Categories: Blog, News
Tags: CCTV, Crew 2000, Drink-lids, First-Aid, Safety, Safety Measures, Security, Tap Water
In light of the current situation, we have decided it is in the best interests of all our staff, customers and events to close our doors until further notice.
Look after yourselves, each other, your nearest and dearest and, perhaps most importantly, stay safe!
p.s. may come in handy:
We’re stoked to be welcoming Bristol’s mighty Pinch for what will (somewhat astonishingly) be his Bongo debut, courtesy of Overground, this friday night. Well overdue!
If you’re not familiar with his work, Luke Ballance’s interview with him (taken from the Once Upon A Grime website), from the Love Saves The Day festival in 2018, is a pretty good primer. See below.
Pinch. © O. Bailey Photography / Olly Bailey
Rob Ellis, professionally known as Pinch, has been at the forefront of the dubstep scene for well over a decade now, but his music is far from easy to describe. Known for being the mastermind behind Tectonic and Cold Recordings, plus for his innovative instrumentals and DJ sets, he’s long established himself as one of the titans of Bristol bass music.
Well, I think anything that you listen to growing up is a major influence on your direction. My older brother was into dub music and psychedelic rock and all sorts of stuff. He used to make me tapes and compilations. And then in my early teenage years, I was very into what was called the Bristol sound. The trip hop thing: Massive Attack, Portishead, Tricky.
Drum and bass. Jungle. Techno. All these things fed into my tastes. I’ve always liked sitting in between boundaries wherever possible.
I tend to just get sounds and fuck ’em up. That’s more of a general approach. But I have made some field recordings in the past. There’s a holiday I went to in Marrakech years ago and I’ve lived off a few minutes of recordings from there. [laughs] That’s made it into a lot of stuff. But I do use a lot of foley-style sound effects recorded as well. So it could be taken from films, TV… it’s definitely all sample-legitimate stuff, of course, but if it’s pretty obscure, no one knows it.
Not really. I’ve generally been much more inside the box: VSTs. I do have an analog desk and a couple of analog outboard bits; I use a Distressor compressor and some weird shitty guitar pedals. But, mainly, I like the convenience of being able to open up the program and have everything how it was. With analog, you’ve gotta capture it right that first time round.
I do a live set when I’m performing with Adrian Sherwood as Sherwood and Pinch. Adrian runs an analog desk with analog delays, reverbs, effects. I run the digital aspect of it through Ableton and it plugs out of a sound card spread across the desk, so each separate sound’s got its own channels and can be effected differently. We use an SPD drum pad, lots of sound effects, and some processing pedals.
When I’m performing as Pinch… I did do a live show. I literally did it twice: in Montréal for MUTEK and at Fabric for one of their birthday celebrations. I tend to prefer to just DJ when I’m playing as Pinch. So, a different approach.
I make it up as I go along. That’s the truth of the matter. I’m not the most precious about things. Sometimes songs will catch a mood which resonates with a certain label imprint a bit more, or it might just be that I pass some tunes out to people I know—like Loefah—and they’re like ‘can we have this one?’. There are lots of different reasons. I mainly tend to focus on releasing with labels that I have a lot of respect for and that I feel contribute something worthwhile to the scene in general.
Pinch. © O. Bailey Photography / Olly Bailey
You recently celebrated Tectonic’s hundredth release with Riko Dan’s ‘Hard Food’ EP. How did that come about, and how much of a say did you have in the project?
The timing, as we were approaching the hundredth and this whole EP was coming together, it was like ‘this has to be the hundredth release, it makes a lot of sense’. Riko represents an individual who’s been through a lot of the transformative periods in dance music and UK sound system culture. He was there for jungle; he was there for garage; he was there for grime. You know? He’s still around and he’s still bussing lyrics and bussing dancefloors and absolutely fucking breaking down sounds.
There’s a four-track EP from Hugo Massien, on a kind of breaky, techno-y crossover space. Really solid tunes I’m very excited about. Following that, we’ve got the Walton album which is absolutely off the chain. That’s one producer I find myself coming back to more and more. When I’m digging through the record bag, his plates are the ones that come out most often. It’s a really cool album. Following up from that, we’ve got a very exciting remix plate, which I will not give you any more information on for the moment, but around about September time that’ll be a definite big hitter. I’m absolutely confident on that.
We’re buzzing to be welcoming Steve Stamp aka DJ Steves (Kurupt FM) from genius BBC comedy People Just Do Nothing to the building on Thursday 5th March, not least as he’s co-headlining with jungle legend Randall!
