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


0Fabric was not open last year as quite a lot has happened since the 16th birthday  including closing, the very public campaign and fundraising events, reopening, the new programming schedule,  and now arriving at another birthday the clubs 18th. We want to focus on the music and share our experience of the annual celebration from the Sunday afternoon rolling into Monday morning. All pictures credited to Nick Ensing here.

As we approach the club Sunday mid afternoon we saw a queue of fresh revellers and also some crew that looked like they have enjoyed Saturday night and came back for part two. As we entered the club we could feel the energy and intensity as we slowly made our way down to room one opening the doors adjacent to the bar and hitting a warm wall of sub bass emitting from room 1 as we heard Raresh going back to back with Ricardo Villalobos. Room 1 was busy as ever with a very varied and mixed crowd of revellers and dancers. The very distinguished figure of Ricardo stood out in the booth sharing lots of fun exchanges, laughs, hugs and comments with Raresh. As they opened there set with a beat less intro which looped and transcended time only building the anticipation until the kick drum dropped in minutes later. The room 1 sound system always provides a clarity and depth to the music being played through it and Ricardo knows better than most what it is capable off and how to maximise impact, power and affect. As we found a spot to dance on the bustling and loose dance floor we spotted several local djs in and around the venue as the birthday does turn into a occasion lots of people make effort for.


We always try to keep our ears open to see if we recognise any of the tracks expressed and aired when Ricardo plays and it is always a rarity to know any let alone a few. Raresh looked as comfortable and relaxed as Ricardo and the big stage seemed effortless for both. We noted that Planet Love by Virgil slipped into the groove as the overall palette of techno, minimal and house cuts blended very seamlessly together. As the two settled into their back to back journey, the bar raised with the crowd reaction when the driving and spaced out groove of Svek aka Jesper Dahlback & Sebastian Ahrenberg My World came through the speakers. It is always an interesting and familiar experience in room 1 on the birthdays as the crowds pack in for the Saturday and Sunday with djs stretching out for long periods and unknown songs get breathed into arguably London’s finest sound system. A few hours in we spotted another cut which was an understated and stripped back number Roustam – Valparaiso took the mood deeper with intricate details and shuffling swing. Ricardo played a few of his own productions which always gets a strong reaction from the crowd and the energy levels stayed high throughout the back to back set. It was groovy and high paced with focus on keeping the frequencies tight and playful. It was a masterful and enjoyable experience seeing these two artists share the booth and create some memorable mix and blends.


Next up was London’s Ben UFO who has played the birthday previously on a Sunday around the same time. Ben started shortly after 9pm and the dj booth stayed busy with staff, guests & djs. Ben is very in demand and very adept in big club situations. Ben immediately raised the intensity flicking between tougher techno cuts whilst slipping in some choice house numbers like Remember by BT the Mood II Swing Dub which was also played at a previous birthday by Perlon boss Zip. As Ben bopped and swayed in the booth with focus and intensity the energy raised and crowd reacted as he played one his newer Hessle Audio cuts by Joe called Tail Lift with its very fun cow bells and whistles. The groove is always humorous, fun and tougher with the Hessle releases and this release sounded very impressive on the room 1 rig. Ben also looked very loose and content and as we have heard previously at Birthdays Ben likes to play some forgotten classics, this year was no exception as he rinsed the Mighty Dub Katz – Let The Drum Speak this really got the hands in the air as the infectious chord lines & catchy vocal rolled out. The party most certainly was in full swing and the very metallic and large room 1 had a more house party vibe about it. The light show also needs to be given props as the lasers, lights and choreographed smoke machine always heighten the intensity and energy over some tracks. Another stand out number included Cham by Gilb’R & DJ Sotofett which had some serious groove which contrasted the clean and functional techno on display. House of Venus Dish & Tell Bitch Mix which came out in the 90s really got bodies jacking with its fun chopped vocals and cheers. Ben performed another standout set as the numbers in room 1 did not yield from Ricardo & , we endured having several bodies passing through to meet mates or get closer to the booth. In contrast Inland Sca Fell really gave the room 1 system a work out with it’s no nonsense chugging bass line, kick drum and percussion. Ben is very consistent, whilst being diverse, fun and humorous with his sets, it becomes very evident why he is very much in demand and a very unique selector still growing and exploring.


