Felix Da Housecat

I recently got involved in a chat with an animated cat called Felix for ResidentAdvisor.net. The published version can also been seen here.

Thanks to a fusion of impact live sets – “every party I play is pretty intense and crazy”; album productions for Playboy, Bugged Out and Global Underground; plus, a swathe of weighty remixes for acts like Madonna, Britney and Gwen Steffani, Felix Da Housecat probably won’t need to reassess his CV any time soon. “Daddy gotta make that Barbie money!” he admits, hinting at his young daughter’s obsession with expensive synthesizers and piano lessons.

“Felix Da Housecat would do nothing for selling his soul. Meaning, I would never sell my soul to do anything”. This is the defiant claim emanating from the mid-30s Dad as he chills out in London. Sure, there’s truth in the notion that Felix has had an expansive career, one that can be coined successful, but at what point does fortune beget formulaic tendencies?

For those that might cynically believe Felix has already sold his soul for mercenary gains, the message is potently clear. “Oh my God! Are these motherfuckers crazy?” he references the controversy surrounding his employment for the GU:34 album. “So many people blogged ‘Why are you getting Felix? He’s too commercial. He’s not underground’. I helped to start all of this shit at the fucking beginning! Have they lost their minds!? I was the first guy who was doing it. I was making techno, I was making minimal, progressive; you name it. I can deal with criticism. If you’re going to criticise me just know your shit before you talk shit about me.”

Pigeonholing Mr Da Housecat is certainly far from easy. He has shown he is capable of adopting a myriad of characters. Does this make him some kind of modern day punk? “What’s your definition of a punk?” he asks, continuing playfully, “A punk can be a pussy; a punk can be a rebel. I figure you wouldn’t call me a pussy. I’m more of a free-spirit just trying to reach cats with what I do. I do look at myself as a rebel and edgy and ‘don’t give a fuck what people think’. I’ve always been stubborn like that.”

Although the GU experience was unexpected – “I was really shocked that they wanted me to do it” – spinning outside of his usual remit was a simple case of knowing what was needed. “I wanted to do one CD like fuck rave and the other one to be fuck rock. Fuck rock would be the dirty shit and fuck rave would be the sexy stuff.”

The rise of Felix has taken him through many levels. There was the position of apprentice under DJ Pierre decades ago. Then came the humble 90s beginnings in Billericay and Basildon when he got a break following his ‘Thee Dawn’ hit with William Orbit’s Guerilla Records - “I have a really close bond with England. I never forget coming over here, walking in the rain, sleeping on floors, taking the tube and trying to shop my songs”. Now, he sells out openings nights in Ibiza and controls his own record label, Rude Photo.

Whilst chatting with me he prowls, catlike, through a variety of personas; each somehow indicative of the complex cat he is today. From the maniacal joviality of a laughing Maddkatt (oddly, one of his former release names) to the deep, poignant flux in character as demonstrated in many of his favourite top ten artists. I suggest many of his choices have a darker element. “Yeh, they do have a haunting feel to most of them; but in a beautiful way.”

Felix is an imitator; that much is clear. He is able to bounce from mood to vibe to personality within an instant. And it’s displayed in the way he conveys his top ten: if he doesn’t have the track at hand, he makes a stab at humming or singing it instead; often breaking off into falsetto impressions and beatbox attempts.

He describes the homework I have set for him as “hard, man”. He is able to name ten, “but it changes all the time.”


Jimi Hendrix – Machine Gun from the album Band Of Gypsies, on Capitol (US) and Track Records (UK), 1970
This is all-time for me. Basically, he was coming out of the Jimi Hendrix Experience. He wanted to do something new and go to his black roots so he formed The Gypsies. The first time he performed it, to my knowledge, was caught on video in Newark. I first heard it before I saw the video and when I listened to that track.…man! I don’t play it a lot. I only play it when I’m either super stressed or when I’ve got a lot on my mind and I need to release. When I play it I crank it loud. That has to be the most amazing guitar solo riff ever. When you listen to it you would think he would be running all over the stage but when you watch him do that same solo live he is standing still. All you see is his fingers flying and his head moving just a little bit. He is just in a whole other world, like he’s just so in tune to his guitar or whatever else he’s on. It’s unreal. When I listen to it, it just blows me away. Afterwards I feel like I’ve done a ten mile workout. I have to just chill, man.


Gnarls Barkley – Who’s Going To Save Your Soul? from The Odd Couple, Downtown Recordings/Atl, 2008
For now, it is a classic because your boy Cee-Lo just be filling that shit! If you listen to his voice you can actually tell that he’s not reading words from a paper and just singing it. He’s actually feeling it and doing it off the top of his head. It definitely sounds like he needs some soul saving. I can definitely relate to that. That’s like down south, dirty, in-the-cornbread hills.


Prince & the Revolution – Controversy from the album of the same name, Warner Brothers, 1981
Everyone knows he’s my favourite artist. It sounds good now, it sounded good then. You can play it in the dance club, you can sit home and listen to it, you could listen to it in your car. The guitar riff catches you right away. It’s amazing when the music and the hook are good - everything is working and running. He was so raw on the Controversy album. He was so cool. He didn’t give a fuck about nothing. He was just stripped down funk. What I like about Prince is that he has a sort of punk funk about him; a dirty punk funk. Some of his best lines – like ‘Do I believe in God? Do I believe in me?’ – it’s like he’s contradicting himself: is he a saint or a sinner? Black or white? Gay or straight? It was very simple but it worked. Right before Purple Rain and 1999, he was still coming into form. The first time I heard about Prince was when Controversy dropped.


Dr Buzzard’s Savannah Band – CherChez La Femme from the eponymous album, 1976
Some songs I’m giving you I’m not really educated about, I just like them. But one that I am educated on is this one. This is the cut, dude! Man, that’s like my top three discos of all time! Insane type vibe. I first heard that track when disco and deep house and Chicago were around and Frankie Knuckles would drop that. In the 80s they’d play a lot of deep house disco. The producer who produced this was August Darnell and that’s the same guy who started Kid Creole and the Coconuts. He was like the modern version of Prince, man. Back then he was very original. Tap it on the Youtube and you’ll see the video, it’s wild.


