Lee Van Dowski - An Interview

An interview for www.4clubbers.net

Hi Lee, how are you today? What are you up to?
I`m super fine thank you. Having a crazy December month, touring a lot.

You are seeing in the New Year behind the decks at the Mint Club in Leeds, have you ever played there before? You seem to play gigs that span right across Europe, where is your favourite place to play? (you do not have to say UK out of obligation by the way, although we are all pretty cool over here!)
I actually played for the first time at mint last January and I`m very happy to finish the year there. Last time I played was really amazing, I love the club, super sound system, perfect size and great crowd! Really looking forward to this new year day, I`m honored to celebrate it there! My favorite place to play? Hmmmm have to say that Panorama bar is a special place I always feel at home and free to do what I want there, besides that, my top 6 this year are: Alteborse in Zurich, Mad in Lausanne, Mint in Leeds, Weetamix in Geneva, Cocorico in Riccione, Guendalina in Lecce.

Do you see a difference in response to your music depending on the country you play in? Your musical style is extremely diverse, do you find you adapt this depending on what country you are in or what crowd you are playing to?
Well, the country is not really the point, people in clubs have needs so I always try to adapt myself to the crowd, trying to find what they are up to.

As a producer, you do not confine yourself to one genre and whilst one record can be a stomping minimal techno track, the next can be a deep house record with soulful vocals. What inspires you to go in a certain direction when you are producing? Does it just depend on how you are feeling at the time?
Obvisously, my mood is definitely playing a big role in my productions, everything surrounding me can be an inspiration. I’m trying to not restrict myself in a certain sound or trend, I want to be open and free, that keeps myself exciting with what I do, I would be bored otherwise.

What do you have in the pipeline, production wise in 2010?
I have a single in February on Voltage music with a remix from The Glitz, and I’m actually working on an album, so I ‘ll release less singles than I used to this year.

Who do you respect and admire in the DJing and producing world? What kind of non electronic music do you listen to? Do you have any favourite bands/groups/musicians?
I really can’t answer this question. My taste goes from ambient, rock, pop, idm, house, techno, R&B, blues etc. I listen to everything and I admire each artists who touch me with his music.

You were part of the Cadenza records collective `Æther`; the audio visual experience conducted by Luciano. How did you find that and how was it different to playing a usual set in a club? Was this a one off project or will Æther be carrying in in 2010?
Bringing 6 artists plus a percussionist on stage with a visual team, all synchronised, was tough but interesting. Most of us are playing live or DJing all year alone, so to be able to tour and rehearse for almost 3 month all together was a great and intense experience, we are all very good friends and all gigs have been big fun.
 This tour was like a big rehearsal and we learnt a lot about it, as we had to make a lot of compromises technically wise, it took a while for everybody to find their marks and to feel comfy. It’s a big challenge and we will work to push it further for the next tour.



Loving your Ibiza Voice Podcast from earlier this year by the way! Did you spend any time in Ibiza this year? What are your opinions on the place? As the hub of electronic music and European party people in summertime is it somewhere that you spend much time, if any?
Oh, thank you. Well, I only go there when I play somewhere, I played two times last summer at the zoo project and at Ushuaia.. i like the island even if I never stay longer enough to visit it properly, I’ll try to spend much time there next summer.The good thing with Ibiza is that you always bump into friends you never see during winter… and then you crash into neverending parties.

What do you like doing when you aren`t DJing or in the studio? What happens in a typical day for Lee Van Dowski?
During the week, I get up around 7am every morning and prepare the breakfats for my kids and I bring them to school at 8.30. Then I’m back home and start to work till school ends. I have a very regular life in the week, I think it really saves me from the weekend madness.


Where can you see youself in 10 years time? Do you think you`ll still be travelling the world and DJing? Could you pick which part of your job you enjoy the most? DJing? Producing?
I hope I’ll still travel, I like it a lot, when I have a weekend off, I miss the airports, the excitement of going to play somewhere, meeting people, seeing happy faces on a the dance floor. I feel so lucky to live from what I love most. DJing and Producing are 2 very opposite things in the end, producing is a really studious and meticulous job, you need to concentrate, and spend a lot of time alone, listening to loops and designing sounds for hours. DJing is the fun part, but you can’t really disassociate them, the goal is to make people dance.


