Artist and photographer Gareth McConnell first went to Ibiza, and Space, in 1993. He started a photography project ‘Nothing Is Ever The Same As They Said It Was’ in 2002 and has returned every year since except 2008 the year of his daughter’s birth. The project focuses around mainly British workers and displays a fascinating insight into a lifestyle of transience and innocence. Gareth McConnell will be returning to Ibiza to complete the project this summer with a book to be published of some of the work next year. We asked him some questions about his photography.
2002, Amy Nichols
I notice there’s a line in the text on your website which says your working method involves a shared and co-operative process – this is probably the first thing that captured my attention with this project. Although they are striking photographs, they appear to be taken by someone who knows their subject well. How did you go about finding these people, in the wilds of San Antonio I presume?
2003, James Wishaw
“Yes, San An. I wander about with my camera and a bunch of photos from previous years and try and persuade folk to get involved. Often I will meet someone who is really into what I am doing and they end up giving me a hand introducing me to people and knocking on doors. However I am always looking for ways to make my life easier so if anyone reading this would like to be photographed this summer I can be contacted through my website.”
2004, Genia Isayef
This set of photos is wildly different to anything else I’ve seen documenting Ibiza and it’s inhabitants. Do you feel you’re performing a role in showing not only the way people look and live, but through your work – the way they feel? They are all young, seemingly idealistic, vaguely vulnerable looking people. Are these themes you relate to, or return to in your work?
2005, Dean Ibbotson
“Yes I wanted the photos to be very different as I knew that only by decontextualizing them from the clubs the drugs the sea the sand the sex, you know the cliche, whatever, that they could actually be seen, otherwise they are just part of that mass of images. It’s also why I have taken so many and spent such a long time doing it as I want it to be considered as a serious and contemplated piece of work. There is also I suppose and element of pilgrimage in my repeated return that perhaps echos that made by my models who it could be said come to transcend at the clubs.
2006, Gemma Charters
There are different threads to the work and I don’t want to dump it all on the table but lets say on one level I am exploring the fracture between fantasy and reality, and maybe the second part of the title (a quote by Diane Arbus) alludes to that but I am interested in how things (1988 summer of love, ecstasy, Amnesia, Oakenfold, birth of rave, Shoom, Clink Street, free parties, blah blah) become mythologised and though how important all that stuff is culturally, on a personal level it can become problematic trying to place yourself within that narrative, especially when things have become commodified and regulated to the extent that they have.
2007, Luke Fuller
I know because I tried to do it myself. I first went to Ibiza in 1993 and I left 6 weeks later with no money no shoes and no passport and left (to paraphrase Jarvis Cocker) part of my brain somewhere on the terrace of Space. Perhaps my work is romantic in the sense that I am concerned less with specific subject matter or of making any particular point but more with trying to capture a particular mood or feeling – a sense of something or a recognition and I think and hope that is what binds my work together.”
2009, Nicola Heddon
So it seems you are indeed part of this narrative yourself! Thank you. Will we see you at Space this summer?
“You will indeed… as long as we can get a babysitter!”
2010, Liam Selkirk
Gareth McConnell was born in Northern Ireland and lives and works in London. He has exhibited and published internationally and his work is held in the collections of the British Council and UBS. He is a regular contributor to The New York Times Magazine, Dazed & Confused and AnOther Magazine amongst others. He has taught at various art colleges in the south of England and has spoken about his work at various venues including the National Portrait Gallery and the Tate Modern. His next monograph ‘Family. A 21st Century Love Poem’ will be published in 2012.
You can view the rest of the project (and the artist’s other work), here.
At the age of fifteen Alex Niggemann‘s older brother took him to a techno party in Düsseldorf which was a turning point for the young musician, pointing him away from the sometimes limiting discipline of classical piano and towards the world of electronic music. Since then, residencies in his home town grew to a move towards Berlin and all that great creative city had to offer.
Alex found work as a studio assistant to DJ T, running errands, capturing vinyl, mixing tracks and archiving records. This led to fellow Get Physical stalwarts Booka Shade discovering they had a promising producer in their own ranks. A lauded remix of Booka Shade’s “Darko” followed on a vinyl only release alongside Tiefschwarz and Radio Slave.
After finishing his engineering degree things began to snowball for Alex in 2008, during that summer he was signed to Supernature the home of UK duo Audiofly. They released the Black Rose EP in 2009 followed by critically and commercially successful releases on 8bit charting highly in many end of year lists.