John Lennon – We All Shine On, 7 inch vinyl, 1970, Apple Records
It’s so crazy because I’d already heard this song - they used to play that at the stadiums - but I’d never put two and two together and knew that it was him until I was watching some documentaries on him a couple of years ago. He was going through a period for a while when the government was on his ass just because he wanted to give peace a chance and all that beautiful stuff. I’m a fan of his rebellionism. I’m a fan of The Beatles, but John Lennon was my favourite. I can relate to his edginess. Paul McCartney was more like the squeaky clean, reserved type cat. I loved Paul McCartney too, they made a great balance. Don’t get me wrong, Paul had some edginess in him too but the way his persona is, it just made him more acceptable; whereas John Lennon was this came-from-the-gutter type cat.


Radiohead – Exit Music For A Film from OK Computer, 1997, Parlophone, Capitol
They are my favourite band and this song is just euurrgghhh [orgasmic sound]. Man, that’s my shit. When I’m flying I’ll play that. The thing I love about Radiohead is that they make you feel sad but they make you feel happy at the same time. Thom York’s voice is so depressing, it puts you to sleep. He is one of my favourite singers. He can hit every note. He’s such a genius. You know how some bands go into a slump? These guys still be going on, they’re still doing their shit. I liked his solo album but I wish he’d just put more of that energy into Radiohead because I like them more as a group. I was sad that he went and did his own thing but I loved what he did, but it sounded like Radiohead had a child called ‘Thom Yorke’s Solo Album’.

Jungle Wonz/Marshall Jefferson - Time Marches On, Trax Records, 1987
This was one of the first house songs I ever heard when I was like 14. Marshall Jefferson has been a huge influence on all my baselines. People usually think that baselines come from 80s pop bands but they came from Marshall Jefferson. He made the house music anthem, ‘Move Your Body’. Everybody remembers the first time they heard it in the club, Ryan Hardy was playing, and when he dropped that it was like the first piano house song. Then everyone wanted to steal the ideas. That kind of started off house music. Marshall Jefferson is probably the best house producer of all time for his time.


Jamie Principle - It’s A Cold World, Trax Records,
He was the guy that did ‘Your Love’ and ‘Waiting On My Angel’ but my favourite song by him was this. It was Frankie Knuckles Presents but Jamie did everything. Frankie introduced him and got all the credit. Back then a lot of artists were producing but they weren’t getting the credit. ‘It’s A Cold World’, him singing in a falsetto voice, it even sounds like New Order. He was influenced by New Order and they were influenced by him; as was Depeche Mode. I’m telling you that right now for a fact. You listen to his voice; the synth is so creepy and hypnotic. It’s the cut.


Night Drive by Giorgio Moroder from the American Gigolo movie soundtrack, Polydor, 1980
Him and John Carpenter are my favourite producers of scores from the 80s. I’ll add John Carpenter’s Escape From New York (produced by Carpenter, 1981, Milan Records) to the list. I love my soundtracks. That’s what I wanted to do when I was a kid. That’s why some of my songs have a soundtrack vibe. Giorgio Moroder just scored everything from Scarface to Never Ending Story to Midnight Express. But at the same time, you listen to Donna Summer’s ‘I Feel Love’, which he produced, it still sounds like something from a movie. You listen to Night Drive, it works in a film and works on the dance floor.

The Betjeman Arms

St Pancras Station, King’s Cross.

Author John Betjeman fought against plans to demolish St Pancras back in nineteen something and something and so rightfully deserves a permanent spot in the station. First, they gave him the Han Solo treatment and turned him into a bronze statue (as seen on one of the platforms); now he’s been given the King’s treatment and had a pub named after his body parts. How English does one get?

Recently opened (early 2008) as part of Rupert and Joanna Clevely’s Geronimo Inn empire, The Betjeman Arms resides, albeit quietly, in the far corner of the newly-international St Pancras station. The view, therefore, can call itself grand.

St Pancras is still technically in England - just - so bring on the old fashioned thick pint glasses filled with real ales; and bring on the posh fish and chips with lemon squeezed through gauze, vinegar served in jugs, and sizeable dollops of mushy peas. It couldn’t be more English even if Geoff Capes came wandering in with Chas N Dave under one arm and Tara Palmer-Tomkinson under the other; rabbit rabbit, what what!

It’s refreshing to note there’s no advertising when looking around the station. Even the large umbrellas of the Betjeman’s inside-outside area are not splashed with wife-beating lager sponsorship. Their purpose, incidentally, is not to stop you getting wet because, clearly, it wont rain inside. Their job must be to stop pigeons bombing doo-doo into your Betjeman Ale.
 
Quick explanation of the layout: No. Flipping. Idea! It sort of has an abandoned-grammar-school-soon-to-be-turned-into-luxury-apartments feel about it: all high ceilings, odd corridors and frumpy old geezers that look like they wouldn’t think twice about giving you a good shoe-ing.

The outside, but not outside, area is a kaleidoscope of Habitat-cum-Blue Peter colour; which is a good thing. The colours are the loudest thing about this place. The noise levels are set to bearable, even though it is still a working train station. There is an outside-outside bar at the front of the station, but that’s mainly for the sake of smokers and, as we all know, smokers and pubs have fallen out in recent times.

Inside, everything is high and chocolate brown: the seating, the ceilings, the bar. If it’s not chocolate brown then you’re in the wrong pub. The bar itself is compact, mainly due to the open(ish) plan kitchen, and mirrors which cunningly lure you into thinking that there is an element of expanse when there’s not.

