News

Bongo re-opening party, Friday 2nd Sept!

31 August 2022 -

Bongo’s re-opening party features Midnight Bass x Electrikal Sound System on Friday 2nd Sept!  Midnight Bass has been Bongo’s busiest night bar none for the past year, filling the club with drum n bass sounds every Tuesday night, while Electrikal has spent the summer touring their rather large sound system, dedicated to all things bass, around the UK festivals.  Details of full line-up to follow.

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CLOSED FOR THE FRINGE / SUMMER HOLIDAYS

13 July 2022 -

Holidays (700 px)

We will be closed from Sunday 17th July, due to the lease for our building being taken over by Underbelly, as happens every summer for seven weeks.

We re-open on Friday 2nd September and look forward to kicking off the new season with you then. Enjoy the festivals and have a great summer

NB THE BUILDING DOES NOT BELONG TO US AND WE DO NOT MAKE ANY MONEY AT ALL DURING THIS PERIOD.

Bongo nights happening elsewhere during this period:

Midnight Bass
Tuesdays 19th & 26th July; 2nd, 9th, 16th, 23rd & 30th August
Mash House

Saturday 23rd July
Miniset

Sneaky Pete’s

Mondays 8th, 15th, 22nd & 29th August
Headset’s Gay Garage
Sneaky Pete’s

Thursdays 4th, 11th, 18th & 25th August
Overground
Mash House
*DJ Assault headlines Thurs 18th*

Friday 12th August
Headset w/ Debonair & more

Summerhall

Friday 19th August
Hobbes Music Summer Party
Exterior (live AV), Gaming (live AV), Suzi Cunningham (live dance/physical theatre), Leonidas & Hobbes
Summerhall

Friday 19th August
Disco Makossa
La Belle Angele

Saturday 20th August
Mini Mumbo Jumbo aka Mumbo Disco

Steve Austin, Trendy Wendy & Mairi Pots n Pans

The Street

Saturday 20th August

Headset
Stereo, Glasgow
Friday 26th August
SSL XL w/ The General, Feena, Skillis, Messenger Sound System, Brother Most Righteous & Steadfast Sylvatica

La Belle Angele

Saturday 27th August
Messenger presents Unity Showcase
Messenger Sound System meets Hometown Hi Fi
featuring MCs Afrikan Simba, Ista Lion, Campeazi
Summerhall

Saturday 27th August
Pulse w/Rene Wise
Mash House

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Bongo re-opening, Monday 9th August ’21?!

02 August 2021 -

We are primed and champing at the bit to re-open the club, pending a further announcement / confirmation (fingers Xd), with more details, from Nicola Sturgeon on Tuesday 3rd August…..!

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Closure Due To COVID-19 Virus

20 March 2020 -

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!

Bongo
x

p.s. may come in handy:

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Bristol bass supremo Pinch makes his Bongo debut, Friday 13th March!

11 March 2020 -

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.

For a better idea of what he might play on Friday, check out any of his recent mixes on Soundcloud (below).  For info about the event, go here.  For tickets, go here.

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.

 
We caught up with him at Love Saves the Day festival before his back-to-back set with Joker for an in-depth interview, delving into all kinds of secrets surrounding his influences, production techniques, collaborations, and future plans. Read on for our full conversation.

You’ve got a pretty unique sound. What did you listen to growing up, and do you think it had much of an impact on your productions?
 

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.

There are some really unique foley sounds on tracks like “Brain Scan”; do you record many of these yourself?
 

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.


Do you use a lot of analog gear in your tracks? I know Joker does, and was wondering if that’s some common ground between the two of you?
 

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.

Have you thought about incorporating it into your shows instead?
 

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.

Recently, you’ve released with Aquatic Lab, SWAMP81, and obviously your own labels Tectonic and Cold Recordings. How do you decide what goes where?
 

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?

 
I’ve worked with Riko for a few years now. It started off with a soundclash, and then some gigs that we ended up getting together, and over time I’ve got to know him a bit better. I think he’s a very underrated MC. I think he’s a hugely talented individual with an amazing rhythm and flow. So it took a couple of years, but it was my idea that I put to him, which was: ‘let’s do an EP on Tectonic. I’ll push for Tectonic artists to get a really sound rhythm together’. The ones he wanted to work with, he worked with, and he recorded on. There was only one or two which he came up to Bristol to record for. Everything else was done in studio time that he’d organised in London.

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.


Absolutely. And maybe even carrying sound system culture into new pastures.
 
Well, exactly. This is it. I mean, like, the track me and Mumdance did with him, “Big Slug”, it’s a fucking different one, you know? It doesn’t really fit in any obvious categories. But he rode it, and he just absolutely owned it.
Definitely. Any other MCs you’re keen to work with at the moment?
Yeah, I’ve been doing some work with Killa P and Irah. I really like them. I’d like to do something with Jamakabi at some point. I really love that dancehall-grime crossover sound. It appeals to me on a lot of levels, and I think only a few people can really pull it off. Those are three of the main ones.
What’s next for Tectonic?
 

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.


Luke Ballance (left) & Pinch (right). © O. Bailey Photography / Olly Bailey

Sounds like you’ve got an exciting few months ahead for the label. What’s next for you personally? 
Truth of the matter is, I’m tryna work on a solo album at the moment. I’ve been taking absolutely fucking ages about it, and I just need to concentrate on that for the next little period of time. I’ve got a body of work which I’m mostly happy with, but I need to go through the process of refining it and getting a few more options on the table.
We’ll be eagerly awaiting the results. Thanks for your time.

• • 

Find Pinch on Twitter (@TectonicPinch) and Facebook (@PinchTectonic).

Find Tectonic Recordings on Twitter (@TectonicRecs) and Facebook (@TectonicRecordings).

Hugo Massien’s Advanced Aerial Threat EP dropped Friday 15 June via Tectonic. Order your copy here.
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Steve Stamp Q&A

26 February 2020 -

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!

TICKETS (SKIDDLE)

TICKETS (RA)

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.

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Drum n bass rising stars Charli Brix & Bassi make Scottish debut for Midnight Bass, Tuesday 11th Feb

05 February 2020 -

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…

TICKETS

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.

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Jungle & drum n bass champions Serial Killaz headline Electrikal, Friday 24th Jan

24 January 2020 -

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.

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