As we took a fag break and checked the set times we thought we would wonder up to Room 3 to see Claus Voigtmann back to back with Margaret Dygas. Both played standout sets at the first Houghton festival a few months back so this session should set a high standard. Room 3 now has the dj booth placed at the back of the room facing the entrance hiding in-between the arches nestled in. As we entered the arches, the groove was deeper and more rolling in room 3 as we spotted Mountain People 8.1 being flexed with the crowd really enjoying the pace and smaller settings. Claus and Margaret also looked to be in high spirits, joking and laughing. The fabric staff came around with fancy dress for the occasion and the ravers enjoyed getting dressed up which only helped keep the mood high. Overall this set was locked into its sense of urgency, high energy and fitted the room 3 size and space. Hopefully we get to see these two perform back to back again as it most certainly had some stand out moments always keeping things deep and groovy. Margaret is strongly linked to Perlon and has really impressed over the last 12 months and Claus from ToiToi is growing in confidence and producing strong sets on the big stage.


As it just past midnight we rolled back into the room 1 to see Ricardo at the helm, Ricardo very effortlessly flowed from old German techno to UK numbers including Jedi Knights May The Funk Be With You, it sounded very cohesive and very on point as we entered Monday morning. Ricardo has this very loose and long style of mixing which is very precise and floaty, to mix on big sounds system, with vinyl and make it look very doable is a skill in itself that’s not forgetting playing for hours, crafting a story expressed across multiple genres and styles. As we neared the end of his set one of the highlights included Stella by Jam & Spoon with its fast paced drums and driving chords, as we rolled late into Monday morning room 1 seemed to get busier and busier with more bodies shuffling for space to dance. As 3am rolled in Craig entered the booth and took to the decks. Craig has a very varied and diverse repertoire of sounds which always have a signature flavour, tone and spice to them. The first few cuts settled the vibe and then Craig dug deep into his record box. We clocked in a solid 12 hours and had enjoyed an exquisite display of djs, back to backs and that unforgettable room 1 sound system. This was an understated and musically very impressive, cohesive and groovy birthday by Fabric’s standards.


As we enter the sprint finish to the year, the big NYE celebrations and then the start of 2018, Fabric is back open, they are seeing the weekly resident Craig Richards play monthly. Change is unavoidable and after 18 years the music you can be exposed to in Fabric is educational, innovative, classic, strange, wonderful and forgotten. We very much look forward to entering the club very soon and enjoying seeing new names rub shoulders with more regular acts. As we racked our minds to remember some of the tracks we heard including Fantasy Fear  of the Brane 001 release by Youandewan stood out as the track of the weekend as it got rinsed by Claus & Margaret in Room 3 and again in Room 1 by Ricardo & Raresh. Most importantly overall the music is consistent and of a very high standard throughout and is accompanied by the room 1 sound system making listening and dancing even more enjoyable. As Fabric remains open the underground electronic music community will benefit from the international acts to the more local up coming artists that it provides a platform for. Overall business as usual and long may it continue, we look forward to seeing how 2018 shapes up and the programming including Craig’s monthly new project.

K / D P 20 – E.WAN


K / D Keep It Deep have some newness, in the form of podcast 20 from E.Wan (Untitled, KMAH Radio, Fractal Club, K / U) who is a London based dj, producer & promoter. Ewan is one of the people that keep the community moving and also operates with style and grace. Super talented slowly making his mark and being measured and patient with it. From his co-run Untitled show with Chris G & also Aky on the radio side of the project. Ewan is also resident for Fractal club in Scotland bringing big hitters up north including Steffi, Virginia, Harry McCanna, DJ Tree, Saoirse & Nick Hoppner to name a few. Ewan has given us an honest account to his story, his passion and also reaching a dream this year playing at Fabric London. Enjoy the rock solid 90 minute journey through all things deep and based around nuances, details and groove. Check E.Wan on Facebook here. 

K / D: We met mutually through Rupes (Make Me) who booked us to play Kaleidoscope many years ago. I want to rewind and go back to your early years growing up how was family life?