Christmas is just around the corner, what are your plans this year?
I have a busy month, and unfortunatly I won’t be home for Christmas, but I’ll celebrate it with my family when I’m back. My kids did a very huge list to santa claus this year, hope he brings them everything they`ve asked for.


Finally, do you have any more UK tour dates planned for 2010? It would be great to see you play down here in London! For now I have no plans to play in UK in 2010, but it’s still early. I hope to come to London very soon.



Check out the Lee Van Dowski`s MySpace page for all the info on music, dates and more - http://www.myspace.com/leevandowskiAnd he`s playing in Leeds for New Year`s Eve at The Mint club, full details here : http://www.themintclub.com/ Copyright © 4clubbers.net - All rights reserved

Paul Woolford - An Interview

An interview with Wooly for http://www.4clubbers.net/ below:



After your many years as resident at Basics how does it feel to be going back to your old stomping ground, the Mint Club after all this time? Leeds is a city that is renowned for its excellent music and hard partying... Will there be an element of nostalgia there for you on your return?

Hello Aby, first of all thanks for the quality of your questions which is always welcome. In one sense yes, there`s definitely an element of nostalgia, but the thing which outweighs any nostalgia is the desire to play in the venue as it is today. I was fortunate enough to find some time to make a proper visit when Raresh played recently, as I had a rare saturday night close to Leeds. The changes that have been made to the room, from the system to the layout mean that for me, it`s now the perfect space for it`s purpose. The perfect balance of intimacy & that slightly illicit feeling. People have always loved that venue and this just comes down to that certain something which is hard to actually define, beyond the obvious. Some clubs can be incredible architectural spaces and just not FEEL right. Mint always had that feeling of home for me. You would find people going to various other places in Leeds but often ending up at Mint by 5am because they knew that by that point it was all on the menu. I`m very much looking forward to playing again and especially on that system which is rather outrageous.


You have now moved down to London, how is living in the capital city, and how do you find the clubs in London compared to up north?

I hear Fabric & Matter are very good... You may be surprised to know that I actually live in Leeds, which is where I`ll be certainly for the next few years. I had a hectic time when I lived in the city centre, way too many late nights and it became obvious that if I was to achieve what I wanted to achieve then I needed to leave that lifestyle behind and find the equilibrium that quiet surroundings brings. As much as I love London, it`s because I have a slightly romantic view of the place formed from gigs that have turned into long weekends, trips to galleries, and all of the social side of the music business that occurs there when I visit. I prefer to be out of the way when I`ve finished travelling at the end of each weekend, so the quiet side of Leeds is perfect. I wouldn`t want to be going home to Brick Lane after 6 flights and hardly any sleep...


I understand that you take a lot of influence from the groundbreaking giants of techno: Kevin Saunderson, Stacey Pullen, Derrick May etc, and will be joining one of the ultimate pioneers; Jeff Mills at System. Is there anyone in the non techno world whom you draw inspiration from? Who did you listen to before you got into DJing?

I`d say more than anyone, it`s Steve Reich. He is a composer who has, in my eyes, perfected the balance of harmony and steady rhythmic pulses and distilled all this into these beautiful surging, slowly evolving pieces of music which occasionally bring a tear to my eye. His experiments with things moving in and out of phase pushed me into the place where `erotic discourse` came from, yet he has notated his music. It is played by orchestras, not machines. He has written down every note, bar and intonation of how each piece should be played. The man is a genius. You will have heard some of his work already as it has been scored countless times on adverts, soundtracks and so on. Aside from him, the other people who hold huge amounts of inspiration to me are producers of music in wider capacities such as Rick Rubin, Brian Eno, Nigel Godrich, Pharrell Williams, Mark Bell, Phil Spector for his innovation, Trevor Horn & so on. This kind of producing is as much about psychologically influencing conditions to provoke the absolute best out of your client, rather than sitting behind a computer pushing blocks around which is really more engineering. That`s where I aspire to be ultimately, although I think I`ll always produce bass-driven mutations of dance music, even when I`m in my 50s probably...or should I say alarmingly. But inspiration comes from all corners, from outside of music, Francis Bacon, Warhol, Jeff Koons, Marlena Dumas, Doris Salcedo, Zaha Hadid, Frank Lloyd-Wright and many more artists of all descriptions push my buttons. Every week I`m inspired by something new and I`m lucky to be able to soak it all up and use it as fuel. The people who`s work has resonated with me the most in dance music, more often than not turn out to be people who look outside of it for inspiration.