Gigs across the globe followed and in the spring of 2010 he launched his Soulfooled label in the aim of responding quickly to artist needs and creating a platform for artists to release music quicker. The music represents Alex’s standards across old school disciplines of Chicago and Detroit orientated sounds.
Ahead of Alex joining We Love in Miami, we’ve asked him to answer our 11 Questions all about his past present and hypothetical future. You can download an exclusive mix he’s recorded, here.
Is there one book that you have read that has been life-changing for you?
Electroschock by Laurent Garnier. It totally changed my view of that glamourous DJ-life I had before.
Did your parents encourage you to work in music?
Yeah always, my Mom especially when I was I kid and wanted to learn piano. After my interests passed to house and techno music she wasn’t that happy… but my dad continued supporting me until he died unfortunately last year. Without him I wouldn’t be where I am right now! RIP Daddy!
How did you begin to work professionally in music?
It was a hobby for me until I graduated school. I had to decide what I wanted to do for living. So I moved to Berlin and started to study audio engineering to increase my technical knowledge about producing music. When I did the remix for Booka Shade on Get Physical, I knew that I made the right decision. That was the point where I got professional.
How do you apply your past experiences to what you do today?
Everything which you have done or which has happened in the past influences your life. As I also had a lot of really bad experiences, I think this definitely made me withstand things better and reminds me to not give up until I’ve reached my aims!
Reaktion
Where is your current studio and what is it like?
I just built my new studio on the 1st floor of my flat in Berlin. I spent a lot of money to make it perfect. It is a room in room construction, with all the finest acoustic elements to make the room with all the techniques to sounding perfect.
How much have you had to consider marketing issues since embarking on your career and how has that affected your creativity?
Well, I would say I’ve spent a lot of time with updating social network sites etc. I think the internet is an important medium, which more and more becomes an entertainment medium. But at a certain point of the career which I have right now, I cant do it on my own anymore. I mean, I still post / tweet a lot of things, I think it is very important to keep in touch with your fans, but for all other things I have my press agency. I definitely think that press and social networking became one of the most important things in this business, as there are too many “self-called” DJs / artist you have to stand out from! But all the marketing doesn’t effect my creativity as I do it most of the time when I’m on flights or in hotels, where I usually don’t produce.
How would you describe your work?
Just one word! Travelling! Playing and producing isn’t work for me. I still have a lot of fun doing that.
Who were your teachers?
Me, myself and my brother, who taught me the first skills in DJing. I mean I had some idols I was always and still looking up to like Ken Ishii, Steve Bug or Emmanuel Top, but they unfortunately couldn’t teach me anything personally because I didn’t know them. So I was learning most by trial and error, until my studies where I refined my technical background.
Your home is burgled but fortunately the culprits are caught and your possessions returned to you. What would you deem a suitable punishment for the burglars?
Show them how it’s when someone steals their possessions and let them life without them for a while.
You have to make one species of animal extinct. Excluding insects, which species would that be?
As I think, that every animal has its function on mother earth, I wouldn’t do it, because the natural balance will be broken. If the question would be only about a species including us, I would say human. As we are the most useless species. The world could life in its balance better without us!
If you could spend one week in any period of history, which period would you choose?
It would be the epoch of Rococo, as in this time most of the most brilliant creative people have lived. Such as Mozart or Goethe!
Thanks Alex. Connect with him on twitter and facebook. Download his mix, here.
To continue our Where Now featurette we look towards a man who now calls Ibiza his year-round home. Mr Doris is a true original, coming up through the unwavering ranks of resident Ibiza DJs with his true to the new school sound of global funk and breaks. His diverse selections have landed him sets in venues as diverse as The End and fabric to Koko and even the Royal Albert Hall, where he has supported the likes of The Cinematic Orchestra and Kruder & Dorfmeister.
Since dropping a promo mix on the desk of our chief booker 5 years ago, Mr Doris has grown in stature to play extended back-room sets for Carl Cox, Pacha and of course We Love. Last summer his star was burning bright when he was given a promotion of sorts to host the Sunset Terrace weekly for We Love from midnight until close, some might say a risky move with a crowd more accustomed to a classic high-energy house sound. It turned into an unexpectedly pristine display of musical knowledge and brought some much needed dubby light-heartedness to a time of day when things can get a wee bit moody. Give that mix a listen and you’ll know exactly where we’re coming from. Mr Doris, take it away…
Over the past few winter seasons you’ve set up shop everywhere from the East End of London to Bahrain. This year you seem to have settled down in Ibiza, you’ve even got a cat. How is that working out for you?
