Moscoman, Krikor & Red Axes Team Up for New EP

Moscoman, Krikor & Red Axes have a new EP on the way via Disco Halal.

Disco Halal was established by Berlin-based artist Moscoman last year. So far, the imprint has released music by the likes of Naduve, Autarkic and the label boss himself. Next up, Krikor and Red Axes join him for its latest outing.

Subaru Pesha is the product of one afternoon’s meeting between Parisian DJ Krikor (a.k.a. Crackboy) and Israeli musicians Red Axes and Moscoman before a gig in the latter’s hometown, Tel Aviv. The result is a four track EP, that features the original cut supplemented by Roman Flügel and Red Axes remixes, as well as an instrumental version.

Subaru Pesha is due out November 4. Pre-order it at Oye Records.

Tracklisting:

1. Subaru Pesha
2. Subaru Pesha (Instrumental)
3. Subaru Pesha (Roman Flugel Remix)
4. Subaru Pesha (Red Axes Remix)
5. Subaru Pesha (Roman Flügel Dub Remix) [Digital Bonus]

Download a New Mix from Jasper James

At the age of just 25, Jasper James boasts a big profile for someone so young. 2015 turned out to be something of a breakthrough year for the Glaswegian DJ-producer: playing regularly across Europe—including Berlin’s Watergate and Ibiza’s DC10—on lineups that included the likes of Craig Richards, Levon Vincent and Jackmaster, it came as little surprise when he landed within the world’s top DJs in Resident Advisor‘s annual poll. In August that same year he was named the new resident of London’s Phonox nightclub—and today he has offered up a new mix available for download in advance of his performance at next week’s Social Festival. More information can be found here.

When and where was the mix recorded?
The mix was recorded at the infamous Mitchell Street Studio in Glasgow last week.

What equipment did you record the mix on?
I used two CDJs 2000 Nexus and one Technic with an Allen & Heath DB2 and Serato Scratch to record the audio.

Did you have a specific mood/ idea that you wanted to express?
I went in with the original plan of making something a bit more deep, I suppose—but it didn’t really pan out that way!

How did you select the specific tracks that you wanted to include?
I picked a mixture of tracks both new and old. Some released some unreleased from lesser known artists that I’m really into at the moment.

How did you approach this mix in comparison to a regular DJ set?
My regular DJ sets tend to be built on the energy of the dancefloor and trying to create a journey which will keep people dancing throughout the course of the night; especially after playing for six hours at Phonox I have learned how to pace myself, letting tracks ride and not “blowing my load” all at once!

For this mix I hit record in my studio with no one around, so I guess it became an expression of my own energy. The mix represents music I’m currently playing and enjoying at all different points of a day and night. I made a conscious effort to make the beginning of the mix more club orientated and toward the end I went a bit more disco—this was not planned though; it just kind of panned out that way and it’s what I felt at the time of the recording.

What else have you got coming up this year?
I have my last four weeks at Phonox this month, where I have some exciting guests lined up to come see out what has been an amazing year. I have a couple gigs left in Ibiza at DC-10, playing at the Warehouse Project four times, Bristol’s In:Motion opening party and some new music coming soon on Edible and Play It Say It.

Ray Kajioka ‘The Ratchet’

Next month, Berlin-based techno artist Ray Kajioka will release his sophomore LP, Consistency, via Heiko Laux‘s Kanzleramt imprint. The album features eight synth-heavy techno cuts in Kajioka’s deep and driving style. A remix EP titled Consistency Remixes will precede the album, featuring reworks from Rolando, The Persuader, and Heiko Laux.

Before both releases drop, however, Kajioka has offered up the previously unreleased “The Ratchet” as a preview of what’s to come. Like most of Kajioka’s back catalog, “The Ratchet” is a true club weapon that will surely find its way into the record bags of techno aficionados the world over.

“The Ratchet” can be downloaded via WeTransfer below, with Consistency Remixes available for preorder here.

The Ratchet

Read a Transcript of Cameron Leslie’s Fabric Defense Speech

Cameron Leslie, co-founder of Fabric London, last night delivered a speech in defense of his club’s reputation.