It seems that `minimal` is now fading and house music with a groove is du jour once again. As a producer that has been in the industry for quite a few years now, how do you move along with these trends? Do you find it easy to stick to what you like or do you find it a challenge not to get swept along or influenced by what other people are making at the time?

For me personally, the groove has always been the most important thing, and whether that comes from an old Prescription or Gherkin 12" or an abrasive Fumiya Tanaka WAV file, it`s irrelevent. Things come & go and you pick and choose the records that you connect with and bin off the generic fodder. Trends move things along and create temporary hotbeds of creativity,usually for a very short time, before what nearly always happens - a wave of people follow in the wake of the trailblazers, leading to a vast avalanche of sub-standard productions. This is something that has always happened though, and as a DJ it`s your job to filter out the nonsense and find the best examples of the artform. It`s always interesting to see how general opinion forms on these trends. This morning I was reading a web forum where people were discussing their favourite records of the last 10 years, which rapidly turned into a revisionist-history re-writing of events. Nearly everyone contributing was coating off anything remotely "minimal" which is funny considering many of them were espousing it`s virtues at the moment it was at it`s most "coolest" or whatever term you want to use. Proper minimal techno always had a groove anyway - it`s just that the sheer volume of bullshit productions by people without the understanding created the swell of bad records. Trends are sometimes things worth kicking against as well, which is another good thing about them. The people that have made a serious impact in this very fickle world of dance music are more often the people that are reacting against the unwritten rules, these are the moments when more interesting sounds can emerge. As long as you play from the heart and you genuinely love each record you play, that comes across when you are actually in the booth.

Are there any new producers or DJ`s that you have been impressed by in 2009? Anyone that you think we should look out for in 2010?

Yes there`s a guy called Oni Ayhun who has only released 3 EPs so far, but he is making this beautiful, occasionally raw and very emotional techno that by-passes all the bullshit and sounds very fresh. His 3rd EP has blown me away and I`m looking forward to hearing more from him. You can feel his way with sound is very different to most. It`s not peak-time dancefloor stuff, more esoteric, and you can clearly tell he`s not in it to be trendy, travel the world and sleep with girls. Real spirit, of the kind that can not be mistaken, flows through these tracks. I guess I get a similar feeling to the one I had the first time I connected with Moodymann`s stuff, although this is far more electronic. He`s a breathe of fresh air.


You spent another summer as resident for `We Love...` at Space in Ibiza. How did you find the season this year with the current economic climate and people jetting off to different places like Croatia and Berlin... has the island still got its mojo? Is it still as hedonistic as ever?

It`s definitely still as hedonistic, I can testify to that. If you didn`t visit there this year and went solely from what was being said online, it could have seemed as if the island was deserted - I read people saying things like "oh everyone`s going to Croatia now, it`s finished" as if the people that only went there for DC10 were propping up the entire island`s tourist economy! If you went to Space on Sunday or Cocoon on mondays you`d see an average of 4000 people every week at either event. The Space closing had 22,000 over the time the event was running, unbelievably. I guess if you go to ibiza solely to party for a week constantly there were the lesser events suffering, but this is true of clubs globally anyway. Having said that, if you go over there just to visit clubs then you are kind of missing the point, it`s an incredible island, there`s far more to it than being out of your mind with your head in a bassbin... Overall, the economy now means people pick & choose events more carefully, rather then go out for the sake of it, so this means the bigger events benefit and the smaller ones find it tougher.

Do you have any stories from summer 2009 to regale us with on this cold November morning?!

My lips are sealed!

You also have a residency at Matter, another enormous club. How do you feel the vibe at Matter and the vibe at Space differs and how does playing at each place affect what you play?

