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All posts by Louise Plus One

 

Morgan OSL’s love of music goes back to the early 80s with the emergence of Electro and Hip Hop. In ’86 he moved to Manchester the home of the Haçienda and lived there until ‘92. During this time, he was buying House, Hardcore and Rave vinyl from Eastern Bloc, Spin Inn and Underground Records and DJ’ing small gigs with duo Mo2vation (Kevin F. and Lee ST Files). In ’92 he moved back to London and managed to secure a regular slot on Format FM after Swift & Zinc and played up to the stations demise. Rinse FM followed in the mid-nineties and he was a regular for a year or two. During this time, he also played at various local club night for Mad B the owner of Quayside Records. Fast forward to today and he’s recently held a weekly slot on the re-launched Dream FM UK and played for Rupture one of the UKs leading club nights for Drum & Bass and old school Jungle.

 

ant1

In the summer of 1995 a teenage Ant D-RINK, sick of being force fed a diet of watery dutch trance being played by the likes of Judge Jules on Radio 1, decided to scan the airwaves of South London for a more underground sound. Somewhere near the end of the dial in the midst of white noise and inane radio banter, he chanced upon a pirate station playing a type of music he’d soon find out, was known as happy hardcore. This station was the legendary Dream FM. For a short time he was fascinated by the uptempo kicks and cheesy vocals but a few of the DJs on the station were playing a different sound. Slower, with darker melodies and more Breakbeat. Hearing these sounds for the first time struck a chord in Ant’s brain and his passion for Oldskool rave sounds really exploded when he joined ‘the Oldskool mailing list’ where he gained a lot of knowledge and friends who’d been ravers back in the day. This lead to the scanning of many online lists of Oldskool records, before the days of Discogs and Broadband that let you could listen to things online and Ant would phone up the online sellers and ask them to play track after track on down the phone line, much to their annoyance and over a few of years he amassed a decent collection of tunes from 88-95, all at prices which seem like a bargain in comparison to the inflated prices of today.
ant3Having learnt to mix on a pair of belt drive Sound Labs turntables, Ant got his first gig playing Oldskool at the Kingston Mill pub in 1999. This was also the year he started going to Oldskool nights at the infamous Camden Palace and various others such as Raindance. In 2004 and wanting more DJ gigs, Ant took things into his own hands by started a night called Snaffle, playing a mixture of Oldskool and Nu-skool breaks. In 2006 he hooked up with the encyclopaedic DJ YT to do Gutter Monkey, which mixed up Oldskool alongside disco and darker electro and techno as well as some DnB. Having started with a bang both of these nights fizzled out due to the respective venues going out of business. A long break from promotion followed but Ant kept partying. Not having been to an Oldskool night for some time because he was sick of hearing the same tunes again and again, one day he went to his first Oldskool all-dayer, which was at the Tuffnell Park Dome. This was Distant Planet. Appreciating their ‘all killer, no filler’ approach to playing Oldskool, Ant became a devotee of their events and endeared himself to to the crew with his ‘not giving a sh*t’ approach to dressing up and getting a full face paint of the Distant Planet logo at their Twickenham event. In 2012 the opportunity to put on a party in a local venue fell into Ant’s lap and renewed his enthusiasm for putting on parties. In one week with the help of some equally passionate mates, ‘KLARTBEAT’ was conceived and a great party was had at a local venue in Hackney. ‘KLARTBEAT’ moved to a bigger better venue and hosted The Ragga Twins alongside Jerome Hill, a night which Distant Planet’s Hughesee described as ‘quite some achievement’. Further parties were had with Shades of Rhythm and Daddy Freddy taking to the stage but inevitably the venue shut it’s doors permanently, leaving KLARTBEAT in limbo. Ant can be found out and about dancing on one side of the decks or other playing a mixture of styles but mainly Oldskool. Why is he called D-RINK? You’ll have to check him and find out!

Richy2

Hue Jah Fink, a.k.a. Richy Hughes earned his first production stripes using an Amiga with the OctaMED software in 1991 where his interests in computer programming and music collided creatively.  Set amongst a backdrop of mixtapes, CDs and vinyl from the burgeoning underground, it was often the darker breakbeat sounds from the raves as well as the depth and hypnosis of ambient music that really caught his ear as he developed his sample editing and sequencing skills.

He soon began to DJ in various venues and outdoor raves across the south west of England, culminating in a residency at the legendary ‘Brunel Rooms’ Swindon where he would win over a steady following of eclectic music lovers with his uniquely varied selection of beats and guest DJs.

