Tagged With ‘The Pool’

Garden Festival 2014

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 at Wildlife 2014

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

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

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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

Greg Wilson Summer Schedule – 2014

Greg’s busy summer kicks off this weekend, catch him at a spot near you over the coming months..

Pleasure swell…

A little photo diary from Harvey’s recent European jaunt, hope you all enjoyed if you turned out.

And yes that is Glaswegian sweat dripping from the ceiling…

Back in June for Meltdown Festival in London…



Take a ride on Mr Sen’s Ghost Train..

We at The Pool love a trip to the fun fair and when we last visited we took ourselves for a fright on Mr Sen’s Ghost Train.

We speak figuratively of course but for those in the know this new single from Richard Sen dropping on Especial comes with all the eager anticipation of your first whirl on the dodgems…

A swirling vortex of cavernous proto house drums, ebm throbs and discombobulated apache chants ‘Ghost Train’ has caused quite the storm already with Hugo Capablanca, Mark E, Andrew Weatherall, Cosmo Vitelli and Bad Passion already heavily repping the test pressings that went out at the start of the year.

On the flip a more gouged out dub sits alongside ‘Meteor Shower’ a workout that sees icy trills of keys marry with pounding percussion hits and searing bursts of white noise.

To celebrate Mr Sen’s return to the fair we have 10 copies of his fantastic UK house compilation cd ‘This Ain’t Chicago:  This Ain’t Chicago: The Underground Sound Of UK House & Acid 1987-1991’ to give away.

To grab one simply email thomas@thepool-london.com with the answer to the question…

“Which friendly ghost had a film made about him starring Christina Ricci in 1995?”


Music, Press, Richard Sen

a quick chat with Harri & Dom..

In advance of Harvey dropping in at Sub Club in Glasgow this weekend, we caught up with main men Harri & Domenic for a very quick chat…


Hi Guys, thanks for taking a few minutes for this, So… Harvey is in next weekend then. I believe he’s not played in Scotland for nearly 15 years, but have your paths crossed a great deal before?

I met Harvey last time he played the Sub Club and once I think in Plastic People, when it was on Oxford St…..so not a great deal.

I imagine the Californian surf’s a bit different than Greenock!  but have either of you ever had designs on moving somewhere with a slightly less challenging climate/different dancefloors?

Domenic lived in Barcelona for a few years and I stayed in Aberdeen for a few years…does that count ?

Following on from that, how much do you tailor your sets to the guests you have down to the club, as its been a fairly diverse selection over the years?

Just depends on the night really, usually I would try and play an appropriate warm up and not try and steal the guests thunder.

Also (and be honest now) have you had guests through where you’ve thought, ‘hmmm maybe that didn’t really work!’ ?

Most of the guests we have had generally know the score and play well. Its all down to personal taste though….just because I might not perhaps enjoy someone else’s music doesn’t make it rubbish. One mans meats another mans poison.

Obviously you’re famous for holding it down at the Sub Club since time immemorial, but in terms of travelling & playing elsewhere which I know you do pretty consistently, what other spots particularly keep calling you back?

I always enjoy Ireland, festivals in Croatia…Edinburgh was amazing a couple of weeks back. London’s usually good….everywhere really :)

DJ’ing double acts: always seem a good idea to me, enabling you to have a long piss or fall over drunk safe in the knowledge your faithful partner is doing the business in your absence! Do you guys still relish playing back to back & how do you structure it when you play away from Sub Club?

Normally when we go away, we toss a coin to see who starts first, and Domenic always wins….strange.

Obviously Sub Club’s licence is until 3am, I always thought that kind of ‘line in the sand’ (if you like) allows DJ’s to leave them ‘wanting more’ and make real end of night moments that stay with people, rather trying to pump life into a dwindling dancefloor at 9am! What’s your take on that?

I completely agree, its good to see the finishing post ahead and go for it!

You have also been doing some parties at Dance Tunnel in London recently, how’s that been going:  Lots of exiled Scots out on manoeuvres?

Yes, we had a ball at the Dance Tunnel a month or so ago, was like a Scottish reunion. The Nest in Dalston last week was also really good.

I read that the Boiler Room you guys did with Optimo got like 40,000 views or similar, Does the growth in popularity of that medium surprise you at all, and have you checked out many other BR shows online?

My son Jasper introduced me to the Boiler Room, I have only really watched Mr Gs Boiler Room. It is a concept I find hard to grasp or understand, but hey ho, I’m not complaining.

Finally, 20 years of Subculture: can you still remember the first one and any records that might have got played?

No :-P ……The saying goes, if you remember it, you weren’t there!