E.WAN: Family life was fun. I have two sisters and I’m the middle child, which I blame most of my problems on, haha. Our parents took us on lots of great holidays around Scotland and the rest of the UK when we were young so I count myself lucky to have lots of good memories. I remember spending a lot of time outdoors.

K / D: What music can you remember from this time?

I’m very lucky that my parents have great taste in music. My Dad has a Blues band and my mum just loves music, so music was always playing at home. My parents would take us on camping holidays to Jersey every summer and on the long drive from Edinburgh to the south coast there was always music playing in the car. I remember the music they played in the car on these long trips. This influenced me without me even knowing it. I remember listening to David Bowie, Stevie Wonder, The Average White Band, Paul Weller, Squeeze, Pink Floyd, Michael Jackson, The Beatles & Eric Clapton on these journeys. We recently celebrated my mums 60th birthday and had a big party in their house, everyone went to bed but me, my sisters and my mum were up until 5am dancing and singing along to a lot of these artists.

K / D: As a teenager what interested you?

E.WAN: I’ve always been into music, but as well as that I loved drawing, playing football and I spent a lot of time with friends when I should have been studying!

K / D: Can you remember the first album you purchased?

E.WAN; I honestly can’t remember the first one I bought myself but I’m sure it was something absolutely terrible like the Ghostbusters soundtrack. The first ‘proper’ album I owned was Led Zeppelin – IV. I asked for something awful for Xmas one year on CD and my Dad refused to buy it and got me a few decent albums instead. The one I remember best was Led Zeppelin but I also remember having Michael Jackson’s album Thriller on cassette too.

K / D: Talk us through your first clubbing experience?

E.WAN: My first proper clubbing experience was at Creamfields in Liverpool when I was 17 years old. I went with a group of friends who were mainly into trance and hard house at that time. I liked house music more and remember sneaking off on my own to the Subliminal tent. I had been buying Mixmag & DJ mag for a year or two before that, so had read about a lot of artists and listened to the free CD’s that came with the mags. I guess that was what introduced me to electronic music and definitely inspired me dig for new and interesting sounds. About a month after Creamfields I bought my first set of belt drive turntables and some records. I’ve spent nearly every weekend in clubs since and I’ve never stopped buying records.

K / D: Can you remember the first time you went record shopping?

E.WAN: I remember going into one of the record shops in Edinburgh and telling the girl behind the counter I had just bought decks and needed some records to practice mixing. I told her what parties I had been going to, that I liked house music and I ran through a list of names I knew. I remember coming away with a good mixture of stuff. A couple that stick out are “Eddie Amador – House Music” on Yoshitoshi and “Mr Fingers – “Can you feel it”.

K / D: When and why did you move to London?

E.WAN: I moved to London over 7 years ago. I had been travelling all over the UK & Europe going to clubs and festivals for a number of years. I did a few seasons in Ibiza in my late teens/early 20’s, and had been going to Sonar every year since 2006 and had been to London a few times. I loved the clubs like fabric, Plastic People, Cable, Public Life etc.  I just love how diverse London is. To me London is one of the most influential cities for music on the planet. It was after a trip to fabric’s 10th birthday that really gave me a kick up the arse to move to London and stop just thinking about it. At this time I hated my job and I had run a few parties in Edinburgh and had played most of the big parties and clubs. I just felt like I needed a change and I had had a taste of what London’s nightlife. There was a lot of great daytime parties on Sundays like Secretsundaze, Kubicle @ Public life, Fuse @ 93 Feet East which really appealed to me, I’ve never been one to just go home after a club and I just loved the thought of clubs being open much later and especially liked the thought that there was always something happening no matter what time. Coming from Edinburgh I was used to clubs closing at 3am so it was very new and exciting for me. Though I must say in the last 5 years Edinburgh’s scene has improved massively and has some really great clubs and parties, but at the time I moved I wanted more. I managed to secure a job with RA and then I was off.

K / D: You have lived here for a few years how would you describe the scene?