It was reported earlier that fabric will be forced to close after their license was revoked by Islington Council. At the meeting, which took place last night (September 6), Cameron Leslie stood up to speak on behalf of the club. Since, Resident Advisorhas acquired a text of his full speech, which can be read below:

I am Cameron Leslie, a co-founder and director of fabric.

I hold a degree in International Hospitality Management and prior to starting fabric I worked in five-star hotels and then became a hospitality and leisure consultant with Deloitte.

As this is the first time a Director Of The Company has been able to address the committee can I express our profound sadness at the two deaths that occurred. We have publicly offered our condolences to the families and friends of those involved.

It shouldn’t be underestimated the profound effect something like this has upon our team and particularly our management team and onsite medics who were required to deal with those incidents, and are obviously deeply upset. I would like to publicly thank them for their professionalism in such difficult circumstances.

As I said this is the first time we have been able to address you the Licensing Committee and more so to defend ourselves against the Police statements which have been in the public and media gaze for the past 28 days.

I cannot contest strongly enough the notion that fabric is a “safe haven for drugs.”

Prior to us opening in 1999 I said to the Met Police, what sort of venue do you want us to be, do you want us to be like other venues at the time and go about the destruction of drugs by flushing them down the toilet if they even got that far and mete out their own justice on suspected drug dealers at the back of the club in a dark alleyway, or do you want us to be a progressive, open and honest venue, something you can be proud of. This is what the Met wanted of us and for the best part of 12 years we were their darling. Our joint procedures were showcased to other forces around the UK and to problem licensees within London.

Together we established a pioneering confiscation and audit procedure. We have these audit books dating back to our opening. We have never hid anything. We have accepted the supremely complex challenges of dealing with cash, people, drugs and alcohol head on at every level. If we find a suspected drug dealer we take them to a well-lit, CCTV monitored room we sit them down and we have them arrested. Then our team, at our expense, goes to court to seek a conviction.

The notion that we provide a safe haven for drugs is frankly insulting to the considerable efforts we have put in over the years. My co-founder Keith Reilly stood up to a significant organised crime organisation who wanted to run drugs in to this club just after we opened. He had to move his family out of their home and wear a bulletproof vest for nearly a month. So we know very well the real life challenges of running a clean venue in London.

For the past month myself and my fellow directors have had to defend ourselves from the heavy inference that we are ourselves drug dealers. Something I find utterly abhorrent give the stance we have taken against drugs for nearly two decades.

This year alone our team have given 40 days entirely at our own cost in going to court helping to press for convictions of suspected dealers, found by us in our venue. We take our responsibilities very seriously and the notion that we somehow shield this activity is shameful and I would go as far to say it is libellous.

I should like to point out that since 2012 we have had arrested in the region of 80 drug dealers identified at the front door; there has been only one prosecution. So perhaps if the police want to start levelling criticism of how these so-called safe havens exist they should start by looking at themselves and the CPS, because these individuals come back the following week laughing at us.

You only have to look at TripAdvisor or Google Review or the hundreds of emails of complaint I have printed here about the intrusive level of our search to know we take our responsibilities incredibly seriously. Contrary to what the police have written it is absolutely common knowledge we have without question the strictest search procedure of any venue in the UK.

The snapshot picture the Central Licensing Police team paint of us in their statements is not the venue we know, it is not the venue we see on a week-in, week-out basis. It is not picture reported to us by our multiple layers of overt and covert surveillance who report back to us on a weekly basis, nor the management, security and the 250-strong wider team we employ. Crucially, nor does it seem to match the near 1,000 letters of representation, including other operators, competitors, associations, patrons, neighbours, parents, artists and professionals, nor the near 150,000 signatories of the petition. Furthermore we have had an independent consultant, an ex-Police Licensing Inspector, whose reports do not paint the same picture.

fabric is not an unsafe club.