They are both very different, mainly due to the location and also at Matter I warm-up and close the club whereas at Space I mainly close or play towards the latter part of the night. Space has it`s own vibe which is quite high-energy, moreso than many other clubs, so playing late on means that you need to really lay it down, and if you experiment with things then you must have a way of weaving this into the fabric of the set without sacrificing the energy. Also the people in the club are in a different headspace to anywhere else, because nearly everyone is on holiday, so this brings with it a markedly different atmosphere. There are certain types of records that work perfectly in Space that I would never play elsewhere and I realised a few years ago that making re-edits of these records that emphasise the way they work the floor would be the key to making a larger impact. Over the last 3 years this has become the central focus of my sets at Space on monday mornings, so this year there were about 12 new edits spanning older classics (such as Fuse vs LFO`s "Loop") and then moving right up to today with a take on one of Shed`s "EQ`D" tracks. These are interspersed with various samples and snippets that are more recognisable to people who have maybe been in clubs over the last 20 years, so what you are doing is representing the history of the music along with the best parts of today`s house & techno and weaving it all together. At Matter, it`s a different method. The crowd is younger and it`s a different approach, and less pressure. Playing every week at Space on a monday morning means that you are forced to keep it fresh, it`s a high-pressure environment. Although, after this season, it`s the residency that I have actually played the most gigs at - Basics included, so I`m more comfortable in there than anywhere else. The team who look after me every week make things so much easier as well, and in fact, at Matter too - if you know that everything is taken care of before you walk into the venue, all you focus on is the music and feeling the natural ebb & flow of the night.

You recently remixed Amy Winehouse`s `Love is a Losing Game`... is there anything else in the charts you have your eye on or anyone in particular you would like to work with from the pop world? Do you have any guilty pleasures? Would we catch you in your car nodding your head to Lady Gaga or Girls Aloud?!

It`s a good question. Yes the Amy Winehouse remix came about purely as a spur of the moment thing, but there was so much going on with her in the media that the record company had too much on their plate so it`s unreleased. But yeah, good pop music is something I enjoy as much as the next man - I`m not one of those purists that will tell you I only listen to Basic Channel! There`s two sides to what I do in the studio, and working on remixes of artists from outside of dance music is equally as important to me as the more underground stuff. I`ve been working on Depeche Mode with some remixes of the next single `HoleTo Feed`. These will be released on December 7th on double vinyl and the download stores. This process actually began in June when we got the offer for the remix, and the security on it has been fort-knox like. There was a confidentiallity agreement & heavy contractual stuff as they have been bootlegged so much. I submitted the first versions at the end of July and then Martin Gore from the band requested an edit and some sharpening up, then I waited... and waited... and then bizarrely he came to my gig at Pacha in Buenos Aires recently after the band played a show there. By coincidence we were there the same night. They had approved the remix, and it ended up being of my favourite gigs this year. It was a really lovely moment. In a similar capacity this year, there`s been remixes for Delphic, the Ewan Pearson-produced band who were recently featured on Jools Holland`s BBC tv show, some production and remixes for Maps (again for Mute, home of DM), a couple of versions of Skunk Anansie`s "Weak" - one of which made it onto their Greatest Hits album which just came out. It`s been a really hectic year, my best so far, so I think finding the balance in my life has facilitated all of this. In the pipeline is some more work with Delphic on a marketing project, and 3 remixes of Simian Mobile Disco "Off The Map" which has the genius of Jamie Lidell on vocals who has always been someone who has impressed me, right from his days as part of Super Collider with Cristian Vogel. There`s many more people from other genres that I would consider working with, the door is open basically, I never rule anything out until I hear the track. The thing that conquers all is the track. If it interests me and I can add something fresh to it or present it in a new way, then I`m open to it.

Things have changed in the electronic music production arena, you have seen it from its invention to now the fact that a producer can not really survive in this download era. Free music everywhere, sharing and mass production, where do you see things going? How do you see a producer surviving in the future?

It has become very difficult but I think one of the things that is bullshit is this idea that giving away music is a good idea. By all means, people sharing between themselves, this is a great thing that helps music spread. But artists giving away music has devalued it. In tandem with the rise of P2P networks, social networking and things like Myspace which have become of haven for spam, some sections of the music industry rolled over and almost gave up, as many artists did, and kind of said "oh nobody will pay for it anyway so I may as well give it away" - this is all well and good, except that the next time you have a new piece of music, everyone that you gave the previous one away to expects it for free again. Could you imagine if the film industry did this? If the new Martin Scorsese movie was free? The blood, sweat and tears that goes into it is wasted. Similarly, if you produce music from the heart, that you put your soul into, that is NOT made as fodder to get gigs or flannel to spam people with on myspace - then it should come with a price. People who work in offices do not go there for nothing, for no pay, so why should artists? It`s good for the consumer that Radiohead put their album for sale at whatever you want to pay for it on their website - but that fucks things up for all the new bands that want to get signed, who have a 1-abum shot at success because A&R departments are up shit creek because of lack of funding. I`ve heard some really silly arguments about this. People saying things like "music should be free" "everyone has the right to music" - by that absurd logic, cars should be free, fridges should be free - somebody has had to spend money making them. Finally it seems that people are waking up to this and I was really glad to see Lily Allen taking a stand for the industry in the media lately over this issue. As far as how producers survive, well I think you can`t knock out 12"s for a few years and then live of the back of it as maybe you could have a few years ago. But this might possibly mean that the fly-by-nighters and the people who are only in it for the wrong reasons will lose interest, so there are upsides as well. It basically means that you have to work far, far harder. If you are genuinely giving your all, and what you are doing is up to the standard, then you will break through.