E.WAN: The scene has changed a lot since I moved. There are lots of great things happening here. There is so much choice which puts pressure on promoters to put on bigger and better events and there are still really good underground things happening if you look for them. Of course there has been a lot of club closures and negative stuff happening in our culture in recent years, but this is just something we need to deal with it. There is a lot of positive stuff happening which everyone should focus on more. Look at fabric reopening, the Lion & Lamb, plus larger scale things like the Printworks. These are all amazing venues that are run by people who have dedicated their lives to music and will always find ways to keep us dancing no matter what obstacles come in our way. I think now having the night czar London is a great thing for our nightlife. Things can only get better from now on.

K / D: Where do you rave, hang out, dj, and buy records?

E.WAN: I love fabric and still try to go as much as possible, especially when Ricardo Villalobos plays. I think in the last 8 years I’ve only missed him there twice. For me fabric is the best club in the world run by the best people, the Lion & Lamb is another favourite of mine and Pickle Factory.  I use Juno, Redeye and Discogs A LOT for buying records but I also buy a lot of stuff at Phonica as I think its got a really good selection of quality releases. I work close by to Phonica so I do spend a lot of time in here.

K / D: What do you do for a day job and how do you juggle this and music on the side?

E.WAN: I work behind the bar in a steak restaurant in Mayfair. I also do playlists for restaurants and bars on a freelance basis. It’s flexible enough to allow me to focus on my own music. I’ve finally found a balance and a routine that works for me. I dedicate at least two full days to making music every week and I spend some time searching for new music every day and still spend way too much money on records.

K / D: Can you explain about your show on KMAH radio?

E.WAN: We’ve been doing a show on KMAH Radio since it started 2 years ago. My good friend Thomas Aky was offered a slot on a Friday 6-8pm and asked Chris G & I if we wanted to do it with him and we jumped at the chance. It’s a great opportunity for us to regularly play music to a wider audience and play stuff we wouldn’t necessarily play in a club. We all buy a lot of records so it’s pretty sweet getting to play most of them of them on the show. It keeps us looking for fresh new and old music. Chris and I leave a lot of the chat to Thomas Aky as he’s great at it and Chris and I play more music.

K / D: You hold down a residency at H&G and Fractal can you share your experience of this thus far?

E.WAN: We’ve been doing Untitled at H&G for a few years now and it’s always a nice party. We enjoy doing intimate parties with DJ’s we like and respect. With the venue being very small there is always a wicked atmosphere. We started this party so that we could have the freedom to play whatever we wanted. I’ve been friends with Chris for almost 20 years and we’ve always had very similar tastes in music. We ran parties together in Edinburgh and often played b2b sets as well as some marathon b2b sets at after parties, so it felt natural to do something together once he moved to London. We tend to book up and coming London based DJ’s that we like, who don’t necessarily get to play peak time slots very often, as well as some bigger guests. Highlights for me so far would have be when we managed to persuade Soundstream and Iron Curtis to play in that tiny room at the Horse & Groom, that was an insanely good party. Other highlights include Tommy Vicari Jnr and friends Harry McCanna, Truly Madly, Chris Seddon, Frazer Campbell and Anthony Campbell who have all played for us a couple of times over the years.  Fractal club is slightly different, this party is run by our good friend Stewart Clason, who has been planning on doing something pretty big in Edinburgh for a while and asked Chris and myself to be residents. It’s been great and we’ve played alongside some of our favourite DJ’s including Prosumer, Virginia, Nick Hoppner, Dinky and DJ Tree. We did a Fractal Club & Untitled party last month and brought our buddy Harry McCanna from Undersound with us, which was a lot of fun. I kicked of their podcast series last year too, which has had some pretty great mixes so far.

K / D: You just played your first Fabric set for WY how did it go?

E.WAN: Fabric was everything I thought it would be plus some more. I’ve been going there as a punter for years and spent so many hours in there listening to my favourite DJ’s so it was such a surreal experience to be playing there. We closed room 1 too, which was an amazing experience. I was over the moon when Jacob and Peter asked us to play and I can’t thank them enough for giving us a chance to play in my favourite room on this planet. We really hope to be back there very soon 😉

K / D: What does the future hold?

