence came originally from watching people like LL Cool J and then my friend Randy Dread moved to Newcastle and introduced house music to club Africa, from there my influence came from my friend Collin Patterson playing at street rave and later both Collin have an residency at arena from there all three have been involved with me and the low end theory nights when they ran and the music i produce later im inspired by all the people who like my music and i get a chance to listen to their directions. Production wise ive collaborated with re-mixes with Reggie Hall and urgent music and Belizbeha in the USA, ive worked with many other friends in between and im currently working on various collaboration projects with Dave Livense in Belfast under the name of Rebel Von Platz as well as other stuff ive jammed with Michael Bustard, Tom Faulkner and Chris Muth over the last couple of months.

K / D: How do you approach making different styles of music and also the videos you make?

Mark Old: Influences from information or reading came from some producer books such as computer music although more so on listening to sounds from various gear than following step by step a technique, i can only remember ever doing this with my vocoder to get it working with the keyboard, but much more so from scores of music my favourite magazine being the us publication bass player which discusses rhythms and common chords in various players styles and i often look at someone’s ideas and re-improvise, just as equally other music books for particular instruments i found useful in composing or improving the compositional mind, learning the keyboard and other instruments also were a very important influence and as to making the sound original and creating sound using pedals people like Keith Emerson and Alvin Lee of Cricklewood Green gave me the initial ideas of experimentation with original analog sound. In approaching various styles of music i need to be in that particular mood to make it, the way i want anyway so often i produce what comes out so sometimes i make 3 other tracks first before i make the style im being asked for, but often i also put mind into that mood by listening to others on that style, listening to beats and chords and trying to come up with variations or layouts in my head but then often i also just play something and work from that.

I also made a couple of videos ive compiled still pictures of artists whom ive re-mixed and combined this in my own artwork using Vegasobe vid has 250 still images animated and given effects its combining what I did as a vj for about a year with my music and art in a way similar to the rose2000 and militants-of-funk websites with exploration of visual arts I might be able to wire you one of the vids at some point but its big and i asked the artist permission as the still although entirely my art originated from the artist and so far they didnt reply me so im not sure if it will be allowed to be put up or not, its also very big so its hard for me to upload it, anyway it was an interesting project to do these 2 vids again showing another capability.

Also I do occasionally read a score of music like an earth wind and fire track im looking particular at the timing of music rather than the chords as thats the piece and often were working with other tones and sounds but yes the drum rhythms and note durations in pieces sometimes works too.

Also with the video production I spent some time doing visual effects at friends gigs so that was part of the idea to make some more visuals like this then use Vegas to sequence these frames, I also do some photography so im basically merging some of this work with the many sounds I have done, I have had a project in my mind for nearly 8-9 years now of exhibiting art and music of mine in video and projector and sequenced by switching off and on lights around the exhibition I think a lot of the content is there I just need to be able to find a free venue to host it and complete its original concept, the idea is then to get money from donations to the exhibition and give say 1/2 to charity.

K / D: Finally, the mix is long extended, has lots of influences a very raw sound, can you describe this, the equipment you used ands some of the tracks presented?

Mark Old: One of the tracks the one with the breakbeat is a track by Fave Mono its a fluorescent 7″ from Glasgow and when I searched Discogs for my friend on Saturday I cant find it listed. With respect to the equipment im using a grid sampler running on my pc its part of Cakewalk grid and its coupled to Kinetic Beat Maker, im sampling vinly tracks then mixing the 4 and 8 bar samples that ive put in time with each other and other instruments or beats im playing in the first hour, im also running live a beatbox which is Acoustica Beatcraft and mixing it in with the sampler mixing from Cakewalk in the second hour im entirely on vinyls mostly from my own label and all produced by me.


HIFI is an relatively new London based party centered around its residents, If you ever wanted to experience the UK’s version of RPR you don’t need to look any further than the HIFI trio. The residents include in no particular order Gwenan who is an avid record collector with a very specific sound that has been crafted and carefully considered, check this mix for her vybe here.  Next we have Bruno Schmidt who contributed K / D P podcast 009 which you can check here, Bruno also is Louche resident and also the chief programmer for MITM festival, and more recently has stepped into the production world with new music to release imminently. Finally we have Andrew James Gustav who has seen a steady rise to prominence over the last couple of years, again by quite simply searching, seeking and discovering old records that carry his particular sound and style. Andrew has played for several parties Lize, Toi Toi, Undersound, Dog Eat Dog, Cartulis Day & also My Own Jupiter to name a few. Check out Andrew’s podcast for My Own Jupiter run by Nicolas Lutz here.

The setting for this party was at the underground loft studio space located in East London unassumingly this venue is hidden and off the radar. The capacity is intimate capped at around 120; the sound was clean and strong, not too forceful but delicate enough to convey the time and genre of the sort after records on air.

We arrived around 1am and the freight lift ride up always provides some interesting chitter chatter and getting to know people you don’t know but are still attending the party for the same reason you are, there definitely is an community based feeling at HIFI.


As the lift stopped, the rusty aged lift door cranked open, the slow thud of sub bass consumed your yes, the volume of conversation and people moving around increased. We headed straight for the dance floor, which was decidedly busy but maneuverable. Bruno and Andrew opened up proceedings going back to back, and what we did hear leaned more towards techno territory, break beat, & old school minimal techno, familiar samples came across as metallic coarse, dry and infringing. The crowds are all clearly vybing and enjoying them self’s and it was refreshing to see lots of people actually dancing, throwing shapes and not caring so much.