It’s true… I have led a bit of a nomadic lifestyle (or a hobo’s, depending on the way you look at it) for the last 11 years. The only recurring destination seems to have been Ibiza – and over the last 5 years myself & my partner in grime (fellow We Lover… Roxane Barcelo) have realised that this is the place for us (for now at least). This winter is turning out to be the most productive (literally) in a long time as I have finally got back in the studio after a 5 year hiatus, collaborating on many different projects with many different artists. I’ve also had time to compile and mix a new compilation album ‘El Chiringuito‘ that will be released at the start of May in CD format in stores as well as through the usual online sources (iTunes, Beatport etc).
Productivity aside I have never felt more at home (hence the new cat) as I do at the moment here in Ibiza, it’s a truly beautiful island with a nice year-round climate. However like any island I do believe it’s possible to go a bit stir crazy so I’ve been lucky enough to have a few great gigs in the “real world” to keep me sane.
Our house, in the middle of our street
How does it feel to be one of the most in-demand and busiest DJs in Ibiza? We’ve seen you everywhere from beach-shacks to super-clubs, there’s even claims of sightings at two places at once. Does man start to meld with machine after DJing for more than 60 hours per week?
The last 3 summers in Ibiza have been incredibly hectic – I got Tony Hart & Neil Buchanan to create a life-size cardboard cut-out of myself (complete with puppet strings) so I could keep up with the work load… luckily it seems that only you noticed.
Seriously though, after 6 months of pretty much non-stop music going through my ears it’s been nice to have a break from the DJing for a while but I wouldn’t change anything for the world, it’s just nice to do something I love and be appreciated for it at the same time.
Doris n' Mo'Funk
From what we’ve seen, yourself and a certain Mr Mo’Funk had it ‘right off’ on the Sunset Terrace this summer, bringing a new sound to a new audience once the high-energy house music had settled down. Is it important for you to be more than a bit different to the rest of the club, and how do you see things developing next year?
Last year on the Sunset Terrace for We Love… was one of the highlights of my summer and my career as a whole – added to the fact it was a completely unplanned success made it all the better. When Mo’ Funk & I do our 4 deck show we really do bring out the best in each other – although I still have a few things to teach him… ;-)
When it comes to being different it’s just the music I enjoy mixing the most and if that’s any different from anyone else then it’s unintentional. If it’s been successful then I would probably contribute that to the fact that the musical scope of the average Ibiza club goer in general has seriously expanded in the last few years.
Next years plans are hush hush but big nonetheless… all I can say is that there will be a lot of incredible artists (including a couple from my mix playlist) making their Ibiza debut at We Love… Sundays at Space.
Many thanks as ever to the consummate professional Señor Doris. Check out his official website, here.
For us there is no better sound than Funktion One. Powering the Space Terraza since 2000 and later taking over the whole club, Funktion One are responsible for the sound of We Love… Space. Fidelity, depth of sound, power and functionality are all paramount in their design. Below, Tony Andrews, owner and designer of Funktion One airs his gripes about the slippy slope the MP3 generation is pulling audio quality down. We couldn’t agree more.
A genuine crowd favourite and stalwart contender in the Discoteca, James Zabiela has moved into Terraza territory over the past couple of summer seasons at We Love Space, which in his own words “feels like a promotion”. There are few artists we could claim to have such an integral force in terms of the sheer energy and excitement they bring to the table. For this reason, we’re bringing James and his technological gusto to Ministry of Sound for part two of our New Year spectacular alongside Joris Voorn and Simian Mobile Disco in in the main room on one of the best sound systems in the world. Read more about the event here.
In other Zabiela related news he is currently nominated for top Essential Mix of 2010, a “lush soundscape which cleverly weaves in, and takes inspiration from, Duncan Jones’ movie Moon.” You can vote here. We reckon it’s between James and Four Tet for the top spot, both brilliant mixes as it happens.
Over to you, J Z.
Is there one book that you have read that has been life-changing for you?
No, but I did read Russell Brand’s ‘Booky Wook’ surely the greatest piece of literature since Shakespeare.
Did your parents encourage you to work in music?
Yes, they bought records and my first turntables.
How did you begin to work professionally in music?
I’m not sure at which point I’d say professionally but my first paid gig was for £20 which I was more than happy with.
How do you apply your past experiences to what you do today?
I think I learn something every time I play. No two audiences are the same.
Where is your current studio and what is it like?
It’s in my attic in Southampton but a lot of the stuff I work on is done on the road on my laptop.