E.WAN: This year I’m really focusing on getting some music finished and hopefully released. I’ve made a conscious effort to spend most of my free time working on music. I feel like my productions have improved a lot the last 6 months. I have a few podcasts I need to work on the next few months. We will to carry on doing our Untitled parties and will continue to collaborate with other parties in various different venues, as well as doing our regular thing at H&G. We’ll continue with our Untitled Show on KMAH. We have some great guest mixes coming up in the next few months and look forward to letting you all hear them. Fractal Club has some really exciting things happening this year too that I’m very excited about.



Version 2

K / D Keep It Deep Podcast number 19 comes from the charismatic Frazer Campbell, a productive London-based dj, producer, remixer, promoter & radio host. Frazer co runs his OPEN project with Anthony Campbell and slowly over the years has crafted his intrinsic, emotive & detailed sound through his productions on his OPEN label and also under his more left field and more experimental Elliot Project. The OPEN radio show can be found on Hoxton FM frequently. The OPEN parties have passed through various London night spots including Pickle Factory, Studio Spaces and also at London’s new under the radar bespoke rave pub Lion & Lamb. The OPEN project supports local talent and more internationally sought after heads with previous guests including Endian, Isherwood, Slow Life, Steve O’Sullivan, Jane Fitz, Saoirse & Voigtmann to name a few. We caught up with Frazer for a conversation covering Frazer’s younger years, first exchanges with nightlife including Fantazia tape packs, learning to dj at 16 and how we arrived to more recent times with his co run OPEN project, in the studio & nightclub licensing in London. Check the podcast for an illustrious electronic excursion over 80 minutes of blending tones, details and frequencies. Check Frazer  on Facebook here  & on RA here OPEN here & Soundcloud here

K / D: Can you share with us an insight into you upbringing with any stand out memories?

Frazer Campbell: Wow what a question. Here goes … I grew up in Fulham west London with my mum, went to pretty strict schools and didn’t really do much as a youngster except homework and sketch In my free time. When I got to secondary school music was my thing from about 11 or 12. Was never into sport and never will be frankly. I loved art and anything that involved using my hands like pottery and woodwork. Hahaha and eating. I defiantly enjoyed doing that!  Was a tad tubby as a kid and carry a bit of timber as an adult!

Trying to think of a childhood memory … ahh I suppose one particular memory that jumps to mind is when my mum fell on top of me when walking me to school, primary school of course not sixth form!! Anyway she always walked me to school and I always weaved from side to side being the young athlete that I clearly was; and I crossed her path, she fell on top of me and People in cars standing in traffic laughed hard at the awkward moment. She was mega pissed off and I felt like a real tool. Mum is tiny woman so it would have looked like a weird comedy sketch. That really stuck in my mind and emotionally scared me……haha

K / D: As a teenager what experiences did you have with music, what did your parents listen to?

Frazer Campbell: In my teenage years I glided through so many genres but was super passionate about all of them at one time or another. I suppose most teenagers’ meander through different vibes dependent on circles of friends …for me the real focused passion began when I got into drum and bass. Then something ignited inside me, which I have such fond memories of.

You asked about my parents. My mum was quite into music actually, collected bits and pieces of vinyl and one artist that I recall her talking about a lot was cat Stevens. I can even remember the retro vinyl racks and small stacks of 7 inch’s in a few different cupboards in the flat. Also the old school record boxes with flip over lid and little brass buckle with one of that suitcase locks… hahhahah a real journey back in time. It’s nice to think about those times. Dad isn’t really into music although I know he likes Dolly Parton and Cher…don’t think my vibe came from his genes!

K / D: Can you remember the first piece of music you owned either on vinyl, cd or cassette?

Frazer Campbell: Every time I am asked this first thing that jumps into mind is ‘salt n peppers’ ‘let’s talk about sex’. I had that on 7-inch wax. Wish I knew where it was! Always frustrates me that I can’t remember!! Apart from that record my collection was full of tapes …full!! I had hundreds of cassettes on a bookcase in my room. Many were recordings from pirate radio stations but one tape that I will never forget was a live recording Fantazia tape from castle Donington – DJ Donovan bad boy smith. That tape was key to me and really steered me in the direction of music. I played it non-stop. Lost that tape too. It had Fantazia written on it in tip ex pen. Pure hooliganism! Thinking back on the cassette days; I recall sticking cello tape over the top corners to allow you to re-record over it… those were the days! You had to use more than your ears to listen to music.