We wholeheartedly do not accept the police stance of endemic failure. We believe this to be grossly unfair and a misrepresentation of a team and evolving operation that has managed 6.75 million people this past 17 years and delivers the equivalent of two Glastonbury festivals in a Central London location each year. We have the highest annual security bill and the highest ratio of security guards to patrons of any venue in the UK. That scale of delivery should not be underestimated.

The fact that there is only one letter of opposition to our licence is surely testament in itself to the fact we do things well. Despite nearly seven million patrons we do not have a history of violence nor knife crime—surely in the modern world this is something that should be celebrated.

Drugs are an issue for all nightclubs. From our very first days we have worked cooperatively with the licensing authority and with the police to tackle this problem as best we can. We have always been open and transparent. Through working together with the police we have refined our search policies and I am delighted to say that the amount of drugs being brought into the club has been significantly reduced as a consequence. This is exhibited in our logs of seized drugs which the Police have access to.

We have commendations from Commander Richard Martin (formerly head of Central Licensing). In September 2013 when Commander Chisty, the Metropolitan Police lead officer on alcohol crime, visited the premises unannounced during Operation Condor, he stated that the club’s procedures were “an example of best practice.” I have commendations from DCI Hutchison who assessed our procedures in 2014, while former Borough Commander David Eyles held us up as best practice for the whole of his tenure.

District Judge Allison, who spent the week going over our operations and procedures in December last year, called us a “beacon of best practice” and commended our stance on tackling drugs. In as late as June this year Islington Police sent the management of another London venue who had suffered a fatality to us to see how we did it, citing our procedures as the best in the business.

Yet a matter of days later we are damned in a Central Licensing report.

How can this have been the first time in 17 years we have had any notification from the police on some of these issues given they have not only been the architect of many of them but also stress-tested them on many occasions in the past four years alone?

You have the three general managers fabric has had over its 17 years in this room. Each has been trained by his predecessor with the first trained by me. These are some of the best leaders in the night-time business and I question deeply this picture of endemic failure painted by the police. Are the police suggesting they have never conducted any other undercover operations in our 17 years? Because we have never had one bit of feedback.

So what has changed in our business that we are now damned as a venue of endemic failure by the police? We have been the unfortunate location of two more deaths and quite simply they have had enough. They no longer want to work with us and have decided to get the evidence together to get a summary review. If anyone thinks for a second that the sensitively named Operation Lenor, a fabric softner, that Central Licensing undertook and the entirely unprofessional conduct that their lead officer took that night in dealing with our management team tells us that this was an entirely premeditated exercise to find the evidence required to be able to serve a summary review. This team started from the end point and gathered evidence accordingly.

The representations made are not based on any scientific assessment of the club and we wouldn’t tolerate the kind of environment described in these statements:

  • “You could tell by people’s body language and behaviour that well over 80% of the other people in the club appeared to be under the influence of drugs.”
  • “5-6 out of 10 people being willing to sell drugs”
  • Undercover police state they “notice a man twitching, talking very fast and gurning,” they then proceed to talk to him and commit his words as fact to a statement: “He said that he was considering asking one of the bouncers for some. When we probed this further he said that if you are found with drugs the bouncers take this from you and then give it to people that they know.”

These sorts of things are hugely damaging to our business and our reputation. We have spent much of the past month answering interviews having to defend ourselves from these erroneous slurs.

I feel I am somehow having to defend our organisation as being an obstructive operator, creating and protecting a dangerous environment. The only time we stood up to the police in 17 years was by refusing two conditions out of 53 they wanted to punish us with in 2014 and I might add were proven entirely correct by a District Judge that they did not support the licensing objectives.

We have always been immensely proud of the close working relationship we have enjoyed with both the Met Police and particularly Islington Council.

A quick snapshot of some of the initiatives we have launched together:

  • A Police instigated youth outreach music program, getting seriously damaged kids from De Beauvoir Estate in to music programs at the Club
  • Launched the Safer Travel in London initiative
  • Date rape drug awareness initiative
  • The Hollaback anti-harassment program
  • We were pioneering in tackling the blight of mobile phone theft. Creating much of the assets and procedures used by other London venues
  • Founder members of the City Of London police independent advisory group
  • We host police dog training and tactical fire arms training
  • Islington always include fabric in purple flag assessment
  • Founders and ongoing chair of the EC1 Pub and Club watch

We have always been a first port of call as a partner to work with on any public initiative.