James
How much have you had to consider marketing issues since embarking on your career and how has that affected your creativity?
I never thought about that type of thing really and I don’t like that side of it, I just wanted to play records but since the explosion of social networks it means it’s become a competitive place if you want to stay ahead. I wouldn’t say it’s effected my creativity directly but for a while I was spending so much time on these sites keeping them updated and answering every query it took time from my days where it could be beats. I miss the days when I just had a website to update and that was it. I do enjoy a bit of twitter every now again though. That’s the easier one of the lot. Obviously there are other marketing jaunts I’ve embarked on such as giving away my mix album and working with Pioneer which has helped my creativity in a really positive way.
How would you describe your work?
Well the work bit is the travelling and all the ‘marketing’. I’d describe the DJing part not as work but as a pure joy.
Who were your teachers?
Sasha. Lee Burridge. John Digweed. Danny Howells. Now I look to more producer based artists for inspiration rather than DJs as thats an area I’m moving more into so Ramadanman, Modeselektor, Addison Groove, Midland, Apparat, Shed.
Your home is burgled but fortunately the culprits are caught and your possessions returned to you. What would you deem a suitable punishment for the burglars?
I’d make them tidy my flat.
You have to make one species of animal extinct. Excluding insects, which species would that be?
Humans. Let the machines take over.
If you could spend one week in any period of history, which period would you choose?
Next up in our series to track the movements and latest musical leanings of our summer residents in our interview and mix combination creatively titled “Where are you now…”. Ahead of his appearance in our New Year double-header the man with the most risque press shots in dance music, Jem Haynes, brought his A-game to the table during the summer, opening up the Discoteca for the likes of Ivan Smagghe, Simian Mobile Disco, Joris Voorn and Carl Craig. Not only did he carry off the tricky art of balancing energy and restraint in warming the main room, he also brought his house sounds to both terraces including a spectacular morning closing La Terraza on the night of Spain’s world cup victory. There was also time to tear up the Red Box too. He’s an uncanny ability to combine moods and genres within a single set while reading the crowd that gives his sound a uniquely club orientated edge. Give the mix a listen and you’ll see what we mean. It’s a fine assemblage of beats, loops, breaks and you can download it in hight quality MP3 from his profile page.
So while you listen… Jem Haynes, where are you now?
You spent the summer either lolling around in the sun or playing music for thousands at Space, now you seem to be spending a lot of time in what you refer to as the “rave cave”. Is this your form of hibernation?
Hibernation or studio rehabilitation whatever you want to call it! The Rave Cave is where I produce and engineer all the music for our label Loop Recordings. It’s situated in the basement of Martin’s house and has a great vibe to it. The room has been decked out with some brilliant early 90s (rave flyer) style paintings on the walls as well as being equipped with pretty much everything we need to have a good time down there! I didn’t have a studio space in Ibiza so I used to sit in the sun with my laptop and headphones on and put down ideas after I had played at the club on Sundays. That’s usually the time when I have new ideas about beats, bass lines, melodies or edits of tracks that go down really well at the club. I would come back into the villa and someone would always say “Jem’s brown..” after sitting in the sun working on tracks for ages, so I started using that as my alias for the cheeky edits I do. A couple of them are sandwiched in this mix I did with the new Traktor S4 controller, which is a great new piece of equipment that enables you to play lots of loops, trigger samples as well as playing some strange pads and whooshes along the way! This is pretty much the start of a live setup which I’m keen to expand on next year, adding Ian and Martin into the mix.
Cave of rave
You’ve been using the aforementioned rave cave to produce tracks for your new label which you are running with Ian C and Martin ‘Smut’ Wood. How is that dynamic working out for you?
It’s working really well, surprisingly! I am the Loop Recordings studio engineer and produce tracks with Martin and Ian, as well as producing my own tracks. Ian is the resident drummer / internet tech dude and Martin plays guitar and DJs as well. We all performed together for the first time on the Sunset Terrace last summer, with myself and martin on four decks and FX and Ian on his Roland V drums and percussion. We had so much fun and a got a great crowd response, so I wanted to take it a step further and create a live show making the most of our different musical abilities. It is a work in progress so watch this space.
Mug loop
On tour with We Love you’ve had the chance to take in some pretty far flung places, what really happened in Montenegro?
Im ashamed to say nothing too rock n’ roll! We didn’t even drink a bottle of vodka between us. Myself and Andrew were absolutely blown away by the venue which overlooks the whole city of Montenegro and holds 2500 people on a tuesday night. Add to that some very expensive lights and lasers, some bikini clad girls dancing in a spa pool and a few dodgy looking eastern european soldier types lurking in the vip area… I think we probably made the right decision!
