Greg Wilson – Australian Tour

MAN AT WORK

Greg Wilson heads down under shortly for a series of shows in later December/early January, don’t miss if you’re in the area!

 

 


New Roster Addition – Hugo Capablanca!

Interview and mix

2014 has been a vintage year for Hugo Capablanca. Shifting up gears with his label Discos Capablanca, a Beats in Space mix that we couldn’t stop playing followed by a knock out performance on a gloriously psych sunny afternoon at Bestival for Harvey’s Discotheque. To celebrate, we had a quick chat with the man himself about his past, present and future and he has kindly recorded a brand new mix for us, enjoy!

Hello Hugo! How’s it going? You have recently returned from a US/ Mexico tour, how was it?

Hey Jacob! All good man. Honestly arrived back in Berlin last night pretty exhausted from the tour and I’m off tomorrow already to play at Lux in Lisboa, but it was so worth it. Pretty fucking crazy too!! I did two of my favourite spots in Mexico, the brand new Kin Kin in Guadalajara, lush sound for just about 150 people and killer vibes, and MN ROY which is that one in Mexico City that looks like a random pink Mexican house from the outside and a sort of modern Mayan pyramid made of glass and wood from the inside. Their out of this planet mezcal cocktails and a really wild, hi end crowd high on mushrooms made me go for about six hours!!! One of my favourite places on Earth and a night to remember for sure. Little sleep but great times!

The States were pretty out there too, my debut at Le Bain with Mike Simonetti and I B2B was really wild too, always fun to play with Mike, packed dancefloor with insanely hot people and… yeah smoking cigarettes and talking shit in between sets at the roof haha! You know taking a fresh breath over the most impressive view of NY night skyline felt as good… I don’t know, it just feels great. I think everyone had a rad night there, Neil and the guys loved it. Bossa Nova Civic on a Monday was pretty cool too! It reminds me of that Club Berlin in the film After Hours, which can’t be a bad thing in my book. And, what else, yeah of course last but not least at all, The Electric Pickle in Miami, Thee Room, LOVED that place! Can’t wait to be back really. Amazing place, amazing people, amazing sound…

Miami overall was badass: killed my days at the beach drinking cocktails, got burned too (being end of October I consider that quite an achievement), learnt how to extract aloe straight out of the plant and get pure hippie Earth goodness and heal my burnt skin like magic, got to meet Roman Flügel at a lovely dinner my friend and host Diego organized for both of us… can’t complain really. It’s been a blast!

Nice! Any musical highlight’s from the summer?

Mehmet Aslan’ Mechanical Turk is the tune of the summer of love and beyond, for sure. It just came out but I have been playing it nonstop since its first version and its just… you won’t get tired of it. Instant classic! Just got my hands on the first release of the infamous Australian blog slash radio show now turned label, Noise in My Head as well. First reference is new Suzanne Kraft material and is just too good. Keep an eye on both label and artist, and won’t tell about Suzie’s alter egos yet but… do your homework and what you might find might blow your mind.

Anything Samo is doing lately glues with my bag so well it won’t leave. Anything Public Possession releases really. Sotofett been on fire for too long it’s not even worth mention! But been playing a lot of his stuff this summer. Trippy disco from the future! The Fantasy jams from Detroit! Also more like stuff to play at home, or while the sun sets in a desert, next to an oasis, or while the sun rises in Bali, for example? really diggin these early electronic jams by Mammane Sani et Son Organ from Nigeria. Just a dude and its organ and it’s so sick it’s embarrassing. Quit whining about all that gear you need! Just do it! Funk Punk!

You have a residency at Berlin club Renate, one of our favourite joints in the German capital. How has that been going? What is it about that place!?

I’m proudly holding a residency at the infamous Paradisco parties, product of the twisted mind of that Tasmanian devil that is Paramida. Although I’m travelling so much lately I hardly get to play there anymore! HA HA! I’ve been throwing some of my own label parties there as well, the first one with Baris K was nothing short of legendary. I’m not bluffing! And that talking about Renate that is saying a lot! Love that club so much really, it’s such a fun mess, it’s a delirium!