Drugs are a constantly evolving challenge for clubs like ours and given the circumstances we have of course voluntarily reviewed all our processes and as always we are eager to work with the police on anything else we can do to keep people safe. But venues are so far downstream on their ability to fight these challenges, trying to locate items as small as this one—a person wearing winter coat and bag, maybe up to 25 pockets per person, 2,500 people per night. That could be 62,500 pockets, and that’s before you get to the complexities of bras or underwear or things hidden in intimate places.

Drug-taking is endemic in British society and there’s not a shred of evidence anywhere to suggest closing nightclubs will somehow either lower drug harm or eliminate consumption. It’s a smokescreen for a drug policy that has consistently failed over a 50-year period. Short of performing a colonoscopy on every clubber, it’s impossible to eliminate all drug use in clubs and, indeed, anywhere else.

These are the challenges we face as a night-time operator.

It is a sad but unavoidable fact that it is not possible to remove all drugs from circulation within a nightclub. And even if it were, people would still attend the venue having taken drugs prior to their arrival. It is for this reason that fabric fights the battle with drug use on two fronts: prevention and harm mitigation.

It is of course entirely realistic to expect businesses to develop strong strategies to minimise harm and crime and fabric over the years has been proud of adopting best practice.

We believe we are presenting to you a series of compelling and cohesive points of improvement. We are constantly reinventing our operation, we have always tried to stay ahead of the game. I would like to reiterate my point that 35 of the 53 conditions Islington sought to impose upon us at the 2014 review were our own initiatives, business improvements we had introduced voluntarily. We want to work with police and the council to try and create a gold standard for clubbing safety. Implementing these strategies requires considerable business investment and you need professional and established operations like fabric to stay open.

We could be bold, like Amsterdam and Berlin, which regard nightlife not as a social disorder issue but a tourist attraction or we could be like New York, where neoliberal policies have all but destroyed what was once the most musically innovative and vital club scene in the world. We need the police to work with businesses like us to help them keep people safe, not to demonise us.

If we are going to take that finger-pointing approach, why have the police not stopped drugs from coming in to Britain or being on our streets? Has it become the sole responsibility of nightclubs and some bars to be the last line of defence?

In a climate where pills are circulating the UK with almost four times the dosage of MDMA of most found during the late ’90s, what is absolutely urgent in order to prevent more deaths is not the closure of one venue, but the systematic education of young people on the risks and repercussions of the drugs they are taking, up to date and accurate information on dangerously potent batches in the current market, education on recognising warning signs of overdose amongst friends and how to respond.

Token Reveals Steve Rachmad’s Scorp Project Compilation

Token has announced a new compilation of Steve Rachmad‘s Scorp project.

Dutch techno producer Steve Rachmad (a.k.a. Sterac) worked on his Scorp project between 2000-2004, producing a series of six EPs that came out on a label of the same name.

Belgian imprint Token Records has announced that it is preparing a three-vinyl compilation of said project: Sterac Presents Scorp will feature nine tracks from those records, as well as one previously unreleased cut from that same period. The label has stated that it exhibits “Rachmad’s mathematical precision in employing bare-bones percussion to captivate.”

Sterac Presents Scorp will be released on October 28, as a 3×12″ set and on digital format for the first time. Check out one of the tracks, “Atomitron,” below for a taste of what to expect.

Tracklisting:

A1. Atomitron
A2. Energetix
B. Repaired
C1. New Energy
C2. One Side
D1. Perdition
D2. Untitled v1
E1. Malhela
E2. Take One
F. Crashed at the End

Matthias Tanzmann Readies New Album

Matthias Tanzmann is set to release a new LP, entitled Momentum, eight years on from Restless, his debut LP.