The dining rooms are odd, one of which is old styled kitchen pantry. They are also even quieter than the main bar and regularly host pin-dropping competitions during the week. There is a boardroom, as well, should you want to hold a meeting in a train station (doesn’t everyone?).

Clietele-wise, the eclectic mix of grazers mingle in a civilised manner. Which is understandable because the riff raff usually take the ferry to France (still!) to stock up on fags and 10 pence beers rather than fork out for the Eurostar, innit?

Question of the day: what’s going on with the toliets? Good luck working that out, even if you find them: they’re unisex, they’re hidden behind a Star Tek door and they have several Dyson Blades to dry your hands in addition to a toilet attendant (needed?).

Aside from The Skinner Arms on Judd Street there’s nothing much else in the neighbourhood. Carluccio’s across the way certainly looks like it’s lacking a pulse. For those that know where The Betjeman is, it’s instantly the best place in the area. One of those cliched “hidden gems”; if, by ‘gem’, you’re thinking affordable, hearty wine lists, impeccable table service and food portions so ridiculously large they look like they’re going to eat YOU (example: the zesty orange bread & butter pudding. Good for one thing: sharing!).

So, if you want the honesty of England to be the last thing you see before you allez off to Paris pour le gay weekend avec Mademoiselle Smith, then yes, The Betjeman Arms is a ruddy good place to be. But if you couldn’t give a merde about Angleterre and can’t get on that Eurostar quick enough, then the overrated longest-champagne-bar-in-the-universe posing along the platform is probably much more up your boulevard.

The Crown

223 Grove Road, Bow E3 5SN

Geronimo!!!!!

No, this isn’t an impromptu celebration of the great Apache chief but a loud, baying call in honour of the company that brought you such monuments to relaxation as The Morgan in Mile End and The East Hill in Wandsworth. Yes, they’re at it again: the busy bods at the Geronimo Inn company have been buying up old sheds and turning them into hard drives of pleasure, or iPubs if you will. Simply select a playlist from all your favourite pub-like items – delicious morsels, gleaming clientele, foaming pints, plush furnishings – and press play.

For anybody who has ever been in a gastro pub (which is everyone, I take it), this is the Armani of gastro dining and will have you saying “Where the fek is Bow?” in no time.

Basically, this is a restaurant. And, oh look, someone’s gone and stuck a pub underneath it. How nice of them. ‘Them’ being the aforementioned Geronimo posse. This venue is saturated with their GI stamp of authority: a hefty wine list smartly collated by a Master Of Wine called John Cleverly, no less; a tidy sum of guest ale options made by people who know shitloads about beer and only beer; plus, the overall sense that this pub was put there for locals and nowt else.

The scene is pretty standard for GI – on a corner, next to the world’s most impeccilbly-kept roundabout, overlooking the domain of Victoria Park, standing newly refurbished, regurgitated, reknowned. The house rules: upstairs is for quiet quaffing and scoffing, downstairs is for rowdy lounging.

The earthy tones and random books sitting on dusty shelves in a ‘all-stock-must-go’ charity shop sort of way should keep the readers of Love Your Library Weekly in fits and conniptions for a while. There’s beautiful wallpaper that could be construed as ‘busy’ or possibly dangerous after a few extra strong scrumpies. It even has its own waiting area with way too many sky lights so you’re never more than a blink away from a nifty little view. And if views are your vice, then you’ll be impressed by the balcony, which would be perfect for shouting obscenities from, if it were allowed, or for royal waving. Or both.

Plus, they LOVE giving you napkins. Not serviettes, mind, proper napkins. You end up with about five of the things perched on your lap by the end of dinner. Sod the environmental impact of having to clean that much linen, this is decadence baby! The presentation is impeccable and style kicks substance’s ass. For example, the devilishly good ham hock terrine and marinated beetroot is delivered on a chopping board. And the pan fried sea trout comes wrapped in actual newspaper. Containing actual news.

If words like liver, kidneys and testicles are to your fancy, then you’re in luck. The menu is littered with all of them. If you’re a cow or a vegetarian, however, this might not seem so appealing. Don’t fret though, if you are the latter, there’s plenty of fleshy asparagus to savagely tear to shreds.

Downstairs looks like a big playroom. The furnishings are mismatched, but in a matched sort of manner. There’s window booth seating and eco-friendly timer-operated outdoor heat lamps. During the day it becomes a true coffee trough for rabbiting mothers with pushchairs and generally the mix of customers is somewhere between edgy student and pop video extra. All with a pinch of affluence.

Despite all this it does have its niggles. For example, the journey from point A, your table, to point B, the loos, is so epic it would make Ben Hur wince. Plus, the bar itself is tiny, leading to serving problems (nothing a few jugs or an outside bottle bar couldn’t fix).

Overall, the change from its previous tapas incarnation is discernible and the area seems relieved to have it here.

Top European parties

I was recently commissioned by ResidentAdvisor.net to find the best weekly parties happening in and around Europe and to provide an interview with one DJ plus a small but concise travel tip for each city. This is an example of what I found. The published versions can be seen here, here and here.

20th Birthday Celebration @ Rex Club
Saturday 24th May, Paris
Line up:
Chloe
Jennifer Cardini
Ellen Allien

This week’s top shindig is a birthday bash with a twist. Personal space will be at a premium as the intimate and historically rich Rex Club continues the two-week celebration marking its 20th year. This time around its minimal and it’s womanly. Berlin’s Ellen Allien rides into town on the back of her recent Boogybytes Vol.04 mix. Her co-stars are hometown girl, Chloé, who also favours Germany’s minimal side (with a sprinkling of dirty electro), and Jennifer Cardini, another lady with a recent release, namely the Feeling Strange mix on Kompakt.

Like her French counterpart, Chloé, Cardini is daubed by the Kill The DJ brush and she’s one Paris' most longstanding and respected DJs. We cornered her for a chat before party time.

RA: What do you especially like about the Rex?
JC: The sound system.

RA: Describe the Rex in five words.
JC: "Can you feel the bass?" 