K / D: When did you first encounter local nightlife or went to a nightclub, how did you find this?

Frazer Campbell: My first outing was to club called Labyrinth in east London – Dalton I think. It wasn’t local but although I grew up in Fulham I was not into its nightlife. Labyrinth now that was truly incredible. I can remember many moments from my first ever night and will never forget. It was a beehive of small rooms, psychedelic backdrops and dirty underground sound, drum and bass, hardcore proper raving. Thinking about it makes me smile as it was so exciting and such an escape from normality. It was a new world to me…. an underground word of only music. Nothing else mattered.

I found out about it via my mates younger sister funny enough. He said she went quite a bit and it was really good so I braved it and left the comfort of my Yuppie surroundings and head east! I wasn’t disappointed and that then opened doors to what would become my true love.

K / D: Can you share early inspirations, artists, compilations, tracks, and mixes?

Frazer Campbell: I mentioned before the Fantazia cassette but on from that there were always key tracks, DJs and artists that grabbed my attention. ‘Follow me’ by Aly-Us is still one of the most ultimate house cuts ever and still has the same impact all these years later. But pre my house obsession, tracks like Greece 2000 on cream compilations and drum and bass track ‘Pascal’ p funk era were mind-blowing pieces that fed my hunger for all things electronic. You asked about compilations and this is a real easy one to answer. The renaissance series were always incredible, Nick warren, Dave seaman … they played sets that told stories, that took you away from life for 90 minutes and frankly I couldn’t give a shit about anything or anyone. Just me, a pair of average headphones and my imagination. Those times were when I didn’t take it so seriously I just truly loved what it did to my frame of mind. I do miss that and know that those times are gone. You get older and other stuff comes

Into your life and when it becomes a passion you begin to take it very seriously …bring back the days of listening to a mix in my bedroom, light off and not giving a fuck. One other slice I loved was ‘forever more’ by Moloko – Francois k mix. Fucking epic piece of house with the sexiest voice…! Standing in King Cross vibing to that…priceless.

K / D: When did you start to explore djing and records?

Frazer Campbell: I got my first set of turntables in 94 — I was 16. Spent all my Saturday job money on records from slamming vinyl in Kingston. Got the green 85 bus there every Saturday from Fulham and made a fool of myself playing the guys snips on my Walkman or humming something to them… felt like an idiot but to be honest it was worth it to get what you wanted, put it on the deck when you got home and bam! Still love that feeling 23 years later. Although thankfully gave up the humming to record store people…Walkman…. my yellow waterproof Sony Walkman also vanished with my first record and that Fantazia tape!

K / D: You also produce music can you explain this journey?

Frazer Campbell: Production… I hated it years ago. I worked with a friend of mine Richard. We called ourselves the damage boys. Hahahah I really struggled with it. Found it so hard. I was never into computers and found it a chore but thought it was something I should do. That was in the early 2000’s. Anyway about 5 years ago I really wanted to try it all again. This time it was different. I had an inner need to do it, a passion for it. So slowly but surely I started making bits and after about a year started Sending the odd thing out and tracks were being signed up. I have built up my studio over the years and at Time have been obsessed with equipment buying.  It was and still

Is so exciting and a fundamental part of my life. Expressing myself through sound is something that is quite exquisite. It’s so fulfilling and nourishing to who I am and although it’s tough sometimes, when it goes right … there is no better feeling. It was so exciting to have people from different parts of the world wanting to sign my music…. Columbia, USA…I mean what a feeling. I suppose that gives you the encouragement to continue. It’s so nice when someone sends a message to say how much they dig what you make. …Incredible.

K / D: Can you explain your current projects OPEN, Hoxton FM, Elliot project.

Frazer Campbell: Yeah sure … OPEN started off as a radio show, then a Party and now also a label. Not just a progression but like I described before, a personal need to do it! OPEN recordings launched last year and already has 3 releases out and 4th on the way. Have to say a big thanks to all the OPEN team and Artists involved, Anthony Campbell, Will Allen, Steve O Sullivan, Onirik, Alessandro Crimi, Nick Beringer, The Dnart guys and more but keeping those quiet for now…. Really blessed to have a great collection of people.

