Tag Archives: techno

DUNT X body welcome Copenhagen’s DJ Courtesy to The Bongo Club, Thursday 25th May

14 May 2017 -

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In Dunt’s own words:

OH BABY WE’RE BACK,

After two smashing resident parties at everyone’s favourite red bar, Dunt Club is back for its third instalment at a new stomping ground – The Bongo Club – to reel in the end of term. For the hallowed event we’ve teamed up with our older brother – body – to present the one and only Courtesy for her Scottish Debut.

For those who aren’t familiar, Najaaraq Vestbirk (Courtesy) is a DJ, journalist and the co-label owner of Copenhagen’s Ectotherm imprint. Hailing from Greenland and residing in Copenhagen, Najaaraq was previously one half of Ung Flugt (translation: Young Escape), a youthful, party-oriented duo whose rapid rise was paralleled only by the project’s quick dissolution. A few years later, Vestbirk re-emerged as Courtesy, taking a more refined approach and also serving as part of the all-female Apeiron Crew.

Since breaking away from Apeiron Crew, Courtesy has established herself as a formidable solo artist and launched Ectotherm with her former Apeiron cohort Mama Snake, which holds a monthly residency on London’s NTS Radio. Her lauded Crack Magazine and FACT mixes in 2016 attest to her penchant for blending styles that push the boundaries of dance music: fuzzier textures meet polished productions, silky electro and rave-influenced breaks. 2017 has brought more acclaim to her deft mixing abilities with her recent boiler-room debut and mix on Rinse’s Hessle Audio show which featured in Pitchfork’s top mixes for April.

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When Courtesy’s not working on mixes, writing or digging for overlooked break-beats she’s taking major slots at clubs all across the world at the likes of Concrete, De School and Berghain. She’s also just completed a tour across Asia with Avalon Emerson – who’s set at Sneaky Pete’s for Juice will go down as one of the best we’ve seen in the capital.

///Bring your space goggles; we’re going into outer orbit///

Lineup:
-Dunt and Body Residents: 11-1
-Courtesy: 1-3

LIMITED EARLY BIRD TICKETS: £5
ADVANCE TICKETS: £7

TICKETS: RESIDENT ADVISOR 
TICKETS: PARTY FOR THE PEOPLE

MIXES

 


NTS: http://www.nts.live/shows/ectotherm

Links:

RA: https://m.residentadvisor.net/dj/courtesy
Pitchfork: http://pitchfork.com/…/1499-the-10-best-dj-mixes-of-april-…/
Facebook: https://www.facebook.com/CourtesyDK
Instagram: https://www.instagram.com/courtesy707

Artwork Credits: Andrew Ioannou

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London techno legend Jerome Hill returns to Substance and the Bongo, Fri 12th May ’17

11 May 2017 -

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We’re proper excited to be welcoming Jerome Hill to the Bongo this weekend, not least given his links to Edinburgh’s own ‘wonky techno’ crew back in ze day (see below). Is Edinburgh actually a home from home for Jerome?!  Perhaps… 😉

In the promoter’s own words, ‘We’ve had him at Henry’s and then at the Bongo in June 2012 as part of a free summer rave… think it went Jeff Mills, Rephlex then Jerome.*  He’s so good if you’ve never caught him.’ [*What a sequence! ]

There was a cracking piece (published early 2015) by the Electronic Explorations blog on why Jerome Hill is still such an essential DJ, which is copied below for your convenience.  It also includes a BANGING mix which he describes as follows:

“Just a load of tunes that I love and regularly play out… Old and new… No theme except that the tracks are hopefully memorable in varying ways.. Techno, Acid and Electro, all embracing their individuality and not creeping around trying to ‘fit in’.  Oh, and mixed on vinyl, a couple of CDs when necessary and no tractors or sinks”

Jerome Hill runs a weekly radio show  on Kool 94.6FM (London) – koollondon.com – every Wednesday 11.00-13.00.. “The Roots Of Rave”

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If there’s one man who embodies rave spirit in modern dance music it’s Jerome Hill – FACT Mag (via Joe Muggs)

DJ since 1990, beginning with Hip Hop, Acid House, UK Bleep, Breakbeat and Techno, a residency throughout the mid to late 90′s on infamous London sound system “JIBA”among others, manager and music buyer for 2 record shops Trackheads & Dragon Discs in Camden, London, (1997-2004) during which time an international DJ schedule opened out, Jerome has been a permanent fixture on the London scene and pretty much lives and breathes the music, his sets being educational and hedonistic in equal measures..

