Dj Steph will be playing at the next Distant Planet on 26th March at Bar 512 in Hackney. He will also be playing at Rupture at London’s Corsica studios on 18th March. Steph has is an originator and has been playing since the early 90s.
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.
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.
Well the time is nearly upon us so we thought we would give you the heads up here at Distant Planet HQ.
You can purchase ticket’s by clicking HERE get them whilst they are available last count there was only 66 tickets left.
If you have not experienced Riverdance and love your oldskool then Distant Planet seriously recommends this event. It is London’s longest running boat party dedicated to the oldskool rave sounds of way back with some serious DJ’s who will be digging deep to deliver only the best in oldskool sounds to everyone on board. This is always a popular sellout event and also there is the after party only for the hardcore! You can catch Louise Plus One & Hughesee playing at the after party here are some details narrated by Riverdance main man Reuben.
Many of you have been vocal about getting Steve back on the boat and I totally agree it is about time for him to rock the party once again. For those that don’t know, Faydz is a master on the dex with his fast beat matching, sublime scratching and tune selection. His 1992 mix of made in 70 minutes has been a phenomenal success and is now on Vol 3 which highlights the skill of this man’s talents. Be sure to get a copy on the boat!
Sense is without doubt in the top 5 ranking jungle d+b beat matchers on the circuit every year Sense is in contention for the boat. This year I said to him, “give me the darkest jungle tekno from 92/93 and you are on”. Basically I said not 1 anthem and nothing remotely Moondance (ish). He said no worries and he will unleash a unique dark sense set on us.
Riverdance own lord of the dance mashup of everything good. Riverdance wouldn’t be RD without the likes of vibes and he really does his homework on what to play as he knows the nutbags that attend and dare I say it, spends more time in his luxurious study in his mansion in Essex contemplating what tunes he gonna play.
Part of the Resonance furniture, last year’s massive set to bring us home was again many people’s highlight – proper Jungletekno pre 94 style, his beat matching and understanding on vinyl of what the boat and Riverdance cru represent is beyond reproach.
As ever we like to introduce new artists on the boat and give DJ’s a spotlight that they wouldn’t normally get in watered down, samey samey events. Gershwin is one of these and this will be his first appearance in London for around 15 years, he has released 2 amazing tunes back in 93/94, his oldskool collection is to die for. He is an unsung hero hailing from the midlands making his debut on the boat.
Well I have to be honest here when I tell you he is a personal fav of mine. Randall never fails to deliver when it comes to beat matching and tune selection. He is a bona-fide originator and will be hitting you guys hard with a rare selection on VINYL with breakbeat oldskool d+b. Will the riverdance cru be able to handle the Randall!!!!
Original and best Riverdance host. Each year he drops me in it by publicly asking me to book all the same DJ’s that are playing that year and truth be told I could easily do it. But as ever we do like to mix things up. Strict is Mr riverdance and we love him.
MC MAD P
We have all enjoyed his cameos over the years , last year his sets with pilgrim, storm and his 25 year coronation as Top Buzz was a jot to behold. The magic between mad p and strict was electric and had no hesitation to have him fully on the card.
Really happy to have them apart of this year’s event again, great supporters of Riverdance behind the curtain and great back catalogue’s that would envy many. They are amazing people and an honor to have them.
Proper oldskool d+b set from original don- proper talent, proper nice guy always a pleasure and again beat matching is top draw. He played a few years back and tore the roof off, let’s see him do the same again.
I have to say the amount of requests I get from people to have this lady down grows year on year and so this year it’s my pleasure to be able to have her on the card and bring her great skills and tune selection for you all.
Will be bringing up the rear, digging deep in the crates with some rare bizznizz of acid , jungle, breakbeat, hardcore techno that rarely gets played out
Once again with YERK AUDIO and WATTS UP that provided you guys with what many people said one of the best sound systems on the boat in a very long time- Indeed these guys are now considered family, they are supreme masters at their work and many artists and ravers commented on how great they are and how good their setups are. Big respects goes out to them.
Distant Planet DJ’s Louise Plus One and Hughesee were invited along to play on Cambridge 105FM’s Friday night Urban Baseline Show hosted by Jonny 5 alongside Rob Focuz and Daddy Fingaz representing Apply The Breaks.
You can download the sets and check out the Urban Baseline website by clicking HERE
Below are some video clips and photos from the event.
Check out this Discogs tale that Hughesee (Beatgraphter) has submitted.
Here is the full story that was submitted:
I was trying to find the origins of the sample “Girl im starting to lose it” from “The Dark Stranger (Origin Unknown Mix)” off this release a classic Jungle tune from 93 for those that know it was huge at the time.
I tried posting on a couple of forums and after about 6 months no one had come forward so thought I would post on one of the Discogs forums I think about that time was when I signed up on this group for people into Oldskool / Rave / Hardcore http://www.discogs.com/groups/52
So another Discogs user known as SeRKeT managed to ID it after a while now only telling me the origin of the sample but going through the trouble to provide me with a recording of the accapella I was totally blown away by this level of helpfulness and have shared this knowledge with many people who did not know the origins of this sample. For anyone interested it is from the acapella on this release.
Anyway some time down the line I think about a year and a half I was at this party and my girlfriend and DJ partner Louise Plus One spotted this guy dancing and thought the guy looked quite oldskool and got chatting to him about rave related things and after a while bought him over to introduce him to me .. so I got chatting to this nice guy called Curtis and both of us being into vinyl collecting and stuff we were chatting about all manner of things vinyl. After 30 mins into the conversation I recited this story to Curtis and just after I told him he was beaming from ear to ear and as I got to the point of explaining about the Discogs user he replied “That was me” we both could not believe it whats the chances of that happening!
Every time we see each other about we will always say how mad that was. I got to big up Curtis (SeRKeT) I thought I knew a lot about oldskool dance music but this guy is on another level!
The Distant Planet crew would like to recommend this new offering by Scanone. The second release on this label is a slab of awesome darkside hardcore with a very 93 sounding edge to it check out the clip above and if you like you can head over to http://www.modifiedmagic.bigcartel.com/ where you can get this release and some T-shirts and slipmats with the label’s cool design.
The release was given to the Distant Planet crew on the handover from Scanone to us playing on Brainwash @ Glastonbury and our instant reaction was to play it and it went down a storm so we highly recommend. Also there are releases of Modified Magic #1 still in stock so check that out.
Here is Yellow Machines Soundcloud a project run by Scanone over the years that has touched on a variety of styles.