Heidi has quickly established herself in Ibiza endearing herself to fans at We Love Space and fellow artists and DJs alike. She currently holds down a monthly slot with the In New DJs We Trust show on BBC Radio 1 where she gets to interview her favourite up’n'comers while showcasing the latest and greatest from her passion for booty-shaking techno, house and disco.
There is a ‘Varsity Workout’ mix you can download on her profile page to listen while you read, or why not check out her latest show on Radio 1 which is still available on the iPlayer.
Heidi also featured in our favourite video of the summer, have a look at the bottom of this post. With that, Heidi, it’s over to you…
Is there one book that you have read that has been life-changing for you?
I was really into reading biographies for a long time then it all got a bit same same for me, musician turned drug addict who turned their life around… blah blah. Fun to read and interesting but then I got bored and my friend turned me on to David Sedaris. I absolutely love this guy. Hilarious. He is very observant and writes about the everyday life situations and about himself and his childhood in those situations. All of his books are brilliant. I just bought the new one. Haven’t started it yet. Nothing life changing but very light hearted and they make me laugh out loud. Just what I need when I’m sitting in the airport wanting to get home.
Did your parents encourage you to work in music?
My parents were very into their music. They were quite young when they had me and my sister. They listened to a lot of classic rock, folk and blues. Music was constantly playing in our household… many times until 4am on a school night. Having children didn’t stop them from living their lives. I guess they were the reason why I became so involved with many different genres of music.
How did you begin to work professionally in music?
I moved to England permanently in 2000. Soon after I started working in record shops then in 2003 I helped open up London’s Phonica Records. That’s where I gained the knowledge and connections in the electronic music world. I sort of accidentally fell into the DJing thing. People kept saying I should do it because they liked my taste. I didn’t ever think it would end up being my career today.
How do you apply your past experiences to what you do today?
I’m not sure. I guess I just do it without thinking about it too much. It comes naturally for me. If something moves me I always gravitate towards it and see where it takes me.
Where is your current studio and what is it like?
I don’t have a studio. I’m not really a producer. I have done some music with my ex-boyfriend. We lived together and he had a beautiful studio. Full of a million vintage synths. Its fun but I prefer to be out and about. I have a hard time concentrating in a studio and channeling my ideas into one. So at the moment I just travel around and play other peoples tunes. Maybe one day my mind will calm down and I will be able to sit still long enough to make an album.
Heidi high up in the Red Box
How much have you had to consider marketing issues since embarking on your career and how has that affected your creativity?
I haven’t really had to do that seeing as I don’t really make music. The radio show I do on Radio 1 “In New DJs We Trust” speaks for me. I play what I love and have guests on that inspire me and that is my outlet. To try and bring underground dance music to a wider audience.
How would you describe your work?
Well by work you mean DJing… I would describe it as a super fun night out on the dancefloor. I love to see crowds get down old school style. No chin strokers allowed.
Who were your teachers?
I didn’t have any. I had to teach myself quickly. I went from not knowing how to mix to being put in front of 1000 people. For the first few years I was literally learning in the clubs. Yes I made plenty of mistakes but 5 years on I have figured it out. Some people might disagree but there will always be the critics. As long as everyone is smiling and dancing their asses off I have done my job for the night.
Your home is burgled but fortunately the culprits are caught and your possessions returned to you. What would you deem a suitable punishment for the burglars?
Rip all their finger nails out with a pair of pliars and then pour white spirits over them.
You have to make one species of animal extinct. Excluding insects, which species would that be?
Honestly at the moment I wouldn’t choose any animal. Our planet is suffering with enough of that thanks to us.
If you could spend one week in any period of history, which period would you choose?
I would kill to go back to the 1920′s. I’m so in love with the fashion from that era and it was a time of tremendous change in America. I wouldn’t mind popping into the Victorian age either. Well, I would like to visit most era’s before I was born. I’ve always been fascinated by history.