Founder of Don’t Recordings (which celebrates it’s 15th birthday this year) & Fat Hop records (for fans of Old Skool Hip Hop/B-Boy Breaks) , and more recently two new labels; the booming acid house of “Super Rhythm Trax” and the 1992 rave themed “Hornsey Hardcore” His bi-monthly ‘Don’t’ club night in Dalston is entering it’s 3rd year and has built a strong following amongst true Techno lovers, with Jerome as its resident and amazing and well respected guests passing through every time.

‘Jerome is best known for his involvement in the “wonky techno” scene (indeed he coined the term for a section in the Dragon Discs record shop where he worked in the mid-90s) – the punky but secretly rather sophisticated warehouse sound of people like Neil Landstrumm, Dave Tarrida, Cristian Vogel and co’ – FACT

Between putting out records on the labels and the release of his and Mark Archer’s (Altern8/Nexus 21) double mix CD, 2014 saw a hectic DJ schedule, playing slots at Bestival, Glastonbury (alongside Aphex Twin), XOYO (London), House Of God (Birmingham) and up and down the UK plus Australia, Japan, Finland, Belgium, Germany, Prague, Poland, Spain, France and Ireland all featuring in the international calendar. 2015 is set to be busy too, with releases about to drop on I Love Acid, Power Vacuum, Super Rhythm Trax, Don’t and Mindcut and the calendar beginning to fill out.   You can also catch Jerome on London’s Kool FM / www.Koollondon.com, The Roots of Rave show every wednesday 11.00-13.00 GMT   Be it a Techno dancefloor, an Old Skool Rave or a Hip Hop jam, Jerome is at home and relishes bringing something new to the party with surprises around every corner.

Hill has always flown the flag for other rough and rugged UK underground sounds, notably UK hip hop, breakbeat rave and old school Yorkshire-style bleep’n’bass – and he continues to represent all of these in his sets, promotions, releases on his labels and the ‘Roots of Rave’ show on Kool FM – FACT

Tracklist

Warehouse Sessions – 011 – Jerome Hill

  1. 01. Bintus “Cylinder Bop” (Power Vacuum)
  2. 02. Wevie De Crepon “Ton Wah” (Sonig)
  3. 03. Herbert “My DJ” (Accidental)
  4. 04. Jerome Hill “Work That Shit” (Don’t)
  5. 05. Teknocracy “Shrapnel Valley” (Pie Factory)
  6. 06. Vernon “Awakening In Antwerp” (Dixon Avenue Basement Jams)
  7. 07. Green Velvet & Gary Beck “Stronger” (Relief)
  8. 08. UVB “Anxiety” (Mord)
  9. 09. Pump Panel “To The Sky” (Missile)
  10. 10. Gutts “Gabos” (Horror Boogie)
  11. 11. Rei Elbaz & Anna Haleta “Don’t Stop” (Pacotec)
  12. 12. Fear of Music !
  13. 13. LFO “Mummy I’ve Had An Accident” (Warp)
  14. 14. DJ Rafael “Meltdown” (On The Prowl)
  15. 15. Patric Sjeren “Heart Condition” (Virgo Rising)
  16. 16. Neil Landstrumm “Diamond Taxation” (Sativae)
  17. 17. Tessela “Nancy’s Pantry” (R&S)
  18. 18. Frankie “Scarp” (Faste)
  19. 19. JoeFarr “Gabba Problems” (Don’t)
  20. 20. Jerome Hill “Frogmarch” (Mindcut)
  21. 21. Lenk “Untitled” (Blank Ltd)
  22. 22. CEO “Screeching” (WNCL)
  23. 23. Jerome Hill “Paper Bag Acid” (Super Rhythm Trax)
  24. 24. G-23 “Kidding Kids” (Super Rhythm Trax)
  25. 25. Jamie Lidell “Sonelysome(o)ney” (Sativae)
  26. 26. Shit n Shine “Shower Curtain” (Diogonal)
  27. Lupine Outro

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Catch the man himself at Substance this Friday, 12th May!