Your label; Discos Capablanca seems to be really heating up this year! What have you got on the horizon for us?

I’m glad I finally managed to put out more than one record a year. I’m very proud of myself! I’m one of those quality over quantity guys, but it’s a good thing to maybe give a flying fuck about your label too! So this year I managed to put three or four releases and I love all of them, and the plan is to keep on speeding up but keeping the high quality standards and the spaced out vibes and the raw jams, until I manage to release in a year what Ron puts out in a month! That’s my goal!

Coming up: possibly new jams by elusive Detroit maestro Sharif Laffrey if he manages to Polish some more gold, Japanese rising star Keita Sano is about to drop a bomb, jungle ketaminic jams from one of the SF Monsters, Naduve from Tel Aviv with a dancefloor slasher acid take by Man Power, a new series of compilation EPs about invisible cities or maybe psychogeographical recordings… good stuff!

You are originally trained as a visual artist? How do you feel this influence manifests itself in your work as a musician?

Well I guess I started playing records for fun while in art school with a quite unusual approach, I always gave priority to the music over the mixing and that gained me a lot of hate and a few followers too. I can’t stick to a certain style or genre before I get bored and I like to create unusual situations in the dancefloor. I’m not your deep house kind of DJ so to speak. That’s an influence from those amateur artsy days were you were encouraged to find your own scoop on Art, your own vision, you know? and even though nowadays my main occupation is DJing and I do obviously mix and all I still see playing records as a sort of performance and I like that. I like to read the crowd and feel their energy and make them dance as much as I can but I also like to play with the surprise factor and keep things exciting. I want each set to be an unique experience and I rather fail than being boring. And please kill me if I change my mind!

Cheers Hugo!

For bookings contact jacob@thepool-london.com

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Hugo Capablanca

The Pool at ADE

Amsterdam calling

Along with the rest of the club music fraternity (or so it seems), we’ll be in Amsterdam this week. Some great shows going on, and we might even take a meeting as well!  So if you want to have a chat, drop Matt or Rob a note/call/carrier pigeon.

and the important stuff…

Harvey @ DGTL

Mr Ties plays VBX

Discodromo at Horizon

and Young Marco at Trouw for Rush Hour

And you can check out local boy Marco’s guide to the city here, courtesy of The Guardian -

Young Marco – Nightlife Reports

 


DJ Harvey – UK Tour

start the bus…

Harvey lands back in the UK later this month for a series of 3 shows.

If you haven’t already – get on the bus…

http://www.redbullmusicacademy.com/events/dj-harvey-and-friends-uk-tour

 

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Events, Harvey, Press

The Pool – On The Road With DJ Harvey

Bestival & Unknown September 2014

Few shots from last couple of weeks on the road with Harvey:

and obligatory shouts to those that made it great…

Bestival

PBR Streetgang, Hugo, Eric D, The Pachanga Brothers, Daniel Avery, Tayo, Shaun Fabric, Horsemeatdisco, Mickey, Brad & Vic (Cut & Shut Disco), Robbie & Dina and all at Bestival.

Unknown

Eric D, Optimo, Daniel, Erol & Phantasy, Shaun and Kerry (Dirty Talk), James & Gilles (SS), Harri (Subclub), Bad Passion, Man Power, Alex Backroom, Paramida, Dan & Hamish & Michelle and all at Unknown..

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Garden Festival 2014

ride the wave..

Just back from Tisno, another absolutely belting installment of the Garden Festival..  Huge thanks as ever to Nick, Eddie, Charlotte, Gail, Petra, Damo, Dave and all the festival family who made it such a great few days.

Also great music from Greg & Marco, Tom & Bonar & Justin V, plus:  high fives to Rob, Cecilia, Scandinavian/NYC rave squad, Ben UFO, Dan, Matt & R$N steppers, Duncan, Tiago, team Paqua, the sound guys, the dancers and everyone we met, hugged, tripped over along the way!