Do you have anything coming up, release wise?

Right now I`m working on a double CD mix for Renaissance which I`m very excited about. It runs the whole gamut from more earthy mid-tempo depth to the house & techno that I`m known for. This should be released late feb/early March and the touring on it will be quite full on next year. Aside from this I`m finalising new 12" releases currently so I don`t want to mention the labels until they are 100% but there`s a couple in the pipeline. There are plans for a new artist album which will be a the next major undertaking, this time for a german label who have the budget and weight to open up the possibilties creatively. Imminently are: Depeche Mode `Hole To Feed` Remix (Mute) December 7th Double 12" & Downloads. Simain Mobile Disco feat Jamie Lidell "Off The Map" Remixes (Wichita) Forthcoming.

It seems that everything you touch turns to gold at the moment; residencies at two of the world`s biggest clubs, running a successful record label, DJing all over the world... where do you want to go from here? Can you still see yourself making music and traveling internationally in 10 or 20 years time?

Production. Definitely producing artists in the wider capacity, that`s where I aspire to be. Preferably in some warm surroundings too. I can`t see myself stopping touring for a long time as it`s so close to my heart, and there`s so much more that I want to do with it. Although there`s so much going on now it`s hard to think beyond next week.

It must be pretty exhausting, what do you do to relax and do you get much `down time` to not think about music? You almost have all bases covered with regards to producing, DJing and have been very successful... is there anything else you would like to try in the industry?

It`s very exhausting, and sometimes you don`t really give yourself the brainspace to switch off properly, but this is very important. I`m spending far less time partying these days so inevitably you have more energy, so the temptation is to never switch off, especially with things like Blackberries and so on. It`s easy to overdo it. But you know, the usual things, family time, films, exercise, it`s all very regular. As far as anything else in the industry is concerned, I never say never. There are some compositional performance-based things I`d like to get involved with for sure. Not so much in a club-environment though. I`ve found my interest in this area really grow of late so that`s something for the future for definite.

Finally, you must be knackered after a very hectic 2009, and 2010 looks to be equally busy.... do you have any plans for the small window of time you have off from DJing for Christmas? What will you be up to?

Trying not to balloon into St Nicholas-proportions mainly! Thank you for your time, see you at System. Thanks for the great questions & see you on the dancefloor.



You can see Paul Woolford return to the Mint club this weekend on Saturday the 6th December alongside Jeff Mills for System. All the info is here: System December with Jeff Mills and Paul Woolford.For more on Paul Woolford, visit his MySpace page: www.myspace.com/paulwoolfordCopyright © 4clubbers.net - All rights reserved.

Bugged Out at Matter - Halloween Celebrations

Bugged Out: one of the UK's best parties, held a Halloween special at London venue Matter, housed within the vast O2 arena.

Bugged Out has been around for what feels like forever, constantly evolving and held dear to the hearts of most clubbers from the past 15 years in some capacity, as a result of their commitment to bringing innovative sounds and consistently good music to the clubbing world.

Rewind 15 years to the tail end of those heady acid house days: the legendary Cream had started to get into full swing and the era of the Super Club was just around the corner.
In then-underground techno den Sankeys Soap, Bugged Out was just beginning its journey. Relatively new artists like The Chemical Brothers and Justin Robertson were gracing the decks month by month, and as the music policy expanded, drum and bass, breaks and trip hop artists were also billed which quickly gave Bugged Out the reputation of being one of the most musically diverse nights in town.