Promoters 23 Degrees caught up with him for a quick chat before the gig.
How old were you when you first started learning to mix? Which DJ’s inspired you to start?
Around 15 I think. I had some basic belt drives and me and Beats would go back to back after school. We were inspired by the West London pirate radio DJs. A lot of the time I didn’t really know who they were but I remember people like Oxide were playing the darker stuff that I was most into. I also had one tape with Deekline where he was scratching over garage, that was the maddest thing I’d ever heard. Blew my tiny mind.
Your sets are on ode to the Garage sound, what are your top 3 Garage slammers?
It’s hard to pick but there’s a few that have stood the test of time. Stuff like Roy Davis Jr ft Peven Everett – Gabriel, Active Minds – Hobsons Choice, Groove Chronicles – ‘Hold On’. They always existed on the classier end of the garage spectrum, very sexy production. They’re not tracks you’ll normally hear in a rave though, what I hope I can do with my sets is introduce some of the less obvious party tunes and show people some classics that they might not have heard before.
With Garage fully back on the map right now, which of the new school producers are you feeling?
Ah there’s loads of people making good beats. Conductah, Murlo… In terms of new stuff I’m more into grime: Sir Spyro, Swifta, Rudekid, Spooky. What I love about the scene is that a lot of these guys are selectors and their music emerges out of the radio and rave culture. It’s all connected and that’s what keeps it so authentic.
You’ve played in Edinburgh before with the rest of Kurupt FM, how was it? Are you excited to return?
Scotland is always messy. Weird shit seems to happen every time I’m there. DJs ending up in ambulances, McDonalds lock-ins. I blame the Buckfast. Need to add that to my rider actually…
We had Danny Rankin aka Decoy perform back in 2019, he had some serious Jungle music up his sleeve, do you ever sneak in some Jungle/DnB into your sets?
I’ll leave that to the pros. We’ve got Randall on the lineup with me and he’s told me that I’m not allowed to go beyond 140bpm. I mean he hasn’t actually said that, but he’s a legend and I know my place.
Any dubplates/suprises up your sleeve?
At some point during the set I sometimes like to surprise the audience by going briefly into character as Steves and doing a bad mix. So if you hear that then that’s why. And you’re welcome.
Finally, taps on or taps aff?
Taps aff. Trousers down. Red Stripe in each hand. Eyes closed.Categories: Blog, News
Flexout Audio boss Tom Bassi (DJ/producer/A&R/label mgr) and Charli Brix (DJ/producer/vox) make a formidable duo, with a smooth, polished sound that combines deep, dark moods and techy production. It’s a style of drum ‘n’ bass with a broad appeal just now and has unsurprisingly been peppering the sets of countless DJs in the scene.
So, we’re well pleased to be welcoming them to Scotland, as they make their combined Scottish debut for Midnight Bass, and excited to hear what they’ve gone in store for the Bongo on Tuesday 11th Feb. The Midnight Bass crew had a wee chat with them, to see what’s what in their world…
How does it feel to be debuting in Scotland? Have you been before?
Bassi: Amazing. We’ve both never been to Scotland and are so happy to be asked to perform at The Bongo Club. I’ve always loved all the Scottish people I’ve ever met so I’m sure it’s going to be wicked vibes.
Charli: I’m so excited, I’ve never been to Scotland! I have a friend studying in Edinburgh who I haven’t seen in ages so she’s gonna roll through so that’ll be lush. I’ve had a few punters hit me up on insta telling me they’re excited to see us perform which is always lovely. I can’t wait!
What/who would you say is a key influence in getting you started with your musical journey?
Bassi: For me, it was going to Fabric nightclub for the first time when I turned 18, I knew from then on all I wanted to do was be a DJ
Charli: Watching Sister Act when I was 11 and developing a passion for singing and then again on stage at Fabric in 2015 during the ‘Rituals’ Album launch – I realised then I was never going back to a 9-5!
Best party you experienced / performed at in 2019?
Bassi: That’s a tough one for me but I’d have to say our Boat party at Outlook festival as it was so intimate and the energy was just unreal.
Charli: I agree with Tom, either the Flexout Outlook Boat Party or my Kintsugi EP Launch – both were utterly outrageous.
At the turn of a decade, what can we expect from you in the (20)20s?
Bassi: A lot of my focus is on Charli’s album at the moment but as well as that we have exciting projects from the Flexout gang including an LP from Arkaik which is going to be very special.
Charli: So I’m pretty much on lock for the album this year. I have a few releases coming with some regular collaborators, and my Kintsugi EP has been flipped so that’s coming out over the next six months or so. It’s all incredibly positive and moving fluidly which i’m happy with, I feel like 2020 is going to be supercalifragilisticexpialidocious!