The Pool welcomes Jan Schulte!

willkommen

 

How are things in Dusseldorf? What are you currently up to?

Things are working up in Düsseldorf! A lot of new projects are evolving at the moment, in the city itself, or around the city.

I am still recovering from my ride to Amsterdam last weekend, where we celebrated the release of Montezumas Rache’s “Wu Du Wu”, had 6h Themes For Great Cities Instore at Redlight Records, and where I met Young Marco to talk about our upcoming live-show.

Do you mean projects in general or music related projects?

Music related projects, there are new Themes For Great Cities releases planned, a new Edits Des Amateurs release, a final release on Verein freier Menschen & Musik is in the making, our Mülheim (which is a small city nearby) friends Tim Schumacher and LL DJ are planning to setup a new label, Lucas from Stabil Elite has a new project called “Bar” coming out soon as well.

And thats not even all!

Sounds very healthy. How is the music scene in Dussledorf? Does Dusseldorf have a ‘sound’ that can be traced back to the city?

The places to celebrate music and especially that Düsseldorf sound are rare, but there is a eruptive underground scene that relates to the musical history of the city. The Salon Des Amateurs, run by people like Tolouse Low Trax, Lena Willikens, Marc Matter was and still is an important spot for the more open minded listeners.

You can hear everything from early Kraut Electronics, underground Neue Deutsche Welle dance tracks to “future-classic” experimental dance music.

Otherwise it is kind of hard in Düsseldorf to celebrate electronic dance music as the venues are vanishing at the moment, and the city shows little interest in keeping a vital scene.

But nevertheless a lot good people come up at the moment and push things!

Could you tell us more about the infamous Salon Des Amateurs?

The Salon Des Amateurs is located in the 1960s Beton building called “Kunsthalle Düsseldorf”, in the daytimes the Salon acts as the café to the museum.

In the beginning, which is almost 10 years ago now, it was generally used more like a bar, but over the years and because of the special music programm it evolved more and more into a club with extremely crowded weekend nights.

I still get goosebumps remembering the first nights I spent there, with DJs like Gordon Pohl (Musicargo), Tako (RDR), Beppe Loda, I-F and of course the hosts that I mentioned above, and lots of more unforgettable evenings.

Those nights showed me that its possible to create dancefloors with music that I never dreamt of seeing a whole room go crazy on it.

The first time they asked me to play I was so excited I had shaky fingers all night long!

You are now resident of the club. How often do you play there and do you have a music policy?

Although I was so mad excited the first nights I was invited to play, or maybe because I was so excited i got into the team really fast. Nowadays I am more or less doing one evening in the month, alongside guest DJs, or with Tolouse Low Trax who hosts most of the saturday nights. 

We also sometimes host special ambient or jazz or other experimental nights during the weekdays, but it’s more for us to show new record discoveries, or play out new stuff in the making.

My music policy is a classic “There-is-no-music-policy” policy, haha. I try to sort music by my emotional impression of it, and not by genres or styles.

I am also free to very diverse pitching ranges while I DJ, it all depends on the evening and the spirit of the moment.

Care to share 5 of your Salon favourites from over the years..

“Lobt Noch Irrt – Heizgas Meter”

This one was Tolouse Low Trax’ big salon hit,the whole room went mad everytime this was played, amazing memories

“East – Agymosas”

Another track played by Detlef (Tolouse Low Trax) that i never heard raising a dancefloor like in the salon.

“A.R. Machines – Globus”

I played this out at one of my first evenings in the Salon, and the whole room was jumping, since that moment it became a classic.

“Sparks – Tryouts for the Human Race”

This sounded like it was made for the sound system in The Salon, when the live drumming kicked in it was always some very special moment

“Plaza Hotel – Bewegliche Ziele”

At 33rpm, i think Tako played it out the first time, and it instantly became a Salon Anthem.

You record and DJ under different aliases. Can you takes us through each of these and how they differ in sound?

There was never a plan to collect alter egos, haha.. but somehow it ended up like this.

