Tiga's Teamed Up With Jasper James For One Of The Sharpest Records Of The Year

What happens when you cross a diminutive Canadian electro-legend with one of the UK’s most up-and-coming, chain-loving selectors? A really, really good, super stripped-back club-ready rocket that’s set to turn the entire world’s decent dancefloors into a state of absolute and unerring frenzy, the likes of which the planet’s not seen for decades.

If you want to experience that for yourself then, boy are you in luck. We’ve got the world exclusive first play of Jasper James’ absolutely stonking rejig of “Eye Luv U” by Tiga and you’ll definitely be wanting to get your hands on it ASAP because it’s going to do some serious damage in the coming weeks and, obviously, staying ahead of the curb is the most important thing about music, right?

Jasper James himself had this to say about his solid-as-a-rock remix:

“My plan for the remix was to keep it simple and strip the track right back. I wanted to experiment making more of a driving techno track. For the remix I was lucky enough to borrow my mates 909, I just played around till I found a groove that worked over Tiga’s original production. Hope you enjoy as much as I did making this.”

Jasper mate, we enjoyed it a lot, and we’re 100% sure the loyal THUMP readership are gonna be salivating all over their keyboards/phones/laps the second they hit play.

The Jasper James mix is available on February 24th via Tiga’s very own Turbo Recordings. Pre-order it here.

Get To Know The Label Who's Bringing The Most Exciting Artists In Glasgow Together Right Now

This post ran originally on THUMP UK.

“It’s no secret that the weather here, is atrocious.” Andrew Thomson is talking about the microclimate the envelopes Scotland’s second city. He’s run his label, Huntleys + Palmers, in and out of Glasgow since 2007 with the intention of bringing “the artists and DJ’s who excited me to the city for the first time.” Yet it wasn’t until H+P’s first release in 2011Auntie Flo’s Goan Highlife 10″caused a stir, that things started to look up for the imprint.

Bold, statement releases from the likes of SOPHIE and Alejandro Paz followed, making it clear that H+P wasn’t going to be a run of the mill-house operation. With their stature growing, Thomson was keen forge ideas of interconnectivity and inclusion within the citysomething that Glasgow is already famous for. Venues like the Green Door Studios have long been creative hubs for musicians and artists to explore in a collaborative manner, and that sense of kinship strikes me as important to Thompson, H+P, and the acts that circulate around it.

“When planning our Boiler Room session, I faced a dilemma…I wanted to use it as a platform to showcase as much of Glasgow’s talent as possible,” Thomson told me. “So while not being able to feature everyone on the broadcast itself, I came up with the compilation idea.”

The result was Clyde-Built, a 22 track overview of everything innovative and interesting made in Glasgow in early 2016. Featuring, amongst other treats, avant-YMOpop by Joe Howe, Italia90’s Baikal-deep house, and some good old fashioned art school detachment courtesy of the fantastically named Modern Institute, Clyde-Built was, and is, a great overview of a city that’s having something of a renaissance at the moment.

He’s decided to round off the year in by releasing Clyde-Built 2.0, another fantasticand fantastically oddrun-through the city’s musical outer limits. Inside you’ll find club music, disjointed house, and even some Life Without Buildings heartbreak shamble-pop by my new favorite band Still House Plants. Listening to it, you can’t help but imagine that London, with its vastness, its inability to read itself as a totality, could never produce such a diverse but succinct statement of intent.

Thompson, who’s spent time living in London, seems slightly damning of the place. “I was really taken aback when I moved to Londonthe lack of decent venues for a city of its size was quite striking,” he says. “This was back in 2010 and I don’t need to add any more inches to the ‘woe is London nightlife’ columns, but let’s put it this way: eight million more people live in London, and Glasgow has the same amount of decent clubs that I would happily go to/play at on a weekend as London does. Which I think speaks to more about the vibrant scene in Glasgow than it does London…”

But you know what? Fuck London. Let’s leave London out of this. To really get to grips with what’s going on north of the border, we spoke to a few of the producers featured on Clyde 2.0. Now, if you need us, we’ll be on a Megabus…

MR TC

As MR TC, Thomas Lea Clarke produces music that sits somewhere between La Dusseldorf, Suicide, and Nitzer Ebb; disturbed cosmic surf jams for basement dwelling insomniacs. Clarke’s released two EPs on Optimo Music, plays live with a four piece band, and throws the much-loved Night of the Jaguar parties down at the Art School.

THUMP: How did you come to work with the Huntleys + Palmers guys?
MR TC: I met Andy at a night at the Art School when he moved back up to Glasgow. After that we ended up seeing each other around at a lot of things and I’d always go to H+P nights so we got to know each other. At some point he sent me a message about contributing a track to the first Clyde-Built comp and that was that.

Is Glasgow a city where there’s a real strong sense of cohesion and collaboration amongst musicians?
I think the size of Glasgow means that it’s very easy for people to know everyone that’s in the scene. You get plenty of new projects starting up all the time and with things like the supergroups course at Green Door, interesting collaborations always seem to be happening.