After the sudden closure of Sankeys in 1998, it then moved to Nation in Liverpool, home of Cream. It enjoyed a healthy 5 year stretch here before moving out of Nation and becoming more of an international brand, holding parties at venues and festivals all over Europe.
The days of stomping to Dave Clarke whilst he thrashed out techno in the Courtyard were now gone, and the sight of 1000 arms in the air in the Main Room, as the opening strings to Armand Van Helden’s “You Don’t Know Me” looped over and over, was just a fuzzy memory. However, onwards and upwards was the key for the folks at Bugged Out. It is common knowledge that things need to evolve or else they become stagnant, and evolve Bugged Out did.

The event at London club Matter for the evening of Halloween was very different to the North West parties of old however the music policy still remained of high calibre, with various acts picked from Tiga’s own label; ‘Turbo’ as well as some of Bugged Out's personal favourites. The guys from Sunday night session at Sub Club : Optimo kept it surprisingly housey, which despite their 'anything goes' policy that rocks the sweaty Glasgow basement week by week, was perfect to see in midnight and entice the punters onto the dance floor.
Following them was live act Mike Snow, whose mixture of acoustic sounds and electronica were the perfect way to catch a breath before Electro-giant Tiga took to the decks. He managed to bring the energy levels back up through the roof once again, and his distinctive style of glitch-y tech-house pleased the dancing revellers in various states of Halloween fancy dress, or undress as the case may be.

Attention was later on averted to the stage, where Glasgow based producer Andy Graham, otherwise known as Sei A performed a live set. His album “Editing Shadows” was released earlier this year to critical acclaim and his live performance did not disappoint. His knack of combining rolling tech-y beats with his own soulful vocals created sounds that would make the hairs on your neck prickle, whilst locking the audience into a groove that was near impossible not to dance to.

"Matter At The O2; Everything You Could Possibly Want From A Club"(?)

To say that a lot of money has been pumped into Matter is stating the obvious somewhat. However the impressive stage and not one but several DJ booths that were kitted out with the kind of equipment geeky tech-enthusiasts’ wet dreams are made of, need to be mentioned.

Large steps gave several levels to dance on in the main room and provided optimum viewing positions of any live acts that were to take to the stage. There was also an extensive chill out area on the second level that provided a balcony to overlook the dance floor for those who fancied a break. On paper, it sounds like the perfect venue, as if a clubbers worldwide poll had taken place to see what people really wanted from their club.

The décor of Matter was fairly industrial, with contrast in the plush VIP area and chill out section. However if the industrial feel was to make the club seem more ‘gritty and underground, it was the equivalent of your mother putting on The Lighthouse Family in order to be ‘down with the kids’. It just didn’t really work. The over zealous bar staff/security guards patrolling the venue with flashlights took away from the atmosphere on several occasions, and after paying £2.50 for a bottle of water, customers were informed by stony faced bar staff that if they wanted their bottle re-filling the only option was to siphon hot water from the taps in the toilets.

It seems that Matter are taking away safe
clubbing options through money
grabbing loopholes, something that is not
uncommon, but a sad state of affairs
all the same.

Despite some gripes surrounding the venue, Bugged Out still managed to maintain their reputation for holding kick-ass parties. Their calendar for the remainder of 2009 is booming; with parties planned in Shoreditch, Manchester, Milan and Barcelona amongst others. Artists billed like Friendly Fires live, Modeselektor and Boys Noize are proving that they are consistently committed to diversity and fresh sounds.

On this particular evening the unbelievable sound system and excellent lineup kept the punters dancing until the early hours, which simply proved that as always at Bugged Out: “It’s Just a Big Disco”.
For more information please go to http://www.buggedout.net/

Fabric London 10th Birthday

Written for online writers' network http://www.suite101.com/

Could one of the biggest clubs in London pull off a 30 hour party to celebrate its 10th birthday? A rocking Saturday night set them in good stead.

The buzz surrounding the Fabric 10th Birthday had been astounding, with rumours, ticket pleas and general hype, banter and speculation bandied about the internet at full pelt in anticipation for this mammoth event, and with very good reason.

The first thought that enters the minds of music-savvy clubbers from all over the world if you mention London is this famous Farringdon ex-meat store, a place that had gone against the 'super-club' ethos back in the late nineties yet has to this day held international reclaim as a mark of quality in the music and clubbing world.