RA: Do you have any extra special memories from the club?
JC: The first time I met Michael Mayer. We were playing with Riccardo Villalobos for a Katapult party and the three of us ended playing back to back. That was also how I started to work and be friends with all the Kompakt crew.

RA: What kind of vibe are you expecting at the party?
JC: As I answer to this it's 27 degrees in Paris so I hope it will be hot on 24th of May. I hope people will sweat and shout!

RA: What impresses you most about parties in Paris?
JC: That there is always a moment around 5 am when it's special. You get a connection with the crowd and you can start to play more deeper.

RA: What are your feelings about being party of the all-girl line-up?
JC: I thought I was in an artist line up. I never realised we were only girls.

RA: Where are your favourite cities and why?
JC: I don't have a favourite city. I think parties are nice most of time if the promoter is a real music lover and if he enjoys hosting you. Most of the time the spirit of the people working for the event attract the good people.

RA: Which tunes go down really well in which cities?
JC: Euh??? A good tune is a good tune.

RA: Who are the funkiest nation?
JC: The ones from the one nation under a groove ...

RA: Who are the sexiest nation?
JC: The one from the seven nation army ...

RA: Who are the most boring nation?
JC: Monte Carlo!

RA: What are the key ingredients of a killer party?
JC: To play only Kill The DJ records

RA: If you could create a party anywhere in the world, where would it be and who would be there?
JC: Moorea Island. Mayer, Weatherall, Smagghe, Chloe, Funke, Fluegel, Ata.

RA: When you are travelling, what do you listen to?
JC: Music For Airports by Brian Eno. And if I'm on a bad mood, ‘Home’ by Depeche Mode. 

RA: What inspires you?
JC: Life 

RA: When is bed time?
JC: In the week, 11:30 pm. On the weekend, I never remember!

RA: What would you most like to be remembered for?
JC: There are more things I would not like to be remembered for!!


RA lifestyle recommendation: The beautiful Jardin du Luxembourg has a fountain with a writers corner and, if the security guards aren’t looking, you can lie on the grass.


Bugged Out & Modular @ Razzamatazz
Friday 23rd May, Barcelona
Line up:
Das Pop (live)
Gato
Luis le Nuit
Boys Noize
d.a.r.y.l.
Bang Gang DJs
Bumblebeez (live)
Modular DJs
Fredski DJ

Razzmatazz is notorious for mixing it with the big boys and tonight is no exception. The Bugged Out bravado is represented by the ubiquitous Boyz Noize who squeeze into the cosy Loft. The four remaining areas are taken over by the braun of Modular as Aussies-on-a-jaunt, Bumblebeez and Bang Gang DJs, muscle into the main rooms. Belgian band and close friends to the Dewaele ‘Soulwax’ brothers, Das Pop, will be testing out their blurred mix of quirky pop and indie dance.

RA lifestyle recommendation: Culture vultures get down to the Quatre Gats café/restaurant where Picasso and his arty mates used to hang out.

Urban Gorilla at The Plug
Sunday May 25, Shefflied
Sasha
Switch
Krafty Kuts (BBQ set)
Âme
Boy 8-Bit
Run Hide Survive
Alan Chapman

The Plug is getting ‘the full UG’ and self-congratulating back pats should go to the UG collective for putting the steel back into the city of Sheffield. Headline sturdiness comes from the legendary Sasha and Sonar Kollektiv’s German house virtuosos, Âme. THE name to look out for in the Bug room is red hot remixer, Boy 8-Bit. Tickets provide entry into the car park where you’ll find breaks masters, Kraft Kuts, and BBQ-d meat products. What Bank Holidays were made for, whoop whoop!

RA lifestyle recommendation: On the hunt for a classic bargain? Jack’s Records in Devonshire Street is the requisite stop for second hand albums and movies.

Klubnacht Traum 10th Anniversary Tour @ Berghain/Panorama Bar
Saturday 24th May, Berlin
Line-up /
Ben Klock
Dominik Eulberg
Thomas Brinkmann Live
Triple R
Super Flu
Audiosex (Baggy Bukaddor & Tim Fischbeck) Live
Red Robin
Stephan Hill

This birthday celebration just doesn’t want to end. Traum was founded on its parties and over one hundred releases later, the intensity isn’t dwindling. Boss man, Triple R, has again collated a veritable who’s who from the label’s core as a preview of the Traum V100 release due out in June. Playful minimal house duo, Bukaddor & Fishbeck, and the dark mysterious Thomas Brinkmann, will be flexing their contributions from the album, as will Dominik Eulberg and Super Flu.

RA lifestyle recommendation: The old dance hall is East Berlin known as Claerchens Ballhaus promotes a ‘come one, come all’ attitude to dancing. And the upstairs bar is about as cool as a bar can be.

Compilation H Release Party @ Cocoon
Friday 23rd May, Frankfurt
Line-up
Joris Voorn
Dubfire
Simon Baker
Matt Star (live)

Are you keen to find out what’ll be making Sven Väth sweat beneath his collar this summer? Simply pop along to the big man’s Cocoon Club on May 23rd and you’ll witness firsthand the fresh faced delights handpicked by his highness to appear on this year’s Cocoon Compilation H. Joris Voorn get’s his ‘Deep Side of the Moog’ out, Simon Baker offers ’U’, Matt Star asks ‘Am I Dreaming’ and Dubfire will be looking for ‘Diablo’.

RA lifestyle recommendation: The Mantis Roof Garden has a stunning terrace thanks to an automatic folding roof which works well with the marble cocktail bar.