The booth looked liked it was decidedly hidden behind the stack of speakers which left more of the focus on the floor and less on dj staring which is very commonplace. As the boys closed out there set the crowd had enjoyed lots of highlights moments and the whoops, cheers and hand in the air moments underlined this.

It was Gwenan’s birthday hence the closing slot and she started around 2am, stripping things back to fundamentals, tight, slow burn mixing and steady bpm, very measured, seamless and consistent. For me the highlight came when Gwenan played a track by Accomplice, which really raised the energy and level of the party. The party flew by and time became irrelevant until the lights came on and that’s the end of the night. The room was awash with people singing happy birthday and birthday cake did appear which was very community spirited and warm for Gwenan’s birthday. Overall I would say this was another standout night were the music took centre stage and all three residents seamlessly blended and worked very well together, they all comes across as very confident when they go back to back.

The musical landscape of this party centered more on techno in varied forms, I can’t tell you artists because I didn’t know and I didn’t want to. I enjoyed the repertoire on display and the story being presented. These guys work tirelessly to dig for records old and older and it shows. The concept works, they flow seamlessly back to back and the energy is very real and raw. The very idea of residents & guests and the construction of a party have been addressed with critical attention with the HIFI guys…. music is first and foremost front and centre focus, the venue is the perfect canvas for his kind of painting and the sound system was on point, it looked like a martin audio rig with a formula sound mixer and Techniques 1210s mg5 with +16 on the pitch control so songs that shouldn’t be mixed together because of BPM can be. These are the details being analyzed and addressed at HIFI, the very basic fundamental’s of any party which the equipment and sound system play a big part.

These parties don’t happen to often which builds the anticipation and it also gives space and time for the Djs to think about the music they curate and craft with care and attention. HIFI very quickly has established itself as a party that has lots of growth potential with 3 solid resident at the controls playing music they believe in and so does the crowd.


Friday 16th January Keep It Deep took a trip to the Bethnal Green arches to check out London’s underground party Undersound, who had Andrew James Gustav, Etienne & Francesco Del Garda providing the musical repertoire for the evening.

London’s club scene is going through a period of change which is natural when you have significant social and economic movement. The most obvious evidence of this is club closure (The End, The Cross, Turnmills, T-Bar etc) or increased restriction like Fabric more recently. There is hope and there are small pockets of new ideas and new concepts that need to be shouted about and explored and Undersound is one of the community based movements that represent a new energy and style, don’t believe me go check it out and make up your own mind.

The concept for the party is really clear and concise book tight djs who search, research, seek and play mostly vinyl of the up most quality from different genres and years. No hype no commercial headliners or obvious venue choices, this party is one of London’s Best kept secrets and if you frequent, Toi Toi, Half Baked, Cartulis, Open, Night Moves & newly formed Gateway to Zen to name a few, Undersound could appeal to you also.

The party started at 11pm so I casually mooched over to the Bethnal Green arches around midnight to arrive for Andrew James Gustav who was on warm up duty. The bouncers on the door came across as super friendly and recognisable from other parties, which made entry effortless and easy.

As I entered the main room Arch I could hear sub 126 bpm tech house grooves being pushed out of the Martin Audio sound system. The space looked like it could hold 250 people comfortably and the sound was clean, clear and warm, not to loud for the early part of the night, which is very much appreciated. There was a stack in front of the DJ and also speakers at the back of the room to aid the sound picture and architecture.

The space was not busy but had bodies dotted around, the crowd overall seemed a bit older, more casual and concerned with the music and dancing. I also started to spot some other local djs and promoters inside the place, which was nice to see. Behind the dj booth there was a rolling video of graphics and illustration, which lent well to the music, space and atmosphere.

Andrew James Gustav was the warm up dj and over the last 6 months his prominence and status has grown. He is a true vinyl collector, and you are very well versed if you can recognise any of the tracks, as the majority of them are rare, hard to find or quite old. There is a simple pleasure I gain from watching Andrew dj, he plays music he likes and it fit likes glue to his sound, there is a metallic edge to the production, very rough and from another time period around the early to mid 90s. There is a defining break beak and mid 90s tech house stamp all over this sound, not forgetting some snippets of uk garage also. Andrew has a clinically tight style of mixing, which is very efficient, less is more and the music is well and truly showcased, not much eq’ing and messing around with fx on the Allen & Heath Zone 92 mixer I observed.

The highlight to Andrew’s set came as we heard two unreleased jams by Bruno Schmidt who crafted podcast number nine which you can check out here. There was a distinct garage shuffle and nagging lead hook, which got heads and feet nodding. The dance floor slowly oozed with more bodies, I noticed several dancers down the front alone, enjoying and appreciating the music, the vibe, the party and the atmosphere. Francesco Del Garda had arrived and the party was slowly taking form and shape.

At around 3am I felt fully content with my musical experience carefully guided by Andrew James Gustav on the decks. Next up came Etienne and then Francesco Del Garda to close the party. I am sure all the good work and great energy would have carried on into the morning and at the after party.

Overall if you have not reached an Undersound party to date, I strongly recommend you reach and see what the real Underground looks and feels like. The music takes centre stage and like everyone else in the room you will very quickly be part of a nice community you secretly don’t want to share with to many. You don’t have to arrive with an entourage of people, everyone was super friendly and the spaces are carefully considered, and finally the music, tirelessly assorted from an collection of djs who care so much it really is heart warming to see, this city is tireless and the new creatives pushing things forwards are doing so with there own voice.

Check the Undersound Facebook group for details here on there next party and for updates on there podcast series and record label also.