In 1999 he began his voyage to the capital city, and began working closely with London sound-systems ‘Headfuk’ and ‘Unsound’ as a DJ and also a producer releasing and performing music both solo and collaboratively.  Purely from being spotted scratching and blending unlikely selections at underground events, Richy has been asked to DJ for Raindance, numerous guest spots for arts station Resonance FM and more recently a residency at ‘The London Underground’ venue in Block 9 Glastonbury performing alongside reknowned acts such as Nicky Blackmarket, Hyper-On-Experience, 2 Bad Mice, Youngsta and Blawan.

It was his great experiences at Block 9 that drove him to direct and manage his own venue at Glastonbury 2015.  ‘Brainwash’ in Shangri-la featured political cinema, music and games during the daytime hours, and at night a rave with 360 degree original projections and music from DJ Flight, EZ Rollers, Emika, Scanone, Distant Planet’s own Louise+1 and Hughesee and many more.

Constantly pushing the possibilities of computer based audio production across multiple genres and under various aliases, he rapidly became known on the London scene as a respected source of technical advice and assistance to producers, teaching music production to children and adults alike and eventually establishing Binary Feedback Digital Audio in 2008.  Here he offers professional services to app developers, film makers, creative events companies as well as the working with many of the UK’s respected underground electronic labels such as Yellow Machines, Combat Recordings, Rag And Bone, Boka, Frijsfo Beats, Senseless, and the stateside Section8 / Plush Recordings group.

He would later be introduced to Rob Booth of Electronic Explorations to master his flagship 61 track compilation. It was here he impressed Emika with his skills, who asked him to master her second album project for Ninja Tune and has kept him on board for all her work since starting her own label. When a backstreet Hackney guy can compete with the big studios engineering for artists like Emika, Plaid / Black Dog, Kirsty Hawkshaw, Marcus Intalex, Milanese, King Cannibal, Machinedrum, DjRum, Boxcutter and Aaron Spectre, he must be doing consistently high quality work.

On his own musical productions he’s been no slouch, most notably working with the legendary vocalist Kirsty Hawkshaw in 2009 when launching his own DIY digital imprint Binary Feedback Music. He has attracted DJ support and praise from the likes of The DJ Producer, Freq Nasty, Starkey, Jerome Hill, Warlock, Xhin, DJ Phantasy, Kissy Sell Out, Laurent Garnier, Danny Breaks and many more taste-makers across the globe.

Despite having progressed far from slicing up 8-bit breakbeats and atmospherics back at the birth of the 90s to the seemingly distant world of professional audio engineering and venue programming, the sounds of darkside rave, jungle and deep DNB have always been in his heart.

You can hear him revisit his roots and take you on heartfelt, progressive journeys through the vinyl crates live on Distant Planet TV.

 

www.binaryfeedback.com
Facebook – Binary Feedback Digital Audio

Treen

There are people who don’t want to hide their collection of electronic music hardware away in a pristine studio. There are people who, while plumbing a reserve of patience deeper than the Mariana Trench and going through countless iterations in their set-up, finally get each instrument to trigger in time and play in tune with all the other ones, making sounds they’re happy with in the process. There are people who then risk it all and take it outside. Out into the unkind and dangerous world. And make loads of fucking noise with it.

This photo is of my band TR-33N. It was taken by photographer Nadia Otshudi at the Music Day Festival 2014 in Shoreditch Park, London. I completely love that I’m whooping a rave war cry like some kind of madwoman and inadvertently pointing at a tower block. I’m wearing the finest t-shirt I own (thanks to the screen printing skills of ashes57) and I’ve had the bizarre cockney rhyming foresight to bring a packet of cheesey quavers along in case of a sudden attack of the munchies. At no live appearance have I ever suddenly wanted to eat; it makes no sense!

I’m lucky that our band grew out of the staunchly left-leaning, artistically imaginative and almost determinedly reckless UK sound system culture of the late Nineties and early Noughties. Many of those same energetic and dedicated people are still to be found on the party scene today, only now they’re putting on extraordinary events and festivals that operate within legitimate frameworks as well as outside them. And, if we’re very lucky, sometimes we get asked to come back and be a part of it. So I’d like to say: Thanks for having us.

Those who have experienced the sharp end of rave and squat scene logistics (’gaining access’ through broken windows, hard wiring into the mains by torchlight, lifting bass bins up five flights of stairs without making any noise) are not the kind to be put off by the extra faff it takes to facilitate a bit of hardware in the wild. The fact we need ages to set up, we don’t fit in the DJ booth, we need a proper sound check. The fact, in a nutshell, that we’re not DJs who can plug in a phono to mini-jack and be ready. For our part every time we take the live set out we pack up our entire studio including the rack it stands on, remembering to bring the little allen key that means when we set the rack up again the whole thing doesn’t fall straight down again onto our toes breaking about three and half grand’s worth of gear in the process, drive it a few hundred miles – did I mention get a babysitter for our two kids? – unload it all again, plug 50+ leads in, check every connection, check every instrument is working and is being triggered properly, get the rack into position, make sure we have got enough light and space to operate it all in, gaffer tape the set list to something, do a sound check, trouble-shoot the mix, play an hour and a half’s worth of completely live, inordinately loud and utterly banging techno and then do it all again in reverse to get it home again. All usually just for the cost of our travel. Frankly, considering the effort people have gone to for us all to have a dance back in the day, it’s a doddle: no-one is calling the police.