Six years of Electronic Motion feat. Sound Force KINGSIZE @ Gusswerk
Wednesday 21st May, Salzburg
Lineup:
Mauro Picotto
Adam Beyer
Turntablerocker
Moonbootica
John Acquaviva
Johannes Heil LIVE

Such a glut of headliner acts and to think it’s only a Wednesday! Surely, it’s not legal?! Salzburg’s premier outfit opens up all three arenas for the first time and offers a variety of flavours to taste at this 6-year anniversary: Turntablerocker lay down the ‘boogie’ beats; DJ/production machine, Mauro Picotto, goes partly high tempo and partly funky minimal; whilst the young-but-highly-developed Adam Beyer and Kanzleramt’s Johannes Heil tap the techno keg.

RA lifestyle recommendation: The Sound of Music bus tour with ‘alternative’ singalong lyrics should get a few smiles going (“Doh a beer, I need a beer. Ray, a bloke who buys me beer….”)

Display at BG
Friday 23rd and Saturday 24th May, Amsterdam
Line-up:
Day One:
Cluase VonStroke
Justin Martin
Jimpster

Day Two:
Warren Fellow
Guy Gerber
Chaim
Unders
Lucio Aquilina

One big fat line-up. Times two! BG’s decadent locale gets a double dose of techno. First up is Claude VonStroke, boss of the deep techno Mothership and the tech-funk Dirtbird, as well as a massive favourite with the Resident Advisor family. Sharing day one with Claude is hot property producer and old pal, Christian Martin, with whom he teamed up with on the recent haunting tech-house hybrid, ’Groundhog Day’. The Bedrock/Cocoon prog house of Guy Gerber and minimal tech-house of Lucio Aquilina will be claiming day two.

RA lifestyle recommendation: The lovely Albert Cuypt street market specialises in food and is strolling distance from Sarphati Park.

Warm @ East Village
Saturday 24th May, London
Line-up:
Tim Goldsworthy (DFA)
Tim Sweeney (DFA/Beats in Space)
Skull Juice (Walk The Night)
Warm Residents

It’s the English Bank Holiday which can mean only one thing - it’s time to get the Tims in. The bi-monthly Warm will adhere to its name once the classy East Village basement begins to bounce. Those familiar with DFA’s supremacy will know that label owner, Tim Goldsworthy, is rinsed right through the entire scene. Goldsworthy’s former intern, now collaborator, Tim Sweeney, has a varied palette in genres, an aspect that has made his Beats In Space radio show so enticing.

RA lifestyle recommendation: Avoid the Brick Lane curry cliches if you’re looking for something hot and tasty. South London’s Tooting High Road is a much better Mecca for the devilish dishes.


I.S.M DeventerDubSessions @ Burgerweeshuis
Saturday 24th May, Deventer, Netherlands
Line up:
Bart Skils
2000 and One
Farimont LIVE

If you’re going to go deep, go Deventer deep. Fairmont, the softer side of Canadian producer Jake Fairley, performs his mid-tempo live set balancing somewhere on the interface between trance and minimal. The Traum/Kompakt/Connaisseur spinner gets some help from Bart Skills, presently one of the Netherlands’ frontrunning techno DJs, and from 2000 And One, the back-to-basics project of producer Dylan Hermelijn and DJ Dano Leeflang, who blend Detroit techno house with Chicago acid house.

RA lifestyle recommendation: Take a relaxing jaunt along the banks of the River Ijssel and chance upon the Bolwerksmolen, an authentic windmill and the foot ferry which takes you to the scenic Worpplantsoen and Ossenwaard park.

Padded Cell ‘A Night Must Fall’ Album Launch @ Café 1001
Sunday 25th May, London
Zombie Zombie Live (Versatile Records)
Andrew Weatherall (Wrong Meeting)
Trevor Jackson (K7!)
Richard Sen (Bronx Dogs)
A Mountain Of One (DJ set)
Andy Blake (Dissident)

Two factors are intrinsically intertwined here. Firstly, noone has to work the next day. Secondly, it’s the launch of Padded Cell’s debut album, Night Must Fall. Cafe 1001’s double-roomed warehouse plays host to this 12 hour flirtation with live analogue. Versatile’s Zombie Zombie give their Parisian take on classic krautrock and DJ duties fall to the capable Andrew Weatherall and Trevor Jackson, both of whom are forerunners of the leftfield motion, masters of the remix and keen-eyed collectors of every known genre.

RA lifestyle recommendation: Very close to this party venue is the historical Truman Brewery where you can take in a spectacular view of London from the roof.

Christian Prommer

As published on Earplug

Bavarian DJ and producer, Christian Prommer, is enthusiastic that his latest project will bring light to the eyes of those with rhythmic soul. “I hope that it will find some friends out there in the wild world of music lovers”, he muses, whilst carving out a fresh piece of ambition to show me.

Drumlesson Vol. 1 is a concept album of the most primal nature. It bridges the gap between two seemingly polar worlds of music. According to Prommer, “a lot of the dance music is inspired by jazz or has a jazzy mindset”. Though most would find discordancy between dance’s galloping tempo and the complex layering of jazz, Prommer sees correlations between them and believes they aren’t mutually exclusive. “The openness to try different things and bend the set rules is important to both genres”, he explains, painting a Venn diagram with his thoughts.

Beginning with a simply “test drive” of the Derrick May’s Detroit techno classic, ‘Strings Of Life’ - which instantly became popular with DJs and musicians alike - Prommer was then urged to stretch the issue of converting some of his favourite house and techno tracks into jazz arrangements. “It [‘Strings Of Life’] inspired me to look into doing the same with other tracks. It came together pretty naturally and all of a sudden there was an album of music that needed to see the daylight”.

Although he was keen “to keep the energy and the spirit of the dance tunes alive in the acoustic arrangements”, Prommer saw this as musical composition in the most antiquated sense of the word. The entire arrangement was recorded in a matter of hours and the majority of the instruments used were vintage, including drums from the 50s and 60s. Analogue technology was utilised where possible, as well, so that Prommer was able to produce “a jazz record that sounded old school, but in a fresh way”.