Recent times have found Matthias release via fruitful collaborations with the likes of Martin Buttrich, Davide Squillace and Daniel Stefanik, among others, but the ten-track album seems him return to work as a solo artist. Loosely rooted in a variety of house styles, Momentum shows a subtle return to some of Tanzmann’s earliest musical roots. Just as Matthias declares himself, “It is stuff to listen to at home, stuff I like to listen to away from the club”, before adding that, “of course, it also contains tracks that are 100% what I love playing in my DJ sets.”

The recording process initially starting during his times abroad in Thailand and South America, and has come together over the last five years. In customary manner, the album is quite different to a normal EP from the German producer, given that it features plenty of deeper and more cerebral moments.

Tracklisting

01. Tamarind
02. Coffee Clouds
03. Mirage
04. Rybu
05. Shake Shake
06. Fireworks On The Roof
07. Frenzy
08. Laika
09. Uptown Vitamins
10. Sfumato

Momentum is scheduled for October 7 release via Moon Harbour, with album opener “Tamarind” streamable in full below. The album release will be marked with a worldwide release tour from October to December 2016.

Fabric to Stay Closed

Fabric London will remain closed.

Last night (September 6), representatives of the club met with Islington Council, as well as Islington Public Health Authority, Islington License Authority and the Metropolitan Police. After a six hour review, Licensing sub-committee Chair Flora Williamson issued a ruling against Fabric, based around the idea that a “culture of drugs exists at the club which the existing management and security appear incapable of controlling.”

The council also stated that “staff intervention and security was grossly inadequate in light of the overwhelming evidence that it was abundantly obvious that patrons in the club were on drugs and manifesting symptoms showing that they were,” and thus Fabric were in breach of their license.

The review was scheduled in response to the drug-related deaths of two teenage club-goers, Ryan Browne and Jack Crossley, in the space of a few weeks earlier this summer. The 2,500-capacity nightclub was subsequently forced to close its doors back on August 12, after the Metropolitan Police put in a request to the council to shut it down.

In the interim period, the clubbing world has taken to arms, rallying against the threat of forced closure: a petition that did the rounds on the internet picked up almost 150,000 signatures. As well as that, London’s Mayor, Sadiq Khan, recommended that a “common sense solution” be found in order to keep the club open, highlighting that “London’s iconic clubs are an essential part of our cultural landscape.”

The iconic club was launched by Keith Reilly and Cameron Leslie back in 1999 and has been fundamental in the city’s nightlife culture since, bringing in more than 6 million club-goers from across the world over the years.

The club has now made a statement in response to the ruling: “fabric is extremely disappointed with Islington Council’s decision to revoke our license. This is an especially sad day for those who have supported us, particularly the 250 staff who will now lose their jobs. Closing fabric is not the answer to the drug-related problems clubs like ours are working to prevent, and sets a troubling precedent for the future of London’s night time economy.”

Premiere: Watch a New Video from Marcel Vogel

Amsterdam-based DJ, producer, and label owner Marcel Vogel is set to release his Being Human LP via his own Intimate Friends label. The album features six R&B-influenced originals, with remixes from newcomer Dear Earth, Juju & Jordash’s Jordan Czamanski, and Reginald Omas Mamode IV. German-born singer Khadija supplies vocals on three of the tracks, captured over a 10-day recording session in Amsterdam in Autumn of 2015.

In the lead up to the release, XLR8R has been given the first video from the album: a sensuous edit for LP cut “Moonchild.” With smoky, hypnotic visuals, the video perfectly encapsulates Vogel’s loose and emotive instrumentation and Khadija’s touching vocals.

You can watch the video in full via the player above, with the album available for purchase here towards the end of the month.

Podcast 454: San Proper

The cult of San Proper is a force to be reckoned with. At this point his reputation will, in many instances, precede him—a loveable, eccentric character that will inevitably be impossible to shake from your memory. His witty showboating, dandyism and iconic locks leave an indelible mark, much like the many tattoos that adorn his figure.