The Wolf Müller records are krauty, percussive drum tracks, that also happen in collaboration with befriended musicians. I always felt Wolf Müller not really as a person, more like a spirit that wanders around and is always there when this german tribal dance thing happens.

https://soundcloud.com/themes-for-great-cities/sets/tfgc008-wolf-m-ller-balztanz

The Bufiman tracks are my approach to four-to-the-floor orientated dance music, with more classic structures in their arrangements. I recently finished a new Bufiman EP that will be announced soon on a super nice and classic dance label!

For that Edits Des Amateurs record Arne from Themes For Great Cities came up with the idea for the name “Diskoking Burnhart McKoolski”.. as i didnt want to use my real name for edits at that time. It refers to the german label and huge german dance music distributor from the 1980s, Bernhard Mikulski.

Can you tell us about the mix you recorded for us?

I think it gives a nice overall impression of styles i like.. going from spiritual ethno-dances to amazing music from friends like Harmonious Thelonious, containing some of my own edits, a very drum orientated track by Circuit Diagramm from Hamburg, some more percussive edits, Sotofett’s Mix of “Denaji – Wuhti” and at last some local classics with Die Partei’s “Nord-Süd-Fahrt”.

What are you up to over the summer months? 

I am heading to London on June 19 for a small Themes For Great Cities special at Plastic People and a Boiler Room afternoon session on Friday 20th, already looking forward! : http://www.residentadvisor.net/event.aspx?603969

Next big thing will be the premiere of the Young Wolf live show at Düsseldorf’s Open Source Festival, on the same stage as Dean Blunt, Panda Bear, and lots more.

Then we are also planning a small TFGC Summer Party in collaboration with indepent event calendar “suffon.de” on August 2, and I’ll also leave Düsseldorf for some very nice small hippie festivals!

And finally your ultimate Pool Party line up?

Grill Chef : Definetly the Georgian dudes that work at the Salon Des Amateurs, Alex, Kakha, Beso and Luca. They are pro-level at the grill.

Manning the Stereo : Tako from Redlight Records & DJ Armin Schmelz from Tingel Tangel Vienna, my favourite Discjockeys.

Serving Cocktails : The team from the King Georg Bar in Cologne, they know how to get you intoxicated!

Thanks Jan, have a listen to Jan’s mix for The Pool here:
https://soundcloud.com/the-pool/jan-schulte-pool-mix

Catch Jan in London on Thursday at Plastic People and in the Boiler Room on Friday.http://www.residentadvisor.net/event.aspx?603969

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Greg Wilson Chats to The Pool About His Brand New Mixtape and Record Label

Sounds of the Summer

What was your creative process for compiling this mix?

Kermit and his writing partner Luke (EVM128) had already recorded 7 Blind Arcade demos, and it was those tracks that sold me on the project. I then listened through a number of works in progress, stuff without vocals, or with only part of them recorded, and picked out another 5 tracks. With the mixtape idea in place I’d already planned to contribute additional material, via a number of edits I’d put together that complimented the Blind Arcade vibe, creating sections for Kermit to lend his vocal to – also Katherine and Carmel Reynolds, who I’d just recorded with for the first time (they appear on the about to be released Schooled In The Classics 12″) , for I was sure they could make a telling contribution, which they most certainly have, plus Tracey Carmen, who I’ve worked with for many many years (and also happens to be my wife). Some of these edits I brought to the table, others were Kermit’s suggestions – eventually half-a–dozen of these would make it onto the finished mixtape.

It was then a case of 3 pretty intensive days recording in Derek Kaye’s studio. Intensive in a good way though, working, for the most part, quickly and decisively, the ideas really fluid. We even found time to record a new track Kermit had just written, the 19th and final one to make the cut,  and very much the joker in the pack – ‘Red Stripe And A Spliff’. We then systematically mixed the stuff off, again without dwelling too long on things – the nature of a mixtape being that there’ll be those rough edges. It needed to retain some of its knockabout feel, for this is part of its charm, whilst at the same time we wanted to add further depth, so we paid particular attention, where possible, to the bottom end. It needed that fuller flavour.