Events, Flyers, Harvey, Photos, Press

Sean P Interview

We chat to the oracle, aka Sean P on what he’s upto right now and his new compilation on BBE


You state the often-forgotten or played down importance of ‘Rapper’s Delight’ in 1979. Where were you at musically when this was released?

I was still into mainstream chart and radio music, but had started moving towards the less obvious disco and jazz-funk that some of my mates, particularly the older ones, were into.  This was around the time I started buying records.

What was its influence on you personally?

I couldn’t see where it was going, it’s not as if it opened doors or anything like that… but little did I know – I thought this rapping thing was a gimmick! I was too young to look for any depth or significance, it was about liking or not liking a song – plain and simple. ‘Rappers’ Delight’ was cool, slick and different. Even the wholesale appropriation of another record to base your own on was a new concept o me. I was never a B-Boy, despite developing some inclinations towards that at various times and to varying degrees – but even then, it was only about the music – I’ve never lived the life. Since ‘Rappers’ Delight’, I’ve has an on/off relationship with hip-hop and have been slow at keeping up with its many phases.

What process do you use to digitise and restore material for reissue?

Cedar Audio, they are the original and best. One day I’d like to buy their premier system, but I’d be working flat-out for about 10 years to pay it off.  Pretty much all of the material I restore is transferred from vinyl, so I always ask clients to send me the records so I can clean and digitise them myself. This way, I’m confident that all steps have been taken to ensure the best outcome. Proper system component matching, calibration and vinyl cleaning is, let’s face it, beyond many people – so I try to avoid having pre-recorded files sent to me. I’ve had bad experiences with poor recordings from clients in the past and have turned jobs down. A good recording of a trashed record can yield better results over a so-so recording of a well cared-for record. I’m interested in hi-fi – cartridges and turntables are my main focus, with accuracy in tracking, groove tracing, tonal balance and minimalisation of distortion the top priorities, hence the restoration I do.

I’m listening to your re-edit of ‘Hungry’ by Sandy’s Gang. When did you start editing tracks?

Like so many others… in the bedroom with mechanical, pre-logic controlled tape decks that paused-and-released instantly, with zero lag. I started doing pause-button cassette edits when I bought my first mini ghetto-blaster from  Richer Sounds in 1984. I wish I’d kept it, it was a robust and quirkly machine. It could record in fast-forward and rewind modes, so I learned how faster tape speeds dramatically improved sound quality, stuff like that. I used to put together medleys and mixes, disabling the erase head with sellotape to drop-in and overdub. Hours of fun.

What is your approach to editing?

I became interested in editing when I started hearing 12″ versions of chart records. Funnily enough, Chic’s ‘Good Times’ is the first long version I remember hearing and I was pretty blown away because a great record just got better with all these unexpected twists, like the bass & drums breakdown. The first 12″ I bought was Herb Alpert’s ‘Rise’ and as I knew the 45 extremely well, I listened out for all the edit points – and I did this every time I bought a 12″ of a track I knew well in its 7″ edited form. Essentially, this focus on editing comes more from reduction, rather than extension – I figured there was an art to getting a concise, three-and-a-minute version out of long-form track – whatever its length.

On tracks edited on analogue tape, you can sometimes hear a thud or a thump. This happens at even the cleanest edit points and is another marker I used to see how some tracks are shortened. Aesthetically, I try to make instrumentals out of vocal tracks, or extend short tracks in a logical, structured way – so the edits echo the original arrangement. Of course, this is all track-dependant – and the approach varies on this basis. Verses, choruses, bridges, instrumental sections and solos can get in the way sometimes. On occasion, the middle section needs extending and that’s it. It’s case-by-case.

How do you feel about the emergence of a re-edits ‘scene’ in the last decade?

I used to edit lots of tracks for fun but slowed down considerably over the past decade. To be honest, I lost the inspiration and there was so much happening on that scene, I didn’t feel I had anything special to offer. I was hearing edits of tracks that I knew well and thinking, ‘why didn’t I do that one myself’. Some of these tracks just sounded so obvious in a club or in a mix and the originals were languishing at home, forgotten about. Some edits I’ve heard completely lose the essence of the host track, which is pointless – the aim should be to enhance it.

At the same time, some tracks are rescued by doing this. And it’s easy to ignore that re-edits can be good for getting people into good records. I hear a lot of ’80s boogie influences in new records sometimes and I reckon re-edits have played a part in that.

How did Better Days Productions come about?