This photo was taken at the point in the set where finally everything was working as it was supposed to – like most other live acts, it’s usual for some vital bit of gear to immediately malfunction and for one or other of us to spend half the set fire fighting the problem in a blind panic while trying to act like it’s all fine. The sound was incredible. A massive slab of Virus hypersaw was tearing across the park. People were being drawn from all corners of it to see what was going on. People were hitting the dance floor. I was feeling really confident with the material and the machines. By this time there were no 8 year-old kids playing a cool new game of throwing fistfuls of sand and grit from the ground directly onto all the hardware, and no folks boom-bipping away on their djembes ever-so-slightly out of time with the beat, because I’d already told them all to seriously just fuck off now.

This photo shows the raw and happy face of hardware in the wild. I can’t tell you how good it feels.

Threshold

Threshold

Growing up listening to Rare Groove, Gospel, Roots, Ska and Hip-Hop, Threshold was never far from production. His sister being a singer/ ballet dancer, father a Reggae enthusiast, with not a lot but prime cuts of Old Skool 7″ records from Blue Beat to Al Green, to Trojan, he quickly gravitated towards the turntables after seeing his brothers decks, saving money. Bunking school was an important part for his development, taking many day trips to Dollis Hill station to see his then Idols Manix and 4hero from the seminal Reinforced label and to Elephant & Castle to Music Madness, here he really discovered Hardcore, moving on after to playing on stations such as Storm FM, Upfront and Flex FM where he started meeting many other like-minded DJ’s along the way.

This had led him to engineering and production, here is when he met pals with the same drive, Brian and Matthew. Brian was already in the throes of organising his own events Garrison with DJ Flight (1xtra/Rinse) and booked Threshold. The 1st time they DJ’d together they had the freaky situation where Threshold plays and Brian finds himself opening his bag to reveal the he was about to play the same 1st 6 tracks in the same order! This as they say, is where it began.

They started buying equipment each person chipping in then started producing music be it Jungle or Down-Tempo but really Jungle was where the heart lied, being inspired from everything from Johnny Clarke to Johnny Jungle and during this period, Threshold had started working as an engineer for the legendary Eskimo Noise company which led on to working with the top promoters in the scene and outside on corporate events.

While under the watchful eyes of his then manager Troy and guidance from another engineer Bevin he was chosen to be in the elite team to work in the legendary Metalheadz sessions; together Threshold, Brian and Matthew formed Special Branch with their 1st 3 releases being on Ray Keith’s Penny Black imprint coming in with the classic Dub Transmission E.P. which had strong support from the likes of Doc Scott/ Storm/ Bailey/ Goldie. Leading to a release on Reinforced Records under the alias Espionage with a track called Futuroid. Fabio and Grooverider the top DJ’s at the time did a whole 8 months playing it as did High Contrast as well.

After more releases and taking on more engineering he takes a break  from his studio where he encounters another young artist with massive potential and starts to help him through. This artist later on was named Breakage co-producing a few of his early tracks and exchanging techniques in production, leading to another release on Reinforced. Moving on he come across a night, Rupture where he meets Double O and Mantra, who help show him he’s not the only one who misses the depth of sub bass in the music and a friendship grew, Threshold soon becoming a popular DJ on the Rupture camp and 6 years on, still very close with a strong release on their imprint Rupture LDN label with a track called Sweat Rice! (Do not ask about the name…..)

Fast forward he has a concept of depth and soul with a roots ethos. Drums & sub bass something that seemed to be missing amongst the noisy synths. A close friend introduces him to Jamma and Dub Clinique was born.

Dave Faze

DaveFaze

Dave Faze has been Dj’ing Jungle, Hardcore and DnB since the mid 90’s and has played numerous gigs across Scotland, London and Italy over the years supporting artists such as Brockie, Uncle Dugs, FBD Project, Threshold, Equinox and Bizzy B to name but a few. Dave has played at various club nights such as Rupture, Time Rewind and was also part of the  Interlight Crew at The Castle where he held down a residency rinsing the sounds of old skool hardcore and jungle.

You can catch Dave Faze’s bi-weekly show on OriginUK.net Saturdays from 12-2pm and also on Jungletrain.net once a month on Saturday’s from 12:30 – 2:30pm. Dave loves to dig deep in his selection, not drawing for the obvious tracks but will always bring the vibes to the party!