Eventually I had all the individual tracks and began the jigsaw of piecing them together into a whole, connected via the transitions I created. Again, I was able to work fairly quickly, and, fortunately,  didn’t really get bogged down at any point along the way.

The mixtape was completed on May 28th, the day Maya Angelou died, with some of her wise words the final addition. It was a fitting conclusion – I knew it was complete then.

We love the artwork for this mix over here at The Pool could you tell us a bit about who created it?

The original hooded man image is from a San Francisco poster by Bonnie MacLean from the psychedelic summer of love in 1967. Dominic Mandrell, who did the Schooled In The Classics coat of arms, adapted it, adding the appropriate title within the purple globe. For the cassette inlay idea, which includes the tracklisting, we went for a distressed look, inspired by a well worn  inlay I’d seen of ‘Revolver’ by The Beatles online.

The project seems to be harnessing some of the energy of the 60′s psychedelic movement. Was that a big influence on the project? How did you go about channelling that into the mixtape?

I’m something of a 60′s obsessive – it’s been a main area of interest for me since I began to devour everything Beatles, not long after I’d packed it in as a DJ in the mid-80′s. I remember the taste of those psychedelic days back in the 60′s, which I experienced as a child, and although the full Haight-Ashbury trip never quite reached New Brighton, where I grew up, its influence was clear in the music of the period – this strange otherworldly flavour that even, sometimes, made it into straight up pop records of the time. The title alone, ‘Blind Arcade Meets Super Weird Substance In The Morphogenetic Field’ evokes those times, although, in reality, this was inspired by the Dub classic ‘King Tubby Meets Rockers Uptown’, plus a nod to comic writer Alan Moore (‘super weird substance’ being a term he mentioned in an interview, as a quantum physics expression relating to information), and the man who came up with the theory of morphogenetic fields, Rupert Sheldrake. So yeah, there is certainly a sprinkling of psychedelic fairy dust throughout the mixtape, but there are also definite links to the second summer of love in the late 80′s, including that free spirited De La Soul album ’3 Feet High And Rising’, which was the soundtrack of the summer months exactly 25 years ago. I suppose it’s this summer of love connection that relates strongly to the mixtape – we very much see it as something which totally comes into its own with a few rays of sunshine, an addition to the summer soundtrack for sure.

Could you tell us about how Howard Marks came to be involved in the project?

He’s a friend of Kermit’s. We recorded the part from Genesis at my house, which slotted it in at the intro of ‘Universal Prayer’, Kermit’s ode to the green stuff. Howard was obviously the ideal person for this role, given his history. We also recorded Kermit’s poem, ‘Lies And Other Fools’ that night, which symbolically draws a line under his murky heroin addicted past, which became public knowledge during his Black Grape infamy of the mid-late 90′s, the period when he was last in the limelight. We put this out as a limited run single sided 7″ for Record Store Day, and it’s in complete contrast to the positive life-affirming qualities of the mixtape. Not a comfortable listen, but a necessary symbolic part of our process. Kermit had, of course, nearly died, having contracted septicaemia from a dirty needle, having to retreat from the music business for the following decade whilst his health deteriorated and he waited to have a heart operation that had resulted from the infection. Thankfully it was a complete success, setting him off on the road to redemption, and culminating in this latest work.

You used to manage Kermit and the Ruthless Rap Assassins. Do you have any anecdotes you can share with us about that incredibly fertile time for British music, especially in Manchester?

The Assassins were as Manchester as they came, but they didn’t have that baggy thing going on, and they happened to be black, which sadly worked against them, and meant that lesser bands were getting more airtime because they fit the Madchester stereotype of the time. In context to the mixtape, what was interesting is that, on the day it was completed, by total coincidence I came across an online review of the ‘Killer Album’, from when it was re-issued a few years back. There’s been some great stuff written about the Assassins down the years, but this guy, from Switzerland, had really got what we were up to back then, and articulated it so well. It was a very karmic thing to be reading on that particular day, and sums up the Assassin’s role in the Manchester narrative of the late 80′s / early 90′s:

http://www.rapreviews.com/archive/BTTL_rra-killeralbum.html

 Structurally this mix reminds us of a classic Hip Hop mixtape. Is this what you were trying to capture? Is Hip Hop still a big influence on your work?