Recognised by the authoritative Resident Advisor to be “one of Edinburgh’s most important outposts for house, techno and bass”, Substance brings a wide ranging collage of classic and cutting edge underground electronic music to the Bongo.

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Stellar international techno DJ Helena Hauff returns to the Bongo for Easter, Friday 14th Apr

04 April 2017 -

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German taste-maker Helena Hauff, one of the DJs who perhaps singularly sums up a Substance party most, returns to the Bongo, riding high on the wave of multiple standout shows and a BBC Radio 1 residency.  Having received a tremendous reception when she played last year (and recently the cover star of DJ Magazine), the Hamburg spinner is guaranteed to deliver the goods.

Here’s an interview with the woman herself, copy/pasted wholesale from Newcastle’s excellent Crack Magazine.  It’s  a great read and well worth your 10 mins, not least as Ms Hauff comes out with some hilarious comments about her penchant for more doomy, gothic styles….

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APPROX READING TIME: 11 MIN

Helena Hauff has a thunderstorm inside her.

Sometimes it comes out in tangible ways: a cloud of cigarette smoke, her throaty, thunderous laugh, or the flash of a genuine smile. But mostly, it’s projected in her music; in the hammering techno of her DJ sets; the white hot intensity of her acid and electro; the nocturnal mood of her more sombre productions. There’s a turbulence to her style that would fall apart in the wrong hands, but Helena Hauff knows how to walk the line between disorder and control.

When we meet in her ground-floor apartment on a rainy evening in Hamburg, the city where she was born, Hauff is surrounded by records. The place is flooded with them. There are overflowing stacks all around the living room and in her studio there are crates teetering on top of crates. Hauff looks upon the mess fondly. She seems content with chaos.

“I’ve always loved it when music – especially techno – sounds a bit nasty and a bit raw and unpolished,” Hauff tells me, lighting a cigarette. Visible amongst all the vinyl is her set of analog machines, which she started collecting five or six years ago and with which she produces exclusively — just a Juno-60, a Roland-303, an MPC, and a couple of other classics. “The aesthetic of machines is so appealing to me,” Hauff explains. “People tend to think it’s more like robotics, they think it’s soulless because it doesn’t sound like it’s made by a human being. But I like that concept. It’s almost like the machine comes to life and becomes something with its own soul. I’ve learned to let go of the more analytical part of my brain and just let the machines do their own thing. They have a mind of their own, and I love that.”

There’s also a thrilling spontaneity to Helena Hauff’s DJ sets; something journalists tend to describe as ‘eclecticism’ or ‘unpredictability.’ Her selections range from jarring acid to banging techno with infusions of old school industrial, Dutch electronica, post-punk and EBM. And while she’s maintained an experimental, punk attitude, the past few years have seen Hauff rise to become one of leftfield dance music’s most in-demand artists.

January of this year marked the first show in Hauff’s BBC Radio One residency – a landmark achievement that’s testament to her rapid growth. “It’s more work than I thought it would be,” she admits, “because I want it to be really diverse. I wanted each episode to showcase a different style of music: a bit of house, a bit of techno, sometimes more wavey, or one episode will be all punk.” Her anything-goes approach is carried through in her self-made label Return to Disorder, which she launched in 2015 with an EP from Leicester psych-rock band Children of Leir. “I don’t want to just put out one type of music. Whenever I get something sent to me, if it’s good, I want to release it,” she insists. “I want to return to disorder in the sense that releases don’t necessarily have to make sense together.” It’s with this attitude that Hauff has established a career that so many artists dream of, without having to compromise her integrity.