I think it’s been pushed into a very soft and drifty side of Balearic, where Balearic to me means anything goes that was played in Ibiza. Tracks by people like Nitzer Ebb, Industrial, slamming New Beat records, which is kind of a forgotten part of Balearic. People think of an Ibiza sunset, Café del Mar sunset sets, as being the ultimate Balearic. But if you would listen to Alfredo at that time he would be playing Chicago Acid tracks, the stuff that came out in 86/87, Garage music or whatever. It was a wide range that included some pretty heavy duty music as well as this sort of easy going stuff. – DJ Harvey
Harvey's heavenly home Hawaii
There’s an insightful glimpse into the mind of the semi-mythical DJ Harvey over at Finn Johannsen‘s blog. Tax exile? Innovator? Migrant? Expatriate? Balearic? You probably won’t get clear answers to any, but you will get sharp opinions on everything from genre definitions to globalisation. Always perceptive but often quite silly, quotes can range from the startlingly acute, “A lot of people just have what we call opinions. Who have really no stake in what’s actually going on. It’s like the squeaky wheel gets the oil. You got a guy who’s in a shitty job, who uses his job to complain about DJs on the internet. This guy has an opinion but he doesn’t dance, he doesn’t DJ and he has nothing to do except whine about his expectations not being fulfilled…” to the more frivolous, “You can drive a crowd insane with the volume control. You just turn it down and watch them get real upset. And then you turn it up again, and watch them get happy!”
He’s also got some interesting to things to say about his adopted home of Hawaii, “You can’t just go to Hawaii and put your foot down, you have to be accepted. It’s an island and there’s this thing called Aloha, which means hello, goodbye and love and is a way of living. And if you’re not prepared to live Aloha, you will not last long in Hawaii. You will be rejected like a bullet being pushed out of a body by its own organs.” Not unlike Ibiza then!
Starting his career at the Hacienda’s legendary queer night Flesh in 1983 in Manchester, Guy Williams has gone on to become a fixture of both the gay and straight global club scenes, holding high profile residencies at the likes of Ministry of Sound and DTPM and more recently at Ibiza’s We Love mega-parties at Space. Focusing primarily on house, he’s also re-embraced disco’s latest renaissance, playing predominantly classic tracks at his monthly Black Rabbit parties at We Love.
“Personally I’m really happy that disco has become big again because my musical roots are based in 80s music and disco and it definitely still is big today,” he enthuses.
“There’s also loads of really good nu disco being made which is more musical and warm and through these hard times we’re living in right now people need that. Though I still love good deep house and tech house as well.”
He’s also firmly attached to the concept of playing quality disco and house music loud, judging by a recent angry message he posted on Facebook hours after returning from spinning a high profile slot at London’s Lovebox Festival.
“Lovebox Nazi sound police take note- it’s a MUSIC festival!” he stormed, hours after the event, adding for good effect, ‘Dickwads’.
Today he’s decidedly more chilled describing the East London outdoor event as ‘an overall good experience’ and one he hopes to repeat next year.
“In general it was a good day at Lovebox but the Art Against Knives/Jezebel sound system where I was playing at kept being told to turn the music down,” he explains. “They even closed it down a few times and it really wasn’t that loud.”
Sound quibbles aside, he’s a no-nonsense, knowledgeable interviewee, reflecting his 17 year career working as a DJ, party promoter and experienced dance label executive, who though continuing to travel extensively, remains based in London for much of the year.
Skrufff: What’s your assessment of the health- or otherwise- of London nightlife right now; how does it compare to 3, 5 and 10 years ago?
Guy Williams: “Well as most people will know, partly due to the recession and partly due to people going to more live gigs and festivals and web related events quite a few clubs have closed down and nights finished in London. Three years ago was especially tough because three of the nights I’d played at for a resident for a number of years all finished, pretty much simultaneously. But there are still some great nights and parties on and a lot of pubs have become cool places to go with good DJ and cheaper prices so people will always want to go out and dance.”
Skrufff: I’ve read that many gay pubs are closing because people are meeting over the internet and via web 2.0/ mobile phone apps: how much do you see a difference in the strength of the gay scene compared to straight clubs?
Guy Williams: “I’ve long thought the gay scene has been a little on the slide for quite some time due to both the reasons you mentioned and also because of the fact that being gay is no longer underground and has become almost predictable. Though there are still great parties like Horse Meat Disco and various warehouse parties, thank God.”
Skrufff: You grew up in the Manchester suburb of Cheadle Hulme: what were you doing between school and starting DJing in 1993?
Guy Williams: “I left school in 1986 and after leaving I went straight into a telesales job which I did for a few mind-numbing years before landing a manager’s job at a clothes shop aged 19 which I did for five years. I started DJing in 1993 and when that started to really take off in 1994 I left the clothes shop job and concentrated on DJing. I also then started working for PWL – Pete Waterman’s company looking after promo for Eastern Bloc records, his dance label, before moving to London in 1997.”