My relationship with Kermit is tied in with the evolution of the UK Hip Hop scene back in the early-mid-80′s. He was one of the kids that used to come to Legend during my time there, and, even though he’d started out as a Jazz-Fusion dancer, was a big fan of the Electro direction I took during 82/83. He was one of the founder members of Broken Glass, the now legendary breakdance crew, and the first time he recorded was on the Broken Glass track, ‘Style Of The Street’, which I produced in 1984 for what turned out to be the ‘UK Electro’ project. We also, of course, worked together when I managed / produced the Ruthless Rap Assassins, so, as you can see,  our musical relationship has Hip Hop at its very core. Mixtapes are very much a part of the Hip Hop approach, so this felt like the right way forward for Blind Arcade to be introduced.

It’s great to see Kermit making such a triumphant return having been seemingly lost to the demon of addiction. Could you tell us about how it’s been working with him again and accessing his creative energy that seems to have lain dormant for too long?

He’s an older / wiser version of the guy who I last worked with during the Rap Assassins days, who, was slipping deeper into heroin addiction towards the end of our association. We remained friends after it had all fallen apart, and I was touched when, a few years later, he came to Liverpool, during a particularly difficult time for me, to play me a cassette of the Black Grape album, just ahead of the final mixes, and ask my opinion. I was bowled over with what I heard, and the album would go on to top the chart, catapulting Kermit to pop stardom. With Kermit and Shaun Ryder both junkies, Black Grape was always going to implode at some point, but they had a decent innings, and for that golden period they were the hottest band in the country. After that he launched a short-lived project called Big Dog, before distancing from the business to sort out his health issues and await the op. Once he realised he’d been given another chance in life he threw himself, like a man possessed, into writing new tracks and also poetry. What impresses me so much is that he’s been able to approach things with such positivity, accepting his past and embracing his future, whereas lesser people may not have been able to shed the negativity of former ways, or been able to shake off the anger of what they may have regarded as wasted years. Having crawled out of the abyss, Kermit has picked himself up, brushed himself off, and re-entered the fray with a smile on his face, not a scowl, and looking a million dollars, which has got to be a source of inspiration for anyone who’s struggling in life, be it with drug problems or otherwise. It’s that classic tale of redemption, which has been told throughout time, but given a contemporary context here. I have to say that it’s been a pleasure to work with Kermit again – I’ve been able to feed off his seemingly inexhaustible energy, and we are very much in accord with regards to how to move the project forward.

Could you explain to us how Blind Arcade came together? What was your role in the formation of the new group?

It was the result of Kermit moving to Chester a few years back, for this is where he met Luke / EVM128 (who’s subsequently moved to London). They’d also brought in vocalists BB. James and Amy Wilson on some of the demos, BB. taking the lead, to great effect, on ‘Give It Away’. I’d initially declined Kermit’s invitation to come onboard as producer because I was too busy as it was, with my DJ work and the rest of it, but, once I’d heard what they were doing, that all went out of the window. I had to get involved, for this is what I’m all about – you rarely get the opportunity to contribute to a project of this type of quality, so I wouldn’t have been true to myself had passed the offer up.

 

This mixtape also announces the beginning of a new label for you, Super Weird Substance. Could you tell us a bit about what you would like to achieve with the label?

I just want to put out good music that people enjoy, both tracks that are commercially accessible, and those which have more of a cult aura. At the same time we want to develop the live side of things, either stand alone Blind Arcade gigs, or full Super Weird Happenings, a series of which we’re currently planning for a handful of cities in the autumn. Moving onwards, we want to release an official Blind Arcade album, combining tracks from the mixtape that we’ve worked further into and new recordings – this is looking forward to 2015, when we also want to have a greater presence for both Blind Arcade and Super Weird Substance on the festival circuit, both in the UK and Europe.