The story of Helena Hauff’s DJ career begins at Hamburg’s Golden Pudel, a small but legendary portside club renowned for its rough and ready vibe. Hauff discovered the club as a teen and her name is closely associated with the club’s tight-knit family. “When I was younger, I only ever went out to the Pudel. There just wasn’t any other club where I felt at home,” she explains. “Eventually I just got bored with clubbing at some point, around when I started touring. The Pudel was the only place that I never really got bored with.”

The Pudel’s spirit was a perfect match for Hauff’s own; the club famously cherishes its sense of freedom – DJs play whatever and however they want. Hauff affectionately dubs it a “playground”. I read her a quote from fellow Pudel regular Call Super, who claimed that the club is a place where you feel that everyone really listens. “I actually disagree!” she exclaims. “When you play on a Friday, there are loads of young people, lots of tourists, and to be honest, sometimes it feels like they really didn’t care at all. They just want to get drunk and have a good time! But I personally don’t have a problem with that at all. The good thing about Pudel was that half of the people were really into the music, and the other half just didn’t give a shit. It’s not just this elite club where you can only enter if you know everything about electronic music.”

In February 2016, the Pudel closed after a fire destroyed the venue completely. Hauff found out while heading back to her hotel after a gig in France: “People were calling and texting me, ‘The Pudel’s burning, the Pudel’s burning,’” she remembers. “It was at a time when we had fought with the owners of the café upstairs from the club, so a lot of conspiracy theories just popped up immediately. It was a really stressful time.” Hamburg’s music community banded together to raise money for the club’s repairs — Hauff herself played a few benefit events, and added her own homemade cut to the selection of “Save the Pudel” videos on YouTube. The club is set to re-open this year, if all goes well.

© Vitali Gelwich
Jacket: MISBHV

“I was going for bleak Hamburg winter vibes actually,” Hauff laughs. She rolls another cigarette. “I wouldn’t call it ‘dark’ necessarily, because this type of music makes me happy. Even when I do feel sad, for example, I want to listen to the saddest most depressing music in the world. Maybe I feel a bit sadder for a while but then it gets me out of it. It’s like celebrating the sadness… And then it’s over.” She takes a long haul and blows the smoke out, thinking. “Some people think dark music makes you feel horrible and depressed. But you don’t have to be happy. You can be sad, it’s okay. You’ll be happy again tomorrow, it’s just one day.” She laughs — a kind of half-shrug, half-laugh — and leans forward to ash her cigarette.

I wonder if Hauff is into the type of melancholy art or dark poetry or noir films that her productions would suggest. In fact, I am banking on it — I’ve based half my interview questions around it. “I’m not into poetry. I’m not even really into album art, I end up throwing out record sleeves and covers because they take up so much space in my bag!” She does the shrug-laugh again. “They’re heavy to carry around as well. A beautiful cover is nice, but in general I’m not an artwork person.” The cover art for Discreet Desires might suggest otherwise; a grainy, tightly cropped photo of Hauff leaning in, mouth-open, towards a mirror version of herself. It’s alien and slightly erotic, the perfect moment to illustrate the album’s title. Hauff took the photo herself a few years ago when she used to study Fine Arts in university, but it’s a world she’s since grown out of.

“I WOULDN’T CALL IT ‘DARK’ NECESSARILY, BECAUSE THIS TYPE OF MUSIC MAKES ME HAPPY.”

“I’m just not interested in Fine Arts anymore.” She moves a hand as if to wave the idea away. “My professor, Nikola Torke, I really admired her. She told us, ‘Art can be a fucking horrible world. You have no money, no work… I don’t know why you would do this if you didn’t have that need for it.’ And that’s when I realised, I don’t have the need for art. But I have the need for music.”