Back in the early days, it was many years of gigs, residencies, and all manner of hijinks around his hometown of Amsterdam turned a lot of heads; yet, it was the curious sounds in his first handful of releases (the delightfully named Proper’s A’dam Family Series, which launched almost a decade ago on local institution Rush Hour Records) that really did it. From there on in, he’s grown more flamboyant yet and been picked up by the likes of Perlon, Dekmantel and Dopeness Galore along the way, as well as launching his own imprint Proper’s Cult.

We are pleased to reveal that San Proper is the selector behind the controls for this week’s podcast. Not one to do things by half, he has assembled almost three hours of cuts from his collection, touching as many different bases as you would expect: classic house, electro, soul, and a few surprises along the way.

When and where was the mix recorded?
I have mixed it at two doors down from my studio at Volkshotel in Amsterdam with a crowd of Kamma and Bobby for support, so I could show off a little bit. Special thanks to those two.

What equipment did you record the mix on?
Two turntables and a rotary mixer.

Did you have a specific mood/ idea that you wanted to express?
Vaguely, yes. I wanted to commemorate this summer. I wanted to include new gems and pearls as well as some favorite classics.

How did you select the specific tracks that you wanted to include?
I went through my collection which has been turned upside down because of some construction recently, and I stumbled upon some forgotten tunes and I also brought some of the latest purchases.

How did you approach this mix in comparison to a regular DJ set?
I usually fill my record bag quite randomly. There is no book of golden rules when it comes to trying to play a perfect set, but if I had to think of a good tip I would tell you that the enthusiasm of the latest tracks you have picked up in combination with some all time classics you rediscover in your own collection creates a positive energy which benefits everyone and rubs off on the crowd.

What else have you got coming up this year?
I am working on a new album and several EPs and remixes. Touring a lot. I want set up a new live-show and I will run a new club night in Amsterdam on a Sunday at a new place called Claire. It will be something special.

__________

San Proper performed at this year’s Piknik Electronic in Montreal. More information here.

XLR8R Podcast 454 – San Proper

M.A.N.D.Y. Set for Debut Album

Patrick Bodmer and Philipp Jung (a.k.a. M.A.N.D.Y.) are set to release Double Fantasy, their debut album, this coming November.

Having started as energetic DJ collective with house music at their core, Bodmer and Jung began remixing under the M.A.N.D.Y. alias in 2001. In 2002 they they moved to solo productions and founded their Get Physical label alongside Booka Shade and DJ T.

This coming November, 16 years after the M.A.N.D.Y. project’s inception, Bodmer and Jung will release their debut LP, a 14-tracker which includes guest appearances from Brett Johnson, Francesco Tristano, Nonku Phiri and Afrika Baby Bam of Jungle Brothers fame. The reason for the delay, according to the duo, has been constant touring and a feeling that a long-player is “not the most important thing in the universe,” says Bodmer.

It was from a pool of around 50 compositions that M.A.N.D.Y. chose 12 new songs for the release. Included, also, is a newly reworked version of “Body Language.” The production was supported and accompanied by their long-time companion Stefan Eichinger (a.k.a Lopazz) who took care of the polished studio-cut.

Tracklisting:

01. M.A.N.D.Y. – Mikado
02. M.A.N.D.Y. – Planlos in Seattle
03. M.A.N.D.Y. feat. BAM – Whisper
04. M.A.N.D.Y. – Outin
05. M.A.N.D.Y. – Rabbit Mountain
06. M.A.N.D.Y. – Housewife on Crystal
07. M.A.N.D.Y. – Tomorrow is another Night
08. M.A.N.D.Y. – Rhythm & Soul
09. M.A.N.D.Y. – Wandler
10. M.A.N.D.Y. – Jupiter (Album Version)
11. M.A.N.D.Y. feat. Nonku Phiri – Hi End
12. M.A.N.D.Y. & LOPAZZ – Friends Kiss (Album Version)
13. M.A.N.D.Y. – Body Language (Interpretation 2016)
14. M.A.N.D.Y. – Double Fantasy (Continuous Mix)

Double Fantasy is out November 11 (CD & digital) on Get Physical Music, with album track “Hi-End” streamable in full below.

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