Skrufff: You became a resident at the Hacienda’s legendary night Flesh in 1993: how did you land the first gig?
Guy Williams: “I had been going to Flesh since the very first one in 1990 so when I started DJing in 1993, Paul Cons, the promoter gave us a slot. When I say ‘us’ I used to DJ with a guy called David and we went under the name of Planet Janet. It was definitely one the highlights of my DJ career as Flesh was such a seminal night.”
Skrufff: Peter Hook’s recent book on the Hacienda (‘How Not To Run A Club’) is full of tales of hooligans and gangsters packing out the club and regularly causing chaos, how much did you have to navigate/ interact with those kind of characters?
Guy Williams: “I started going to the Hacienda when I was just 16 years old and it was very much a student / indie kind of club until 1988 when dance music started creeping in, as did the gangster element. I used to go to a Wednesday night called Hot, Fridays called Nude and sometimes on Saturday as well; all of them straight nights and by end of 1989 it was definitely getting rougher. The gangsters eventually started appearing at Flesh too, which was a gay night. To be honest, the gangsters ruined Manchester’s club scene. By 1993 loads of venues and nights were closing down simply because it was just too dangerous, and that was partly the recent I left and moved to London after experiencing a few dry years.”
Skrufff: Danny Tenaglia booked you for a couple of his renowned Be Yourself parties in New York 2002, how did that happen and much difference did his support make to your career and profile?
Guy Williams: “Danny was a bit of a DJ hero to me in the early nineties and I basically became friends with him and his manager Kevin. When they first asked me to play it was one of the most flattering and daunting opportunities I’ve experienced though luckily a group of friends accompanied me to New York and the gig in the event was amazing, Danny came into the booth about an hour before he was due to play and asked if I would play for longer. And to get invited back a second time was ace.”
Skrufff: Do you ever go back to your hometown of Cheadle Hulme or any old school reunions?
Guy Williams: “I never really go back there but have driven past my old house, which I loved a few times. And there have been a number of reunions which I thought about going to but didn’t quite make it.”
As part of their summer residency in Ibiza with We Love, Tirk and The Pool have pulled in their special August guests in the form of Stevie Kotey and Bottin for some interrogation. Thanks to The Loop blog for the Q & A.
Bottin, a producer, DJ and sound designer from Venice, Italy was raised on late 70s Italian disco and kitsch horror soundtracks which shines through in his imitative but always forward looking sound. His album Horror Disco goes down particularly well while cruising down the Autostrada from Milan to Turin on the way to listen to an 18 hour party of Berghain resident techno… as we did here. He shys away from the more soulful and retro elements of disco giving a warmer and less polished aesthetic than his Scandavian nu-disco contemporaries. More influenced by John Carpenter, Lucio Fulci and Goblin-esque robo-cult-disco than the sounds of late 70s NY or Philly.
Stevie Kotey was brought up in a time when definitions were looser and scenes and sounds more indistinguishable than today. As tea-boy for Audio One studios in Soho his belief in being part of the music industry was cemented – lucky us! Under guidance of his Bear Funk label a wide audience were exposed to the likes of Todd Terje, Prins Thomas and Lindstrom for the first time. When it comes to his own production, Stevie Kotey dips and delves into all things nice. Don’t miss his connection to the mighty Chicken Lips with their electro funk, dubby sounds and rocky disco. A true bear knows no hibernation.
So expect a reckless blend of retro-futuristic sounds and contemporary electronica set to light up the floor in El Salon at We Love on Sunday 22nd August. In conjunction with Resident Advisor, expect a special night all round with Carl Craig, Mathew Dear, Miss Kittin, Derrick May, 20:20Soundsystem Live, Steve Lawler, Motorcitydrumensemble and more… phew!
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Is there one book that you have read that has been life-changing for you?
Stevie Kotey: I couldn’t choose just one, different books for different times, different moods all determine whether your reading something life changing, But I suppose John Steinbeck’s Of Mice and Men and Pimp by Iceberg Slim have all had a lasting effect. Oh before I forget, though it’s not a book The Viz comic equally has had a great influence on my life.
Did your parents encourage you to work in music?
Bottin: No, there are no musicians in my family (apart for one of my uncle that plays flute). My parents did not specifically encourage me but they didn’t try dissuade me either and they bought me my first synthesizer when I was 12 (a Korg M1, the clerk at the shop told’em Pink Floyd used to so it must’ve been a good one).