Hauff’s Fine Arts degree was undertaken alongside a major in Systematic Music Science. When she eventually dropped out of school to pursue music full time, that sensibility transferred over. Where music is concerned, Hauff’s method is logic over poetry, realism over romance. Even her music videos, which at first glance appear to be deeply artful and symbolic, come from a left-brain way of thinking. The video for Discreet Desires track Sworn to Secrecy Part II, for example, is a roughly edited piece that features sinister scientific clips in quick succession: chemical containers, a gloved hand, sallow limbs, and a particularly alarming close-up shot of an eye being rinsed out with water. I’m sure that it’s Hauff’s take on a David Lynch-style short film, but Hauff is all logic in her explanation. “It reminds me a bit of a Luis Buñuel film, but I actually just nicked that video from the CIA,” she confesses. “It’s some kind of educational footage from the fifties that the government put together in case of a gas attack. So I just found it on YouTube and I really liked it so I took it for myself.” She pauses. “Don’t put me in jail for this!”

Outside, the rain comes down in sheets and Hauff gets up to close the window. I wonder if there’s a romantic aspect to working with machines rather than software, like writing a letter with pen and paper. But for Hauff the beauty is all in the technical process. She references The Fall’s frontman Mark E. Smith, a deranged genius to his fans, who once described how writing lyrics on a computer completely altered his way of working. “I feel exactly the same,” Hauff says. “It’s not a romantic idea, but I choose not to use them because it interferes with my creative process.” She shakes her head. “I don’t think about music in an emotional way, music is not therapy, you know? I don’t want to romanticise it like that.”

Hauff’s aversion to modern technology extends beyond music production too. She’s not on any social media. She uses few online resources other than email and SoundCloud (when I ask how she promotes things, she answers simply, “I don’t!”) and she still uses a beat-up old mobile phone. She talks affectionately about the archaic methods of gathering music in her youth, by collecting tracks from CDs she’d borrowed from the library and recording them to cassette tapes. “I think that experience probably made me a DJ, I loved how certain tracks would blend together on the recording,” she says.

“It felt like I was the only one interested in music in my school,” she remembers. “I wasn’t even that deep into it but they all just followed MTV. I listened to that too, don’t get me wrong, but I was really looking for something else. I liked Wu-Tang Clan, Radiohead… I loved Joy Division, Nirvana, The Cure… I remember this television channel where they’d stream the Love Parade and stuff like that. [But] when you feel miserable and you’re a teenager, there’s nothing better to listen to than Nirvana.”

It’s easy to imagine her as an outsider during her teenage years, and I ask if young Hauff was anti-mainstream. She laughs: “Maybe I thought I was at some point! I did feel like an alien at my school sometimes, but not because of the music, that was mostly just because I was a very weird person. The worst part about it was that I wasn’t an alien, I just thought I was. People actually liked me, I think, I just thought they didn’t so I turned my back on them. And there was no need for that, really. At the end of the day, it’s not even important. Just do what the fuck you want!”

It seems as if Helena Hauff will always live by that mentality. For her forthcoming EP, she tells me, she’s moving away from Discreet Desires’ melancholy tendencies back to making that rougher, more acidic music. Outside, the rain has finally stopped but it’s nighttime now, and the sky appears to be endlessly black. I wonder if this new release will take a step away from the darkness of her album. In her usual way, Hauff strips her answer back down to reality: “Proper darkness is a bad place,” she explains, rolling one last cigarette. “The rest is just life.”

Photography: Vitali Gelwich
Styling: Fabiana Vardaro
Hair & Makeup: Gabrielle Theurer

Helena Hauff appears at Sunfall Festival, Brockwell Park, London, 12 August / Helena Hauff appears at Dimensions Festival, Croatia, 30 August – 3 September

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Substance Easter Weekend Special

Helena Hauff (3hr set) (Return To Disorder, Hamburg)
Substance djs

Good Friday, 14 April 2017
The Bongo Club, 66 Cowgate, Edinburgh
11pm to 4am* (*late license tbc)

Tickets on sale from RA

substance-audio.com

Recognised by the authoritative Resident Advisor to be “one of Edinburgh’s most important outposts for house, techno and bass”, Substance brings a wide ranging collage of classic and cutting edge underground electronic music to the Bongo.