We’re excited to see you DJ and of course showcase your vocals with a live PA set. We’ve read that you’ve been DJing just a few years. Do you enjoy DJing as much as performing vocals?
Thank you! I’m hyped to perform. So I’ve only been DJing 18 months, which is mad when you think about it! DJing & performing give me a very different high. When I write or sing it’s for me, and it’s a bonus if the crowd is vibing and can relate, but when I DJ it’s for the crowd, and my happiness or love of a mix is secondary – does that make sense?
Charli, we’ve read that you work for Glastonbury, write for In-reach magazine, play with the female super-group KCDC, all the while laying down vocals for so many tracks AND maintaining a busy gig schedule. How do you fit it all in and manage the creative flow? Any tips for anyone working on multiple projects at once?
In all honesty, I took on too much last year. I had to step back from a few projects and commitments, but all for positive reasons. I essentially didn’t give myself enough credit or realise how much would change in 2018/19 and just assumed I’d have to do the ‘broke musician holding down 5 part time jobs’ life forever to facilitate my music.
I spent a lot of years laying good foundations, professionally and personally, and that has allowed me to work as a freelancer, and be more particular with how I spend my time and who I work for – not only in music but my other creative endeavours.
If you’re flat out all the time, just have common sense. Eat, sleep, drink water, make sure you’re looking after your mental health. Get rid of toxic people who hide under the guise of ‘supportive’ during the highs and add to the lows, and most importantly – learn to say no.
What has been your favourite project to date, with who and why?
Charli: It’s gotta be my ‘Kintgsugi’ EP 🙂 It’s such a trip being able to google it (haha) because it still doesn’t seem real. I’ve been doing collabs for so long and despite adoring all the producers i’ve worked with, it’s just different when you’re the one in control and it’s your ideas and your vision. I couldn’t have done it without Tom and Flexout, and I honestly still don’t think he knows how happy it makes me.
Bassi, along with a solid back catalogue of releases under Flexout, we’ve seen you’ve started producing too (we’re a big fan of Reflections). Is there anything in the pipeline that we might catch a sample of at the upcoming show?
In terms of my own production, it has taken a back seat for the time being but I am actively involved in the writing process with Charli and her new album so you’ll hear some new material from that on Tuesday for sure.
Flexout Audio was founded in 2011 and has since become a highly consistent and widely respected record label. Is there a highlight moment or milestone for you in the rise of Flexout Audio?
Yes and most have happened within the last 12 months to be honest. Having Flexout at Star Warz in Belgium was huge, incredible venue and an amazing drum and bass event that has been going for 20 years. Our boat party at Outlook festival was amazing, I’d always wanted to do that and so glad that it happened before they moved away from Pula. Other than that hosting Room 3 and then more recently Room 2 at Fabric was incredibly special for me as that is the club I went to the most when I first started going clubbing.Categories: Blog, News
We’re excited to be welcoming jungle & drum n bass champs Serial Killaz to the Bongo this weekend. Here’s a wee interview courtesy of the We Love Jungle website where they talk about their love for the sound.
What does Jungle mean to you?
A 20+ year-old sound that encompasses many styles of music due to the history of sampling and borrowing from other genres of music and working it into a different, faster tempo. It is the origin of what is now known as Drum & Bass. It is a vibe. It was always about the samples and vibes already captured in the music. Now all these years on, artists are writing original works with Jungle and the goal is always to capture a vibe that has soul to it, just like all the samples have.
Has your approach to DJing changed since you first started out?
Yes, when I first was DJing many moons ago now, I used to prepare all my sets and want everything to go perfectly. With more experience of different clubs and set-ups, I realized it was far better to freestyle and go with the flow of the club system and crowd. Some systems don’t produce enough bass, so certain tunes just don’t sound the same and my sets are adjusted to the sound system. I also like to be able to play the odd request, especially if it’s one of our own productions being requested, as I feel that gives a great connection to the fans. Ten or so years ago, I was playing out under my solo name, Vital Elements, a lot. When the Serial Killaz bookings came in, I would change the style I usually played, and I really saw a change in the vibe of the dance floor when incorporating more Jungle style and vocal lead tracks. This was a big influence in the sound I wanted to push more, as that certain vibe captured by Jungle really does make the dance floor a nicer place.
Where in the world do you think the best Jungle crowd is?
I’ve played to so many great crowds over the world, it would be unfair and too difficult to choose.
What’s your top Jungle tune to play out at the moment?