Coordinating the project, Prommer wanted to use specific instruments and production techniques as, he claims, “whenever you are recording music, especially now, you have to view the sound of a recording as important as the melody, harmony or beat”. The search for this special sound, one which differs from contemporary jazz, was “inspired by the sounds of 60’s and Brazilian jazz” as well as “the way an old Art Blakey or Ahmad Jamal record sounded; intense and spiritual”. In basic terms, he was “looking for a sound that had a particular vibe to it, other than to be microscopic”.

To provide and instill exactly what he was trying to achieve, Prommer was also insistent about choosing certain musicians to bring nourishment to the album. Roberto do Gioia, a key architect in the ‘Strings Of Life’ production, was brought onto the project because, as Prommer admits, he has “everything I am looking for in a piano player: skills and taste”. Similarly, Erst Ströer, the percussion player, was asked on board because he “is the intellectual master of the instrument”, whilst the “inspired and powerful drumming” of Wolfgang Haffner provided the beat.

Once the recording had been completed, the job of producing and mixing the album was put to old companion, Peter Kruder (of Kruder & Dorfmeister) in Vienna. Kruder and Prommer had previously worked together on the techno/electronica outfit, Voom: Voom - with Roland Appel completing the trio - so Prommer was very trusting of his talents. “He has an amazing set of ears and knows his studio so well that I needed him to realise my vision of sound on this album. Between Munich and Vienna the connection is very deep. Me being half Austrian helped too”.

Sprinkled with a smattering of original material, the bulk of the album is a biographical account of Prommer’s taste in dance music and, as such, includes a variety of recogniseable darlings: a moody reawakening for Mr. Fingers' 1986 old school Chicago classic, ‘Can You Feel It’; a frenetic piano-thumping reinvention of Josh Wink’s pulsating ‘Higher State of Consciousness’ bassline; as well as a Latin interpretation of Kraftwerk’s 1977 evocative train ride, ‘Trans Europa Express’.

Drumlesson Vol. 1, in terms of conditional listening environments, is not easily pigeon-holed. It could be a Sunday afternoon come-down, it could be Friday night nostalgic spruce-up, it could even be the scent of coffee house daydreams. But what makes the project so appealingly intriguing is the fact that job is only half done. Drumlesson Vol.2 is set for release later in the year, with another twist in the tale yet to come. “Without giving too much away”, confesses Prommer, “the idea of Volume 2 is to reverse the idea of the first one; take my favorite jazz tunes and translate them into electronic versions that represent the essence of the original”.

Cut Copy

Fabric, London’s leviathan of hedonism, is deadly quiet. The stillness is unnerving. But for a few maintenance chaps faintly beavering away, there is no sound. No beefy bass, no whooping gurners, no fizzing vibe snaking amongst the dungeon. Simply nothing.

Which, by the look of it, is a good thing. Especially for the members of Cut Copy. Whoever said we must suffer for our art probably wasn’t thinking of this trio of groggy looking Australians when they said it, but that doesn’t mean they don’t fit the description. It looks as though their art has given them a right good kicking. For a fortnight. Including the weekends.

The word ‘shattered’ springs to mind and not in a ‘town centre shop window come Friday night’ sort of way. These three lads sitting, nay lying, before me are the embodiment of tiredness. This is because they’ve existed only in a cerebral ether for the last 18 months, floating on clouds of sound and pure exploration. They were creating, producing and rendering their second album, In Ghost Colours, but that, as I find out, was just the easy part.

Now comes the headfirst dive back towards reality; to where the atmosphere is more dense; to where the fruits of your innovation are put before judge and jury, scrutinised and toured and forced to thrill. The notion that rock and roll and dance and groove is all about glamour, style and large glistening teeth is not welcome in this realm, at this time. The night before the morning after the night before has worn thin the veil of zeal. The evidence speaks without speaking. Their woebegone physical forms have been beaten by the journey. Yet, despite this cycle of the never-ending tour, these lads wouldn’t have it any other way.

“Playing live is such an immediate thing. We always try to have great energy when we play” offers Tim Hoey, lethargically. He has the deepest voice in the band. Perhaps his torpor is the reason for that.

He’s also the skinniest. And the bassist. His first pet was a budgie called Mr T and his favourite album is Sonic Youth’s Experimental Jet Set, Trash & No Star. He’s also a big Inflagranti fan, which is lucky for him, as they’re playing at Fabric tonight as well.

To his right is Dan Whitford, the tall one. He sings and plays guitar. The first record he ever bought was by Fine Young Cannibals and his three primary inspirations are Beck, Beck's friends and Beck's granddad. “There’s been a bit of a renaissance in the last two or three years in dance music in Australia, particularly live dance music”, he mumbles. In my head I’m secretly calling him Sleepy because he was actually snoozing when I first arrived. “That’s what separates Australia from other places that have a big dance culture - a real emphasis on the live show whereas not so historically here where people are happy to just see a DJ”.

The live gig is Cut Copy’s lifeblood. Regardless of their current appearance, going live is what keeps them alive. “We’ve been looking forward to this show and getting back to Fabric” - this is Mitch Scott, the drummer with two first names - “It’s really cool for us. It’s something you don’t really see in Australia. The scale of things over here. Especially this club and the line up. It’d be a festival at home”. Scott is the hairiest member of the band and the first thing he ever stole as a youngster was some Crème de Menthe from his parents liquor cabinet.

Cut Copy know the feel of a big tour. In the past they’ve opened for Mylo, Bloc Party, Franz Ferdinand and Daft Punk and the relentless jaunt they now find themselves on has been leaping between nations at an exponential rate. “Travelling is a good way to discover new things and get inspired” says Whitford, slowly rejoining the land of the living. “When you support someone it’s almost like a challenge to convert people. So you visualise how good the show is going to be. It’s almost like sport. Just go nuts and you’ll win people over. Generally, if the crowd is really responding that helps you do something exciting. It feeds off itself”.