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Bristol heavyweights Pev & Kowton bring bass and UK techno vibes to the Bongo, Fri 10th Mar

09 March 2017 -

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The set from Bristol’s Pev & Kowton is an eagerly anticipated one this weekend.  The duo is perhaps best known for their Raw Code b/w Junked 12″ on the Hessle Audio label from 2013 – two forward-looking slices of audio, aimed squarely at the dance floor.

However, they are also responsible for a slew of fine releases via their own Livity Sound imprint, their main focus over the last few years, where abstract rhythms coalesce with deep bass frequencies for a sound that’s authentically British and excitingly fresh.

Simply described, in their own words: ‘Record Label. UK Techno. Sound System Frequencies. Body Music.’  Livity Sound is uncompromising but not inaccessible, with real substance to the music – hidden depths for mind, body and soul.

Resident Advisor did a good interview a few years ago, which reveals something of the duo’s working methodology in the studio.  See here.  This twelve minute live jam recorded for RA in late 2013, with third Livity Sound wheel, Asusu is also fun.

But they’re actually playing  a DJ set this Friday.   No doubt the tremendous new Jinx / Scanners 12″ release on the label, from Forest Drive West, will get an outing.  Scanners is no less of a gem on this 12 but isn’t up on YouTube yet.  Check out its subliminal vibes in full on Bandcamp.

Either way, we can’t wait to hear what they’ve got in store for us!

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Munich’s Zenker Brothers bring their Ten Years of Ilian Tape Tour plus Skee Mask to Substance, Fri 17th Feb

16 February 2017 -

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Against today’s climate of fake hype, meaningless social media ‘likes’ and equally over-rated ‘stars’, Munich’s Zenker Brothers are a massive breath of fresh air and a rare breed. They’ve no truck with the trappings of fame today.  They’re more interested in making and releasing great art, music that will find and resonate with a genuine audience, and it’s an attitude that has seen them thrive through ten years at the helm of their acclaimed Ilian Tape label (and before: older brother Dario was already a seasoned player on the international techno scene when the brothers launched the label, in 2007).

The label often releases without any fanfare.  Perhaps it shouldn’t be surprising that they prefer it that way after so many years, emphasising quality over quantity and staying true to their roots as fans of the hip hop of Nineties New York (as much as the techno coming out of the US, UK and Europe at that time), due to the rawness and purity of its sound.

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The Zenkers are massive collectors of analogue hardware (images courtesy of Slices / Electronic Beats).

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This 2015 video interview with Electronic Beats / Slices magazine really nails the attitude at the core of the duo’s style (and their enduring success).  ‘(There are) DJs on Facebook that have been at it for thirty years and have much better reputations than some hyped Facebook stars and they don’t even manage to get paid half the money that the stars do,’ rails Dario.  ‘I think the whole Facebook thing is a little over-rated too.  An artist isn’t just good because he has 50,000 likes on Facebook, that’s completely ridiculous.’

‘These days it isn’t even real any more,’ adds Marco, equally unimpressed.  ‘There are numerous DJs that buy their likes and then profit from that,’ clarifies Dario.  ‘Promoters that book acts on the basis of Facebook likes.  Those are not parties that i’m interested in playing.  It’s not about the music in those cases.  It’s about making sure the club is packed and that’s not really very important to me.’  Quite.

Label aficionado Skee Mask lends his support, having been forced to cancel his date here last year, due to illness.  With more abstract leanings, less focused on the dance floor,  his music will act as the perfect counterpoint to the Zenker’s more ‘floor-conscious style. Both acts make this their Edinburgh debut but it’s also Skee Mask’s Scottish debut.

To say they’re a good fit for Substance at the Bongo would be understating things slightly. In short, we can’t wait!

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Gerald Donald performs Arpanet Scottish live debut at Bongo

24 November 2016 -

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This is the one. Possibly the single most important, living electronic artist in our world – Gerald Donald aka Heinrich Mueller, founding father of Drexciya, Dopplereffekt, Der Zyklus and Elecktroids et al – makes his first ever Edinburgh appearance, with the essential Arpanet concept live show, fusing proto-internet vision and next level futurism. Truly unmissable.