Our remix of ‘Professional Ganja Smoker’ has been getting a great reaction for some time, as is our yet-to-be finished collab with Jaguar Skillz (that) we’ve been testing, but I still think the most powerful track has to be Congo Natty’s “Code Red.” in any of its various forms. We’ve been lucky enough to remix it and have recently updated it too, they always go off, as does the original 20 years on.
What up-and-coming DJs and producers are impressing you?
Upgrade and his brother Limited have been very impressive. And of course our young mentees RunTingz, who have come on leaps and bounds since we took them on and got them in the studio for some vital training.
Describe your creative process in the studio?
It depends on what we are working on but it can usually be boiled down to catching that elusive vibe I keep mentioning: you gotta find the hook, be it a vocal, melody, rhythm, or groove.
How would you describe your sound at the moment?
Modern day Jungle
What’s your musical guilty pleasure?
Classical and differently tuned world music.
If DJing wasn’t your job, what would it be?
A chef, like I used to be.
Any new projects coming up?
Stacks, collaborations, remixes, original works…too many to mention. Just keep an eye out for any release with the name Serial Killaz in it – there will be plenty.Categories: Blog, News
We’re mighty excited to be welcoming (amost) the entire Livity Sound crew, from Bristol, for Headset’s 5th Birthday Party this Friday night. Should be more than a wee bit special, not least as our festive 5am licence kicks in as well!
Peverelist on Livity Sound and Bristol techno
This month we take our label series outside of Scotland and look to Bristol’s Livity Sound ahead of the label’s showcase at The Bongo Club for Headset’s fifth birthday party
Edinburgh club night Headset has long been a champion of the Bristol electronic music scene, with previous guests including Peach Discs’ co-founder Gramrcy, Idle Hands’ boss Chris Farrell and DJ/producer Hodge (pic. above). It feels fitting, then, that for the party’s fifth birthday they would celebrate Bristol’s burgeoning scene with a showcase of one of its pivotal labels.
Livity Sound was launched by Tom Ford, aka Peverelist, in 2011 and over the last eight years has been responsible for releasing music by some of Bristol’s most exciting artists. In its early days, many of the label’s releases came from Ford himself, as well as Joe Cowton, aka Kowton, and Craig Stennett, aka Asusu – both of whom played crucial roles in the label’s formation. “I’d been working at a record shop called Rooted Records for ten years, where I founded a label called Punch Drunk which focused on documenting the music around the Bristol dubstep scene,” says Ford.
“Unfortunately the record shop was forced to close and I decided it was time to do something more focused on my personal interests,” he continues. “I’d been working on music with Joe [Cowton] a bit at the time and he encouraged me to start the label. In those early years I worked closely with Joe and also Craig [Stennett] to create the aesthetic of the label.”
Since then, the label has maintained a focus on releasing music by Bristol-based artists, but its growing success has also seen it attract interest from further afield, with releases from Simo Cell, Toma Kami and Laurel Halo. “I’ve always worked closely with Bristol artists and given support to other Bristol labels when they’ve asked,” says Ford. “It’s a cool city for music, although I’m not quite as involved now as when I was working at the record shop; that really acted as a hub for the scene – I miss it.”
Having previously performed at Headset himself, Ford will be making a return to the night as part of the label’s showcase alongside other returning guests Hodge and Roska, in his Bakongo guise. “Hodge is a label regular and my promotion partner for when we run our parties in Bristol – awesome DJ and producer to boot,” says Ford. “Bakongo has just had a release on the label and is a bit of a legend in my eyes for a decade of killer underground releases under his Roska alias.”
Fast-rising DJ and illustrator Danielle Doobay will also be making a return to Headset, having played three times before. Doobay is one of the co-runners of Mix Nights – a DJ workshop series for women launched with the help of Shanti Celeste and local organisation Bristol Women in Music – with Daisy Moon and Em Williams. Meanwhile, Anina (pic below) will make her Headset debut and is proving to be one to watch through her slot on independent Bristol radio station Noods Radio and releases on labels like Tape Echo.
“Danielle is a good friend of the label and a regular at our parties – amazing DJ who’s been really busy this year playing some of the best parties in the world,” says Ford. “Anina is one of Bristol’s most in-demand DJs – always plays a belter. A lot of people will know her from her blinding set at this year’s Freerotation festival.”
If Bristol isn’t a city currently on your musical radar, then Livity Sound’s showcase is sure to prove exactly why it should be.
Headset’s 5th Birthday: Livity Sound Takeover, The Bongo Club, Edinburgh, 20 Dec
Categories: Blog, News