After 10 years of the club, the record label. The CD’s, the DJ’s, it was time to throw one hell of a party - a 3 day party at that. One of which was due to last 30 hours; lightweights need not apply. The line-up for this event was nothing short of phenomenal, with a wide range of DJ’s and producers picked to play over the 30 hour stretch. Techno was anticipated from the legendary Andrew Weatherall ,and slick west coast house grooves from the likes of Doc Martin and Hipp-E & Halo. Ricardo Villalobos was billed to keep the Cocoon Kids happy, whilst others could enjoy the tripped out disco of Daniel Wang and The Revenge. Ever faithful Fabric resident Terry Francis was due to take the roof off with his unique style of tech-house, and artists that rarely played in the UK such as one time collaborator with Richie Hawtin; Daniel Bell was billed to play a DBX Live set.

Previous to the night however, no set times were leaked to the public. Frantic requests and appeals from eager clubbers were posted for Fabric’s attention over the interweb to no avail. The strongest rumour was that the mighty Ricardo Villalobos would be playing a set on Sunday morning. For the rest, it was just a case of arriving and hoping the acts you wanted to see the most were playing whilst you were still there, and upright.

For a first time attendee of Fabric, part of the fun is attempting to navigate from room to room through the various passageways and stairwells. The assorted levels, balconies and hidey holes are reminiscent to the closing scenes of ‘Labyrinth ‘ and one half expects David Bowie to pop his mulleted head out of an alcove wearing spandex. Throw a few beers into the mix and the dark corridors can render clubbers somewhat disorientated underneath the murky lights.

Each room that lies in the rabbit warren that is Fabric boasts its own vibe, something to cater for all tastes. Room One seems perfect for getting sweaty to peak time sets: a decent space with an impeccable sound system and impressive lasers. The VIP area, boasting a balcony that overlooks the dance floor of Room One is perfect for taking in the atmosphere if people are lucky enough to get past the friendly but burly security guards.

Room Two is simple yet effective: dark, loud and with a high stage for the benefit of those dancing to catch glimpse of whoever is playing in the lofty DJ booth. The wonderful contrast between these two rooms is the cosiness and intimacy of Room Three. The raised chill out area gives a fantastic view of whoever is working their magic behind the decks, over the sea of dancing revellers.

Upon arriving, the atmosphere amongst the typical punter was that of a kid on Christmas morning; so much good music to check out, where would you start?! Marching straight to Room Three, French-Canadian DJ Fred Everything was found playing four-to-the-floor sexy house music to a hollering crowd. Following this, the un-missable Andrew Weatherall was taking to the decks in Room One. More than twenty years in the industry and Weatherall still consistently impresses his audience. He ensured that in the early hours of Sunday morning the crowd were glued to the dance floor, mixing straight up house beats into stomping techno as time skipped by.

Following him was a live set from Mathew Jonson, with his instantly distinguishable style of inimitable epic sounds, minimal bleeps and thumping beats. Playing into dawn of Sunday morning followed another Fabric resident, Craig Richards, who played it hypnotic and plodding. Energy levels were slightly lower than a few hours previous, but fellow resident Terry Francis was smashing out the techno loudly in Room Two for those who needed a pick-me-up.

The club was still full of happy if slightly dishevelled clubbers by this time on Sunday morning, and a mixture of fresh excited faces and faces of those who may or may not have been to bed queued up outside to begin the second day of celebrations. This was one of the longest club nights London had seen. The question remains; how will they top that if they hit the big 20?
For more info on the club please visit http://www.fabriclondon.com/

San Antonio– There's More To It Than You Think

Written for online writers' network http://www.suite101.com/


A short article touching on the various perceptions of San Antonio; part of arguably the most famous island in the Balearics- from the insalubrious to the idyllic. Enjoy.

The discerning holidaymaker would probably rate Ibiza fairly low down on their list of coveted destinations. To some, the very word conjures up various images of sweaty sunburnt twentysomethings with a wallet full of Euros and a penchant for drunkenness and the opposite sex. If you were to visit the uphill West End strip of San Antonio in Ibiza, this idea would be a pretty accurate reality. Upon visiting the strip, made famous by documentary ‘Ibiza Uncovered’ back in 1998 , lads in Ben Sherman shirts stumble about with gelled hair glistening under the illuminations, shouting obscenities at groups of girls who have interpreted 'Holiday Chic' as stretching tatty bits of fabric over blotchy bosoms, vainly attempting to cover their shiny sun ravaged faces with cheap streaky makeup.