Read RA’s news item here.  And there’s a great Gerald Donald primer on FACT.

Tickets available here and also via Resident Advisor.

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The Substance crew also thought it only right to ask some past guests what their favourite track was. Picks from Ben UFO, Surgeon, Substance aka DJ Pete, DJ Stingray, Rolando, Tessela, Manuel Gonzales, Bleaching Agent, Velocity Funk, Gavin Richardson, Dominic and Adam!  Featuring Arpanet, Drexciya, Japanese Telecom, LAM, Dopplereffekt, Abstract Thought and Der Zyklus:

BEN UFO: Arpanet - Wireless Internet

 SURGEON: Dopplereffekt - Infophysix  TESSELA: Drexciya - Black Sea  DJ STINGRAY: Dopplereffekt - Scientist  JOHN HECKLE: LAM - Balance of Terror EP  DJ ROLANDO: Drexciya - Dr. Blowfin's Experiment (Somewhere in Detroit)  DJ PETE: Arpanet - Illuminated Displays  BLEACHING AGENT: Japanese Telecom - Mounting Yoko  MGUN: Drexciya – Birth of a New Life  VELOCITY FUNK: Arpanet – Infinite Destiny  GAVIN RICHARDSON: Abstract Thought – Hypothetical Situations (Bermuda Triangle & Galactic Rotation!)  DOMMM: Japanese Telecom – Making of Ultraman  ADAM RICHARDSON: Der Zyklus - Formenverwandler 

NB The Soundcloud post below is from 2012.

Donald also released a new album this year under his (collaborative) Der Zyklus alias:

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Ben UFO opens the Bongo’s 20th Birthday festivities at Substance this Friday!

27 September 2016 -
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Copyright Anne Kokalj
From The Courier (Dundee):

The legendary Bongo Club in Edinburgh marks its 20th birthday with a month of celebrations. The party starts on Friday night with a set from one of the world’s best DJs, Ben UFO. Gayle Ritchie finds out more…

Twenty years is a huge milestone for any club to reach these days.

So get on your dancing shoes because the Edinburgh institution that is the Bongo Club is alive and kicking and marking two decades of its commitment to diverse, alternative acts, music and DJs with a month of celebrations.

Despite being forced to move location twice, the club is now firmly rooted on the city’s Cowgate and is as popular as ever.

For those into underground techno parties, Substance – billed as one of Edinburgh’s most important outposts for house, techno and bass music – is hosting a night to remember this Friday (September 30), with Ben Thomson, aka Ben UFO, on the decks.

As co-founder of Hessle Audio, Ben confounds expectations with his seamless dancefloor heavy sets that encompass everything from hard techno to Afrobeat, house and electro.

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Substance and Ben UFO -get your dancing shoes on! © The Gentleman Amateur

Over the past five years, Ben has built a reputation as one of contemporary dance music’s most daring and wide-ranging selectors, with his keen ear and razor-sharp abilities enabling him to cut between eras, lineages and mixing styles with dazzling ease and fluidity.

Having cut his teeth in early dubstep and drum and bass, his roots lie in UK rave culture – yet his selections cast the net wider, drawing new mutations of this culture into the orbit of house, techno and other global dancefloor sounds.

In clubs, his sets manage to be simultaneously considered and raucous, sliding from sidewinding broken rhythms into an irresistible four-to-the-floor groove, or broadsiding you with unexpected tangents, old favourites and bizarre secret weapons.

Ben has come far since broadcasting internet radio from two turntables on his mate’s bedroom floor. As well as holding down a residency at London’s club fairyland, Fabric, he stays busy touring Europe’s festival circuit, while continuing his now-eminent radio show with Hessle Audio on Rinse FM.

Substance’s Adam Richardson is more than just a bit excited about the night.

“Ben is obviously much in demand and we’re delighted to have got him on board to play what is a relatively intimate venue,” he said.

“His eclecticism is fitting for the occasion, the Bongo being a broad church both musically and in the diversity of its crowd. Add to that the biggest and highest spec sound system we have ever worked with, brought in especially for the evening, and you have a pretty unmissable party.”