Dave (Lee) had an idea for a re-edits label and I suggested the name to reference the late Tee Scott, as his mixes were a big influence on both of us. The a-side and b-1 of my first 12″ on the label (Captain Sky and Vernon Burch) were edited on a minidisc recorder. B-2 was several sections loaded into my MPC 2000 and triggered in real time. This was in 1997.

Is the partnership still active?

My last 12″ on the label featured tracks by Z-Factor, Positive Express, The Voltage Brothers and Loose Joints. It sold badly and Dave suggested shelving the label, so I didn’t plan any further projects. He reactivated it later and all the releases since then have been by him alone.

Your record knowledge is quite famous, what is your musical focus today?

I was quite into jazz-funk and fusion when I started buying records and this gradually overtook everything else, so I got more into jazz along the way and that became more of a focus over the last 25 years. I still get excited when I hear a tough boogie record, though – you just feel it. It never leaves you.

Do you collect contemporary releases or are you still excavating for lost treasures?

I don’t go out of my way to explore new music anymore, I just hear things around me and take it from there. Definitely more geared towards older stuff, though – and I buy a lot of re-issues on CD. I would rather investigate unknown old music than wade through loads of new releases. That’s just how my tastes and hearing are.

How is your record collection organised?

Badly, just badly. On the floor, in piles, boxes, shelves. Nightmare. I can never find anything.

What are your plans for the rest of the year?

It would be good to get a couple of compilations out before the end of the year and I’m getting a lot of restoration work at the moment, which is keeping me busy. I had a label ready to start up a couple of years ago and the first two releases were planned, but this got waylaid and I’d like to give it a go if I get time. I was approached recently about doing some reissues, which is something I’m very keen to look into.

For all bookings contact: gavin@thepool-london.com


Sean P

Ashley Beedle joins the roster

Very pleased to announce that the legend that is Ashley Beedle joins The Pool roster this month..

For all bookings contact gavin@thepool-london.com

Full Biog here, as if you didn’t know…


You can’t talk about UK dance culture without mentioning Ashley Beedle. He’s done it all. And he’s still doing it. A true polymath, it’s harder to find an element of good music that this Bajan-British legend hasn’t been involved in. A DJ, producer, remixer, label owner, re-edit king, he’s been fighting the cause for the good groove since his musical career began in earnest in the ‘80s. For Ashley, notions of genre mean little. He’s got a deep knowledge of every style under the sun. Be it house, hip-hop, reggae, punk, symphonic soul or raunchy ‘70s rock, what matters more is if it sounds right — has the passion, intensity, funk and flavour to light up an Ashley Beedle DJ set.


Foremost an aficionado of funk, disco and house, his first forays into production got him noticed, with house/garage classics like ‘Give Me Back Your Love’ co-produced in 1988 as part of Boyz In Shock, or the later neo boogie explosion ‘New Jersey Deep’ with Black Science Orchestra making huge dents in dancefloors.  But he’s also cut blissful drum & bass with Ballistic Brothers (‘I’ll Fly Away’), techno with former protégé and Hollywood film soundtracker David Holmes as Disco Evangelists (‘De Niro’), even proto-dubstep as Jamayka Boys (‘Rastaman’). In love with all (quality) music, his productions have been a characteristic blend of his many influences, a patchwork reminiscent of his famously diverse DJ sets, which he continues to perform all across the globe.
Best known as part of pioneering house team X-Press 2, Ashley hit big with house classics ‘Muzik X-Press’ and ‘London X-Press’ and later, with former Talking Heads singer, the incomparable David Byrne, ‘Lazy’, which smashed the charts in the US (No.1 in the dance chart) and UK (No.2 national chart).

Ashley’s crafted Afrobeat electronics as Black Jazz Chronicles, soundsystem dancehall and hip-hop as Warbox, cosmic krautrock flavours as Ralph und Beedle alongside Mark Ralph of Filthy Dukes, country-soul as Mavis with folk like Lambchop’s Kurt Wagner and gospel-soul hero Candi Staton, and an incredible hook-up with reggae crooner Horace Andy for a whole album in the ‘Inspiration Information’ series for Strut.
Mr. Beedle’s had his hand in more than a share of compilations too. The last one, ‘Grass Roots’ — held in high esteem by fellow DJs and fans — saw him delve into those dusty vinyl shelves to uncover a list of personal favourites, with everything from jazzman Freddie Hubbard and soul don Willie Hutch to obscure hip-hop unit Son of Bazerk and Balearic disco fave Will Powers.