Thanks Greg!

Listen and download the new mixtape here: https://soundcloud.com/gregwilson/blind-arcade-meets-super-weird-substance-in-the-morphogenetic-field

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The Pool at Wildlife 2014

Low Life

Wildlife 2014

Over the course of a blisteringly hot weekend in the jungles of Dorset the venerable clubbing institution Lowlife performed the following magic trick…..

With weather on the warm side and everyone in full party prawn mode the Friday started off in the big top with a wonderful set of easy glide disco and some cracking edits from Lowlife’s own Misiu. Live music followed from Sexual Chocolate which saw party staples covered with an unctuous funky coating that the crowd devoured with gusto.

Pool boys Bob the Talc and Spice Route then had the honour of spinning a few; a light and airy spritz taking in PJ’s classic rub of the Orb as well as a few choice platters from the roster. Next up was our man Nice Guy Henning aka Telephones. As well as charming half the festival with his Nordic clemency Henning had packed a strong bag of plump 90’s piano clappers, exotic holiday chuggers and a rather sensuous dub of Marianne Faithful ‘Sex With Strangers’. The crowd were rapt with it and by the end of the two hours everyone was primed for Mr Fulton.

Closing things out in the big top Maurice beamed from ear to ear as he worked through house and disco classics with occasional dalliances with darkness. As the big top closed the throng moved in to the woods to the smaller woodland party hut. Ray Mang held court with aplomb whilst the Pool were in attendance giving a master class in funk energy.

Saturday began with Nancy Noise laying out a delightful aural brunch whilst the Pool leafed through the broadsheets with a frothy. It proved to be a personal highlight with rousing latin numbers rubbing together with Jean Luc Ponty album cuts and smile inducing cover versions. Later in the afternoon Gatto Fritto treated the masses to a suitably catholic collection of afro, disco and pop. Smiles were broad and a dance floor led by the caped crusader Horton Jupiter got loose and limber.

Next up the man with the most Balearic pair of trunks in the world Phil France took to the stage to perform songs from his record the Swimmer. An accomplished live band treated the crowd to a lush sound that left most eyes pricked with tears.

Later in the big top the lowlife overlords took the helm. From Frank Broughton’s buoyant selection of wonky discoid gems through to Mr Brewster’s tender trawl through lowlife classics old and new. The crowd, increasingly feral but nonetheless charming, were in fine voice and some vigorous shapes were cut.

On towards the pleasure hut and Piers H from the Soft Rocks fam sprang open a bulging wallet of house in many different shades. Moving though moments of deep tribalism, jacking territory including the Talc’s fave Armando jam and of course the money shot of Justin V’s mix of Talking Jungle. Mr Tantum took the reigns after this and a similarly bashy selection raged on including Motorbass Ezio.

The Sunday dawned and Mr Cook treated everybody to a sterling set of reggae breakfasters that made every little thing alright. It was at this point that the Pool had to repack the wagon and make haste to Mantua but reports tell us that Matthew & Jolyon put in a wonderful stint to close out- gutted to miss out and something for the to do list next year!

Big thanks to Lowlife for the hospitality!


Justin Vandervolgen – Open dates

play by MY RULES

Justin Vandervolgen UK/Europe

Available dates on the forthcoming Justin Vandervolgen tour of UK/Europe.

Please get in touch with any enquiries. Mid-Week and Sunday options very welcome.

 

Friday 20th June : Bristol

Saturday 21st June : Open

 

Friday 27th June : Stockholm

Saturday 28th June : Open

 

Friday 4th July : Garden Festival

Saturday 5th July : Garden Festival

 

Friday 11th July : Lisbon

Saturday 12th July : Open

 

Friday 18th July : Open

Saturday 19th July : Open

- – - – - – - – - – - – - -

For a taster and to hear what Justin has been upto check the links below.

My Rules 02 / J.V Soundcloud / J.V Facebook / J.V Podcast