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Ben UFO – a master of contemporary dance music (Photo: Steve Dykes).

With support from residents Gavin Richardson and Velocity Funk, Friday night is the first of a big run of four parties for Substance up to the end of the year, which includes their 10th birthday on October 28.

Substance has been serving up some of the most thunderous innovators to the capital for ten years so you’re guaranteed a good night out.

The rest of the Bongo Club anniversary month sees everything from grime and UK bass, theatre, funk, spoken word, jazz, hip hop, reggae and rock. Check out www.thebongoclub.co.uk

Tickets for Substance: Ben UFO are available here and here.

Article reproduced from The Courier (Dundee).

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Munich mystery man Skee Mask (Ilian Tape) headlines Substance, Friday 15th April

14 April 2016 -

SkeeMask_BR

Continuing their custom of breaking new ground and introducing the cutting edge of electronic music to Edinburgh, Substance are very excited to be welcoming Munich artist Skee Mask to make his Scottish debut on Friday 15th April.

February’s release of his debut album, Shred, is only the second long-player to have emerged from the Ilian Tape label run in Munich by brothers Marco and Dario Zenker.  Exhibiting a penchant for the classic, Nineties techno sounds of labels such as Warp, Chain Reaction and Counterbalance, Shred combines deep, atmospheric textures with refined dance floor aesthetics.   No wonder the likes of Scuba have been hailing Shred as one of the releases of the year so far, with Skee Mask recently making his UK debut at the finale of Scuba’s XOYO residency in London.

To paraphrase the Ilian Tape website, in his DJ sets Skee Mask aims to create a deep trip, constituted of organic grooves and diverse clang accompaniments: techno, ambient and mostly experimental, forward thinking.  Naturally, we can’t wait!

There’s a good write-up about the new album on Juno.

More info / tix

His recent Boiler Room is well worth a listen, too.  Deep indeed:

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Techno innovator Tessela headlines Substance, Fri 18th Mar

17 March 2016 -

TesselaB&W

One of the UK’s most exciting new producers, Tessela brings a DJ set to Substance this Friday 18th March.

The guy known to his mum as Ed Russell set out a bold stall when he released Hackney Parrot via his own Poly Kicks label back in 2013.  Channelling hardcore rave for a new generation, all jungle-style breakbeats, a neatly processed soul sample, swirling synths, dramatic stabs and sub-bass that’s sure to get a rasta’s pulse racing, its energy and production finesse set it apart immediately as one of the records of the year and a bit of a game-changer for the scene ever since.

B-side Helter Skelter was no less frenzied and his releases since then, via Poly Kicks and legendary Belgian imprint R&S (who snapped him up quicker than you could say Outlander, The Vamp, back in 2013) have followed a similar trajectory.  In short, if you like hardcore, rave, bass music or techno, this is for you.

Here’s a great interview Russell did with Pitchfork back in 2013.  This chat with him and his brother, Tom (alias Truss), for RBMA is equally revealing and there are unsurprisingly some great hardcore tunes assembled in this Top 5 for XLR8R.

More info/tix here.

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Bristol techno DJ Hodge makes his Edinburgh debut for Headset at The Bongo Club, Fri 19th February

17 February 2016 -

hodge-storming

Bristol techno DJ Hodge makes his Edinburgh debut for Headset this Friday 19th February and to say we’re looking forward to it is a bit of an understatement!

First emerging via his house and UK garage-flavoured debut EP, The Fall (Immerse Records), in 2011, Hodge has stormed the ranks of UK techno, since 2013, via exciting releases for respected labels such as Punch Drunk, Tempa, Livity Sound and Hemlock Recordings plus up-and-coming imprints Hotline and Berceuse Heroique, culminating in high profile artists such as Leftfield and bookings across Europe last year.  You could he’s officially broken cover now.

With roots in Bristol’s fertile drum ‘n’  bass, garage and dubstep scenes, his bass-heavy sound has an identifiable UK flavour which gives him the edge over many of his peers.

More info / tickets

Also, Resident Advisor did this excellent interview with him last year.

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