Whitford is capable of pushing this ideal. It was he that mixed the FabricLive 29 album and, in an attempt to add depth to Cut Copy’s showcase material, both he and Hoey are set to DJ prior to this evening’s live performance. “We figured that wherever we are on this tour it’s pretty epic. So why not seal the deal and throw in some more stuff”, mentions Scott, before jokingly offering to count them in if they attempt to mix both rooms together.

Many might assume that their bodies and their sanity cannot withstand the breaking point, so I inquire what they might do once it’s all done and dusted. “Just get on with the next one” comes Whitford’s nonchalant reply. “We’ve waited a while with this one so we feel like we’re due to be working on another. It’s one of those things that if you’re excited about what you’re doing then you probably want to just keep working on it. Although having said that, maybe in six months time we’ll be ready for a holiday”. A chorus of “Yeh, yeh” ensues.

The band were clearly frustrated in their aim to release this record and Scott admits they “were a little naive of learning about how long it actually takes to get a record out”. The promise for next time? “We’ll be making much more of an effort to get on top of that and schedule the time a lot earlier”.

There are advantages to an elongated timeframe, however, as Hoey is quick to point out. “It’s been interesting because we’ve been sitting on this for a little while and we’ve been seeing all these other bands putting out records. It feels like we’ve steered away from everything else that is happening”.

The creative process for In Ghost Colours involved spending six cold weeks in New York at the beginning of 2007 tucked away in the Plantain Studio with Tim Goldsworthy, James Murphy’s co-pilot at DFA Records. Goldsworthy had a subtle, hands-off approach for the album but still remained integral to the development.

“The way he went about the record was a really enjoyable experience” Scott tells me, visible enamoured by the producer’s input. “The way he would suggest or orchestrate things, there was definitely a rewarding process. It never felt like we were really at loggerheads. He wasn’t so much re-writing the songs or being a hitmaker. It was a lot more about how the instrumentation would go. Some of Tim’s suggestions were an educated guess. There was also a lot of screwing around and experimentation”.

Goldsworthy and Whitford shared a mutual affinity for shoegazing heroes, My Bloody Valentine, which saw Cut Copy morph into a similar mould. The result is a soaring, atmospheric mosaic of pop that, although separated by mere titles, exists as a complete entity, almost comprising of one continuous track. Hoey is particularly proud of this achievement and is adamant that it was the goal right from the start. “It’s a full, cohesive record not just singles or a compilation of 12 inches. It’s something we set out to do at the beginning”.

The deliberate decision to cast away from track-gap regulatory was formulated around two annexed ideals: a dislike for current music consumption and the permeating influence of 70s prog and Krautrock.

The advent of file sharing and blogs is ubitquitous. Especially for bands like Cut Copy who slip repeatedly into the dance arena. “It’s much more single orientated” believes Whitford, “people don’t listen to whole records. Our record is a reaction, steering away from those easily-digestible little pieces and making more of an experience instead”. Whitford was also abundantly sedated by the influential music he was listening to at the time. “Like Tangerine Dream - where a whole side is one song, things which people don’t do quite so much these days. I’m not saying our record is like that but there is continuity. You can listen to it without gaps and breaks. Most of the record continues through, not in a DJ mix way, more in a soundscape way. Like KLF’s Chill Out where it has sounds and atmospheric things that put you in a headspace. I like that on records. It gives you a bit more to think about”.

This mural of sound and celestial detachment is immediately evident from the track titles alone – ‘Visions’, ‘Lights And Music’, ‘Far Away’, ‘Nobody Lost Nobody Found’, ‘Eternity One Night Only’ - to name but a few. There is also a dazzling richness to the naming process which hints at a glimmering, shimmering other-worldliness with tracks such as ‘We Fight For Diamonds’, ‘Voices In Quartz’ and ‘Silver Thoughts’.

In Ghost Colours’ blissed out, broken up, epic harmonisation also delves sharply into 80s disco pop and precise electronica. Time is irrelevant. The Human League, The Cure, New Order and Roxy Music jolly along with Daft Punk at their side. They teeter on a layered surface that is the soundtrack to a sci-fi movie which never existed.

So I mention the sci-fi element.

“I’m not sure I’d describe it as sci-fi” comes Whitford’s reply “but, like I said, a lot of those prog records that I was listening to, the sorts of records that you put on and just lie down for a while, not like meditation music but really spacey stuff, when you zone out and travel to another dimension” - sounds oddly like the definition of sci-fi - “But also My Bloody Valentine, Sonic Youth, even ELO” he adds, “there’s a lot of records that have that atmospheric sound that tie them all together”.

Scott is more willing to heed my space opera proposal. “At a first listen, there’ll be a few stylistic surprises. There’s a lot more recording for one so it’s a much more live sounding record than the last one. Spacey and psychedelic”.

Ah-ha. Now we’re getting to the heart of the anti-matter. Hoey describes it simply as “weirder pop music”. When I ask what he means by that he counters, “texturally, it is kind of thicker. There’s still that Cut Copy sound, that underlying pop sensibility that we had with the first record”.

That album, Bright Like Neon Love, was the epitomy of a successful debut. Lauded by critics and fans of the genre alike (four stars in both The Guardian and the NME), it was given automatic headturning recognition thanks to the wrought-iron seal of approval from their Australian mothership, Modular Records.

Modular are known for blurring the lines between dance, rock and experience with a squad that includes The Avalanches, Wolfmother, The Presets and MSTRKRFT. Whitford had signed to the label long before Hoey and Scott joined the band in 2003. “Modular’s involvement was really at a premilinary stage of Cut Copy” he admits, “where I was just making demos in my bedroom and they heard something that they liked. It wasn’t anything fully formed or anything that was that close to what it sounds like now”.

“Like DJ Shadow”, Hoey’s bowing suggestion.

Whitford’s acknowledgement is slightly more revealing. “Yeh, it was. Probably the first track that I’d ever written was a more synth-based pop song. There was all sorts of different stuff. I guess the actual signing part was a while ago. Their reasons for signing Cut Copy back then are probably not even relevant to what we’re doing now”.