The funny thing is that in this industry a label can become pigeon holed quite easily in terms of a sound and that is something that I really hate. I pay no attention to trends, to particular styles. I love so many genres and flavours and that was really the conception of Elliot project. Because OPEN is associated to a party the styling of music can be expected which is fine but Elliot projects purpose is to push aside all that and just be a record with music on it. Nothing more. In fact I wrote a track called ‘Araline’ which is a deep drone type techno piece, which was 16 minutes long, and when I finished it II thought to myself ‘I want a label for this but it needs to be mine’. And so 2016 saw Elliot Project appear and I was so happy to receive such great response from global artists appreciating the concept and the music. Again a huge thanks to Artists that have joined me; Hemo and Stu Crosbie.

Hoxton FM has been such great fun. The OPEN show has run for 4 years or so and has been a weekly show. I have now reduced my appearance to once a month but it is such a great station. Full of passion…big thanks to Dan Formless and the team for keeping that cog turning all of the time.big up.

K / D: Just to indulge into your studio process can you share how you gained your knowledge, what hardware or software do you use and which producers inspire you?

Frazer Campbell: My Sacred man cave! In terms of knowledge if you can call it that, I pick things up as I go along. I have never been trained in particular software or hardware but tend to experiment nowadays while referring to my production handbook – You Tube. To be honest you tube is really helpful at times and you can eventually find out what you need or at least get close to it. I use Ableton as my DAW and have done for quite a while. My first introduction to production software was by a friend of mine Richard Carey. He is a computer buff and a passionate music lover and explored Cubase to start with. He showed me the ropes with it years ago and if I am being totally honest; I hated it …it was really tough, boring to look at and my small absorption rate of new information was limited.

He moved on to investigating Ableton and said that I would prefer it and he was right… For me Ableton can be used as simply or as complicated as you desire. You control the levels of difficulty and for that reason I really love it. I only use it for laying out tracks as 80 percent of my tracks are recorded in from hardware but there will always be a cheeky element that a VST will concur over the hardware. Both mediums are crucial.

In terms of producers I aspire to…that’s a big question! I haven’t seen many people in their own studios so understanding what people do and how they do it is tricky to judge but based on the sound created and the way it is presented then an easy top 3 for me are Steve O’Sullivan, Marcos Cabral and Linkwood. Steve O’Sullivan for his solid sounding kicks and bass with first class melodic hooks, Marcos Cabral for the creation of pure filthy sounds and distorted low frequencies and Linkwood for his specialized disco infused jazzy electro. 3 top pilots in my opinion who know the studio.

K / D: London nightlife has changed immensely over the course of the last 12 months what are your thoughts on this from fabric opening and closing, licensing getting more challenging, Printworks and new spots like the lion & lamb?

Frazer Campbell: London is a changing place that never sits still. This is what appeals to so many but is also results in the damnation of it. The licensing scenario is incredibly difficult for venue owners / leaseholders. Having created any business from the foundations is a massive challenge and then to forced into different directions with no control or input is incredibly demoralizing and has massive impact to owners, staff and customers. The Fabric scenario in my opinion was incredibly sad, as first of all we must remember that someone died foremost. Situations like this pass by for the majority of us but for that lad and his family it won’t. For the club to be held accountable for it – well that was silly and was not called for. I have no doubt that the establishment had many hurdles to jump pre this and have done so successfully for many years. Therefore there are other things going on behind the scenes and frankly as London becomes more powerful, more interesting, then so-called cool areas like this become more inviting for wealth and development and that’s how all cities become greater…not just here but the world over. ……….Jeer that was a tad deep! I tend not present my inner thoughts often but your question got me thinking. Other smaller venues have suffered too and indeed lost the fight to stay open. East London venues are suffering and this is because the areas are becoming so sought after that as the influx of new people and wealth arrives then the concept of the area changes and becomes a powerful place to reside. It is a shame as London will begin to lose its identity and that would be devastating as many great artistic cultures have been created here and cultivated.

K / D: How do you manage to juggle your day job, djing, producing, running a label, party, radio, social media etc., would you like to go full-time on the music stuffing the future?