The definitive 'Brits Abroad' Mecca; the stench of sickly sweet cheap booze, vomit and fried chicken in the late night August heat is something that will stay with you long after the last bar has closed its doors. Even worse when the long suffering Ibicenco cleaners trudge up the strip at dawn, pouring gallons of disinfectant that sloshes to the bottom of the hill creating a blend of smells that could test the reflexes of the strongest stomach.

There Is More To Ibiza Than This!

This is a miniscule part of one of the most beautiful islands in the world. It seems such a shame that one single street has given British people and the island such a horrendous reputation. 'Sant Antoni de Portmany' when graced with its full name, is in fact inhabited by many families, and homes and schools are present on quaint streets with rolling hills providing a striking backdrop.
To describe the sunsets on the West of the island as ‘the most beautiful in the world’ is a bold statement, but watching the sky turn countless shades of magenta and orange whilst the sun dips behind the rocks is enough to give the most cynical viewer goose bumps, and never fails to instigate cheers and bursts of applause from the crowds in appreciation of its beauty.


There are many hidden gems in and around San Antonio, if one knows where to look. It even boasts a bohemian campsite tucked away just on the outskirts, walking distance from the promenade. Picturesque and practical with all amenities including showers, a pool and a small café bar, with tall and leafy trees providing shade for campers.
A pleasant and cost effective way of spending time in Ibiza, mainly Spanish groups relax here and the babble of the West End strip is completely out of earshot. Amiable chatter and the odd strumming of a guitar may drift through the early evening air, however the atmosphere is peaceful, one of leisure and ease.

Dazzling Beaches and Beautiful Food

People do not think of pleasant beaches when San Antonio is mentioned; the first thing you see as you drive in from the East is the shallow waters of the promenade, which mainly seem to appeal to drunken revellers late at night. However a 15 minute walk off the beaten track will take you to stunning scenery, beautiful coves and secret beaches which only the veteran holidaymakers are savvy to. One of the lesser kept secrets is Cala Gracioneta , a charming cove next to Cala Gracio. Fine sand and warm tranquil water creates a perfect place to while away a hot summer’s afternoon.

An enchanting little café consisting of a few chairs and tables shaded by the green pine trees serves drinks and delicious seafood. The hours spent on Cala Gracioneta skip by, meaning that all too soon the departing sun has turned the sky pink again, and Ibiza nightlife begins.
For those who would like to enjoy the blissed out vibe of this beautiful cove restaurant, click here

Review of Paradise Factory, Manchester Jan 2008

A review of the now defunct Paradise Factory, written for http://www.4clubbers.net/ back in Jan 2008
















There was a definite buzz amongst clubbers queuing outside the newly re-opened Paradise Factory, who wouldn’t be excited for an evening with the one and only Monsieur Garnier headlining... on a Thursday!?
The Manchester clubbing scene has always thrived, but since the transition of Sankeys from dirty underground techno-den to plush ‘super-club’ frequented by people in sunglasses, this was the place that was going to deliver – a night people can go to every week to listen to quality music – no fucking about.

The perfect transition from the closing of the now legendary
Warehouse Project.

The ground floor was rammed to capacity upon entering the venue. Mike Pickering was playing Hacienda Classics whilst neon splashed students, faces from Sankeys’ days of old and new punters curious to see what the fuss was about were drinking, dancing and ignoring the fact that it was still mid week. The first floor – more of a chill-out area had a well stocked bar which included cocktails, with the atmosphere belting up from main room.

The music thumped up through the balcony overlooking the dance floor, a perfect place to catch your breath and take it all in. The top floor saw Krysko and Danny Mac playing sexy electro, house and tech-tinged beats throughout the evening. Slightly more intimate than the other two floors, with sloping ceilings, which rendered people susceptible to bumped heads if slightly intoxicated – speaking from experience.

When Laurent Garnier graced the decks he did not disappoint. Playing right across the board, mixing house into disco, seamlessly into techno with some drum & bass thrown in. The night wouldn’t have been complete without him smashing out Crispy Bacon at 3am, then the epic ‘Man With the Red Face’ towards the end. His enthusiasm was infectious, grinning from ear to ear, singing along to disco records and generally looking like he was loving every second of it, to which the crowd fervently responded.Screw the hangover, The Paradise Factory is back.

Photographs by Sebastian Matthes.Copyright © 4clubbers.net - All rights reserved.