Ashley’s latest excursion — for the first time using his own name — is a series of rough, raw and bashy house EPs, ‘Yardism’, on Toddla T’s Girls Music imprint. Inspired by the new school of sub-injected house music in the UK, he’s taken shards of funky, garage and soundsystem bass vibes and refracted them through his unique production prism, attracting a fresh audience.
The latest installment of ‘Yardism’ will see Ashley collaborate with versatile ‘Neighbourhood’ producer Zed Bias, while his galactic disco project Darkstarr, with The Loft/Classic Album Sundays’ DJ Cosmo and diverse house heads Yam Who? goes from strength-to-strength, fresh off the back of an epic remix of NYC punk funk maestros The Rapture.

Remixing and re-editing is another key part of Ashley’s formidable skill set. As well as a formative early 1990s collabo with DJ Harvey re-editing The Police’s disco deviation ‘Voices Inside My Head’, and a super-hit in his 2003 funked-up reform of Elton John’s Philadelphia soul tribute ‘Are You Ready For Love?’ he’s put out club-ready versions of tons of disco, house, Balearic and funk cuts under monikers like Heavy Disco Revue, Afrikanz On Marz and Yambee (with Yam Who?), on a succession of his own labels. The most recent of which, Modern Artifacts, has been very active since its birth in 2010 with version excursions on everyone from Curtis Mayfield to Kate Bush, and most notably the zero-gravity cosmic lament of his re-lick of the sadly departed Gil Scott-Heron’s ‘New York Is Killing Me (Ashley Beedle’s Space Blues Rework)’.
There’s been more brilliant remixes of music giants, too, including a wicked version of Bob Marley & the Wailers’ evergreen ‘Get Up Stand Up’ — which saw the original vocal ride a dubbed out skank using portions of Damian Marley’s modern dancehall classic ‘Welcome to Jamrock’, and got the official seal of approval from the Marley family as well as a Jamaican release via Tuff Gong — and a rare, official remix of the Rolling Stones (‘Rain Fall Down’), that garnered praise across the board. And who can forget those classic remixes of The Streets’ ‘Weak Become Heroes’ Manic Street Preachers’ ‘Roses in the Hospital’ (his first big official remix), or Bent’s ‘Always’?

These remixes and particularly, special re-edits play a key part in Ashley’s DJ sets. In the grand tradition of DJs that go the extra mile, each set from him is largely composed of fresh re-rubs and club-ready tweaks, tunes that are often cut exclusively for that particular appearance, dubplate fashion. For him, it’s not just playing tracks; his personality and passion is poured into each appearance, making it more like a set of his own productions than a standard DJ set.

The latest example of his masterful reshaping talent is Harmless’ new collection, ‘Message in the Music: The Ashley Beedle Edits’. Compiled, mixed and with additional production from Ashley, it gathers two CDs of rare and classic cuts of all styles and genres — everything from Cymande and MFSB to Family and Al Green — all given a distinctively Beedle-esque re-spray to make them work for today’s floors.

Producing for other artists is yet-another string to his bow. Having lent his considerable studio abilities to great vocal talents like Shara Nelson and Gabrielle, he’s currently working with the Latin guitar genius behind classic covers like ‘Golden Lady’ and ‘California Dreaming’, Jose Feliciano.
And his DJing — the thing that started his career on his inimitable path — continues on unabated, across the UK, Europe and beyond, while a much-anticipated new album under his own name is in the works. It seems there’s little Ashley hasn’t already done, then. But he’s bound to keep surprising us.



Ashley Beedle

for whom the bell tolls…

The Pool is delighted to beam in with a couple of bits of news from recent signing Bell Towers.

First up Rohan will be playing alongside UK electronic music guru Andy Blake at the venerable Wavey Tones party tonight at Peckham’s Bussey Building.

Wavey Tones stands out as an exciting prospect in the plethora of clubnights in the capital city. A pleasingly catholic approach to booking from the dance music community has seen previous bookings range from the dubwise frequencies of Glasgow’s  Mungo’ s Hi-fi through to the frenetic rhythmic exploits of Chicago’s DJ Spinn.

In addition to this Friday’s night is being held in the much praised multi level arts space the Bussey Building which promises to have far more visual appeal to it than your arrange Friday night ritzy.

Catch Rohan playing the warm up for Andy alongside Wavey’s residents Tony and The Waves and South London’s Elysia.

Secondly we  are celebrating the fact that Rohan has secured his second release on Berlin’s hotter than a tomcat with four gonads label Public Possesion. As the follow up to last years critically acclaimed Lightrail single this five track EP entitled Territory glows as the distinctive assemblage of genres we know & love BT for. Vocal recordings from 2007 are welded on to beds of swirling dance textures with nods to acid house, italo and new beat.

This should be dropping in to your stores this week…..