 Frazer Campbell: If you can call it manage! It is incredibly difficult and exhausting. I suppose having a normal day job keeps me grounded and it is also an important part of my life. I own my own business, which I spent a long time developing so it also has a section of my heart or maybe my head. The music is something that I have always been passionate about. From my first outing to Labyrinth it became part of what I am. For that reason pushing through with everything is driven by love and lots of Coffee! Of course the some aspects of the work load are spread out between my brother, William and I but my schedules and work load are tough but if you plan well and understand your time limits then there is just about enough time for all… I say that I am always panicking and rushing around! An example is that I now only do the radio once a month at Hoxton FM so that I can use that time on Fridays for Label work, record digging and studio. Would I like to go full time doing what I love I would give it a go.

K / D: In this day and age do you think artists can live off djing and producing?

Frazer Campbell: It depends on what level you are talking about. For the youngsters living at home then you could probably get by but moving through the life cycle it would be very difficult. There will always be lucky ones who have the right connections as well as the talent but living in London is expensive so it wouldn’t be easy. Plus if you want to run a vinyl label for example the outlay costs are high if you want full control and the return is minimal so again a labour of love. Making money from releases as an artist again is tiny unless copies are flying out the door and in this niche sector that too is a challenge.

K / D: Any shout outs to anyone who has had a profound affect on your musical output over the years and helped you get to where you are?

Frazer Campbell: A big shout and respect to: Lisa Tonner (my Wife), Anthony And his wife Oksana, Dan from Hoxton FM, Steve O Sullivan, Onirik, Rakhee, Jason at Kristina, All Open and Elliot project artists. Big kiss to Stu Crosbie and Hemo.….All Promoters that have booked me especially Dean Marc, Guys at Wetyourself , Toi Toi …….Pickle Factory ……The list could go on and on……so many people play parts in your life but remember focus on what you want and go get it…..Time doesn’t sleep.

K / D: What do you have planned for 2017 and the summer?

Frazer Campbell: I say the same thing all the time but just to spend more time in my studio. I really want to make an album so this is always on my Mind. I don’t focus too much on it but never let it leave my thoughts. I have a number of finished pieces that sit in a folder ready for the right time. Gig wise this Month (April) my DJ schedule is pretty busy with gigs in Moscow, Lisbon and London.OPEN’s 4th birthday kicks off on the 1st April with Endian, Idealist and Anthony Campbell, 8th April I am in Moscow for the Mosaic records party with Steve O Sullivan and Annie Errez, 16th April in Lisbon with Jorge Caiado plus an in store at Carpet & Snares and finishing the month off at The Lion and Lamb in Hoxton. Probably going to be sleeping in May!! ….

In June I will be in Greece with Hemo (Elliot Project), which will be incredible …and super hot. …Lots of sun and good records…yep.

Label wise there is always so much going on. OPEN will probably have 005 released and Elliot project 04 has an EP from Dark Arts Label head Stu Crosbie… to be honest the labels take up a lot of time with promo, posts, YouTube, chasing plants and distributors but all worth it… so will be spending a lot of time on my laptop and the phone!

On a personal front a few exciting collab projects are also due out in the summer so that will very special too but not giving any more detail just now!

I am quite superstitious and Worry about jinxing shit all the time but I am blessed to have such great opportunities and to meet great people in this musical world.

K / D: The mix which weaves and glides for an hour & 20 minutes can you explain how it came to be, artist and labels it features?

Frazer Campbell: Thank you!! Podcasts are always a challenge as I collect so many genres of music. I spend a lot of time working out what vibe to go with which takes a few days to decide. I like podcasts to be showpieces and not necessarily what you would play at a gig but this time I went against the grain and wanted to present a close representation of a gig set. I am quite an emotional person so I like to think that all the music I collect even through from one spectrum to the other holds a core of emotion and thoughtfulness.

Lots of great labels and artists in there, which I keep close tabs on. Labels such as Minimood, Budare, Epidsodes, Kimochi and Ornate…. Artists to name a few…Lief, Paolo Tocci, Christina Viviano and Faune…so many now I can’t remember!

To all artists: I will mention you all in any posts! This is important for people to support and promote! Key! Records do not buy themselves!!!