Stevie Kotey: No not really, unless you’re a classically trained musician or top producer, working in music was always deemed a bit of laugh and not a real job, especially when you’re self employed. I’m sure they hoped for more.
How do you apply your past experiences to what you do today?
Bottin: I often learn my mistake and I’ve done quite a few mistakes. Like trying do music that I don’t actually feel or producing for people I don’t share a similar taste with. Now I know the only way is to develop your own trademark sound and that’s what I’ve been doing in the recent years and I do not intend to stop.
Stevie Kotey: Every minute of everyday past experiences help me to judge new situations, how to judge people you meet, when to be nice and when to be an asshole. Different strokes for different folks. There’s nothing like experience especially in music.
How did you begin to work professionally in music?
Bottin: My first record deal was for a track on Irma Records Italy, in a compilation called Sister Bossa. It had a sort of Brazilian rhythm, acoustic guitar and vocoder. Quite a strange arrangement now that I recall it. Shortly after that I started making music and sounds for commercials and websites.
Stevie Kotey: Lucked out completely, I had a good careers teacher; I studied a bit and just applied myself. You can work in music without the help of anyone, but it usually doesn’t pay well. If you want something hard enough you make it happen, but essentially I invested everything I could both mentally and financially into releasing music.
Where is your current studio and what is it like?
Bottin: It’s in Venice, I have all the gear in my apartment. I’m lucky since my neighbors work till late at night and they never complain about the screaming synthesizers. I have 8-9 synths, most of them cheap Italian machines from the late 70s and early 80s (Farfisa, Siel) among the non-Italians I have a Roland SH09 and a Moog MG-1 Concertmate. Although I believe the most important piece of equipment in any studio are the speakers.
Stevie Kotey: Well I don’t really have one, I couldn’t afford to have a bespoke studio anymore, I have a little set up at home Mac G4 (old skool) some outboard synths and sound modules. If you know what you’re doing you don’t need much.
How much have you had to consider marketing issues since embarking on your career and how has that affected your creativity?
Bottin: No marketing issues at all. I’ve been doing this type of music since a while, then when Lindstrom and all the so-called “nu disco” came out I was sort of lucky since label started wanted to sign my stuff, the same stuff nobody seems to want before. I’m very active promoting my stuff on the internet though: twitter, facebook, soundcloud… I only use those for promotion, I very rarely write about personal stuff.
Stevie Kotey: Well yes you need to promote your own shit these days but, I’ve never been one for self promotion, nothing makes me cringe more than receiving weekly emails from DJs about what they are doing and where they playing etc, surely your music and your DJ sets should do the talking for you? I’m only on facebook five months ago so I’m trying to do more, as for affecting my creativity I say less profile updating and more music making.
How would you describe your work?
Bottin: Artisan-like and restless.
Stevie Kotey: A&R, production, remixer, a thinker, bringing people together and hopefully something that will be remembered when I’m no longer here.
Who were your teachers?
Bottin: My teachers were the records of Steely Dan, Earth Wind & Fire, Claudio Simonetti, Celso Valli. I took piano lessons when I was a kid, but that was the only proper music education I got – though later (at 18) I took some jazz and orchestration lessons and I also learned a lot by playing piano and hammond organ in a big bang.
Stevie Kotey: Well my teachers are my record collection, everything I want to know about music or life can usually be found in a record I own or want.
Your home is burgled but fortunately the culprits are caught and your possessions returned to you. What would you deem a suitable punishment for the burglars?
Bottin: They will have to buy me an extremely sultry dinner at a very expansive restaurant of my choice.
Stevie Kotey: I say we get medieval with that shit, flogging in the town square. naked embarrassment of the highest order, then a t-shirt that’s say’s I’m a fucking scumbag thief that has to be worn for a couple of years.
You have to make one species of animal extinct. Excluding insects, which species would that be?
Bottin: Pigeons and people who feed them.
Stevie Kotey: I can’t wish that on any animal no matter how naughty they have been; only the big man upstairs decides who stays or who goes.
If you could spend one week in any period of history, which period would you choose?
Bottin: I would love to see Venice when it was at its prime, before the plague, Napoleon and all…
Stevie Kotey: Easy April 26th 1977 at Studio 54 Bianca’s birthday party
Thanks to Ben Terry and Matty J at The Pool London / Tirk for the original article at their blog The Loop. More 11 Questions here. For a little taste of something to expect from Bottin and his horror disco roadshow, check the video below…
Starting his career at the Hacienda’s legendary queer night Flesh in 1983 in Manchester, 