Cut Copy are confident of their status but are none too willing to share the secret of success. “The definition of success is so arbitrary” mentions Hoey, and his bandmates respond with equal aloofness.

“Success is a by-product of something else” believes Scott, “If you’re doing good stuff then you’re probably not really motivated by success in the first place. When you see bands or people that are focused on image and clutching at trying to be successful, that’s when it’s not too appealing. So looking for success is probably a self-defeating thing anyway. So don’t aim for it”.

The conversation quickly descends into an abstract game of wit and sarcasm, and goes along the lines of:

Whitford: “Just do something good”
Hoey: “And people will like it. Be true to yourself”
Whitford: “Yeehhh, man”
Scott: “And keep it real”

There’s laughter all round and I’m in on the joke. There’s the feeling that although these gents are prone to using “kinda” and “sorta” a lot (edited out for the purposes of easy reading), and despite their obvious fatigue, they do possess an eloquent grasp of the English language. They tell me they’re looking forward to a cheeky afternoon nap before showtime. What they don’t realise is that although our chat is at an end, there’s a lengthy photo shoot still to come. Chin up lads. Just lie back and think of Australia.

Press Release Me, Let Me Know II

Unshaven, unkempt and several weeks late, I hereby present the latest installment of totally useless but intriguingly gratifying information as supplied by the barrage of PR correspondence that passed my way recently.

A-boom-cha-boom-cha-boom

The finalists have been announced for the 2008 UK Beatbox Championships, to be held at the Islington Carling Academy on June 13th.

They include three London entries, a brace from Leeds, a couple from Nottingham and some bloke called Minamus from Bristol. The legendary Beardyman – champion in both 2006 and 2007 – will be presiding on the judging panel this year and will be joined by fellow beatboxing royalty, Killa Kella and Shlomo.

Interestingly, the entire event is sponsored by car manufacturer, Vauxhall, and the overall winner will not only wear the crown of glory, but also ride away in a brand new Vauxhall Corsa “complete with air conditioning, Bluetooth technology, metallic paint and meaty 17" alloys”. Check it!


Save the cherry

Did you realise the robust British cherry is near extinction? Apparently, in the last 50 years the area in Kent under orchard has shrunk by 85% due to cheaper alternatives being imported from afar.

This is why a campaign is being launched to raise awareness of the cherry’s plight. They’re calling it, wait for it, Cherry Aid (genius!) and the cause will be highlighted at the Real Food Festival in Earls Court on April 24th, thanks to FoodLoversBritain.com. There’s even an inaugural British Cherry Day set for Saturday July 19th. I was curious to find out what other events this might coincide with, so I dug a little deeper.

Saturday 19th July is also scheduled for National Infertility Day. Hopefully there wont be too many clashes there.

Plus, Saturday 19th July is the day that the World Snail Racing Championships take place at The Cricket Field in Congham, Norfolk. It is being held as part of the Congham Church annual fete (like it isn’t a big enough event by itself!!). Allegedly, more than 200 snails (voluntarily?) take part in the races every year and the current World Champion is called Sidney. Although Sidney covered a massive 13 inch course in 3 minutes 28 seconds to claim the title he was well outside the 2-minute world record, set by the legendary Archie in 1995.

I promise you, I am NOT making this up.


Tramp!

The folks at Bouncyhappypeople.co.uk have conducted a study into the effects of using a trampoline as a way to stay healthy. According to their results, trampoline bouncing burns, on average, 35% more calories than cycling and 10% more than jogging. It also improves posture, muscle tone, co-ordination, balance as well as helps the lympahatic drainage system get rid of unwanted toxins.

The g-force involved in trampolining floods the cells with oxygen thus giving an energy boost. So, the ‘early morning hot, double-shot cappuccino whilst trampolining’ combo should keep you wired for the rest of the day (the study didn’t actually quote this. I just read between the lines)


Size Zero

Antler, makers of superior luggage, have come up with what they claim to be “probably the world's lightest structured large Roller-Case”. The Size Zero super light luggage weighs in at an astonishing 3.6kg - that’s lighter than my cat – providing a wealth of opportunity to cram in more holiday junk. And just because the case is light doesn’t mean it’ll break mid-airport dash. Apparently, durability tests on the luggage included: stacking it under 120kgs to simulate in-flight conditions; throwing it fully-loaded down the equivalent of 12 continuous flights of stairs; as well as pulling the handle 10,000 times - my only question, who was counting and did they lose count at any point? (*Ok, that’s two questions)


Rubbish

Eco-eatery, Pod, has just opened its second fast food eatery in The City. Nothing particularly remarkable about that. That is until you read some of their waste minimising and recycling stats:

- 80% of their packaging is completely compostable thanks to plant-based polymer cutlery, sugar bagasse hot food containers and PLA sandwich wrappers made from organic corn starch
- their chairs and tables are made from recycled plastic
- their uneaten food and used packaging is fed into an anaerobic digester which ferments it by mixing it with pig manure. This is then transformed into electricity which is fed into the national grid (*according to the Waste and Resources Action Programme, we Brits throw away 6.7million tons of food per year)


Lolly

Lastly and most excitingly (as long as we’re blessed with a long hot summer), the cleverest clogs at Leblon – the first Super Premium white Cachaca – have come up with the Rio Popsicle, a tarragon infused Caipirinha iced lolly.



If you’ve got the wedge to wangle one of these yummy lollies you’ll need to pop along to some of the city’s more refined establishments:

- Oxo Tower
- Nobu Berkeley
- Cuckoo Club
- Mahiki
- Lost Society
- Kitts
- The Kingly Club
- Beach Blanket Babylon
- Trailer Happiness

Lost

Why did the gorilla get lost in the jungle?

Cos jungle is MMMAAAAAAASSSSSSIIIIIVVVVVVEEEEEEEEEE