Where do you feel you fit into the Glasgow scene?
Maybe somewhere in the crossover between electronic/club/techno/house/etc scene and the guitar/band/gig scene. I run club nights and DJ at the Art School but we’ll often have punk bands playing amongst DJs and I make electronic music that’s tinged with Krautrock and psychedelic guitar music. I also work a day job as a booker for a rock venue.

What’s the ideal night out in the city?
Every now and then you get these incredible nights where you feel like everyone you know is there, the club will be great and there’ll be a great after party that people end up talking about for ages.

Finally, what’s Glasgow’s best kept secret?
Green Door Studio!

Cucina Povera

Photo by David Boyson Cooper. Maria Rossi is one of the more experimentally-minded producers featured on Clyde-Built 2.0. Her material as Cucina Povera (which translates loosely as an Italian concept of peasant cooking) is sparse and spectral, eldritch incantations for the dispossessed. Alongside Daniel Magee, she’s also part of H+P staple Luxos. She hosts a show (Between the Acts) on the city’s Subcity Radio.

THUMP: Can you tell us what brought you and H+P together?
Cucina Povera: I initially got involved with the scene through DJing at Subcityinterweaving vinyl records with spoken word and weird field recordingsand subsequently through Green Door’s projects aimed at developing young people’s musicianship skills. Thanks to material created within this realm, H+P got in touch to release a track I co-wrote and co-produced for Luxos, a collaborative project with Dan Magee of Lo Kindre.

Is Glasgow as collaborative as it seems?
I feel as though “the scene” can be quite insular and self-serving, so unless you already have a foot in the door it can seem insurmountably intimidating to try and put material out there, to try and play gigs. But I have been fortunate enough to have lived in the city for a while, and so I have been able to get involved with projects that have helped me grow.

Do you fit into what’s going in the city? And does that matter?
I feel like a bit of an oddball chancer; I don’t have fancy equipment and I cycle to gigs with my set-up in a backpack. I work with found stuff and chance encounters as the name Cucina Povera evokes. When it comes to music, I work with what I find in the cupboard, or on walks around the citywithin the dual paradigm of precarity and serendipity.

What’s the best way to spend a night out there?
The ideal night out is a wander through the Necropolis at pitch dark, equipped with a torch, a portable recorder, cigs and a flask of mulled Bucky.

Tell us the city’s best kept secret.
Glasgow’s best kept secret is the putrid spectre of the water treatment plant at Kelvin Hall, and other, vaguely less smelly, more convivial waterway spirits inhabiting the nooks and crannies of Glasgow’s rivers, ponds and locks.

Hammer

Most THUMP readers will be familiar with Rory Hamilton through his work with Belfast bruisers Bicep, with whom he’s released a trio of heavy-hitting house records on their very own Feel My Bicep imprint. Hamiltonwho works at Sub Clubhas also, like half the city, released material on Optimo Music. “CSX1,” his contribution to Clyde Built 2.0 is a spacey rumbler, suitably indicative of Hamilton’s ability to blend whomp and whoosh with aplomb.

THUMP: What was your first run in with Andrew?
Hammer: Andrew has been a good friend for years, and that began when I started running nights in Glasgow around 2008. H+P was always an inspiration for me, from the bookings, to the artwork, to the general vibe, plus Andy always gave me lots of advice on various things that I didn’t have a clue about. More recently he lived with me for a year, overhearing a lot of the music I was making from my bedroom studio, which was the catalyst to get me involved with the label. One of my tracks actually inspired the first Clyde Built comp, but never made it on!

Is there a community spirit in Glasgow?
For me this couldn’t be more true, with Andy supporting me when I was starting my first parties, Optimo supporting and releasing my first ever solo EP, and also collaborating with artists such as General Ludd and Hi & Saberhagen. Everyone gets along and supports each other, which I am sure is common in a lot of vibrant cities. Glasgow is quite small and it has so many producers and musicians, so it’s really easy to go round to a friends place in the evening and record some music. It’s also a very social place, and from my experience a lot of people are wanting to work together. Green Door studio is another example of this, it runs funded music programmes that bring people together in an amazing way; bands like Golden Teacher were formed there and Optimo are constantly releasing music from the projects that go on there.

Do you think that what you do equates to the wider city scene?
I’ve never really thought about this, and I’m not sure how I feel about placing myself in a scene. What I would say is that there is a lot people who love to have fun and also really appreciate quality underground electronic music. Some of the people contribute creatively and some just enjoy it and participate. I’d like to think I do both.

What’s your ideal night out in Glasgow?
Starting on Friday evening: Tabac for a few drinks, Sub Club, after party, a few more pubs (Distill, Chip or The Drake), back to Sub Club for Harri & Dom, after party. That’s generally how things go.

Finally, what’s Glasgow’s best kept secret?
Everyone is pretty upfront so there’s not too many secrets left.

Wheelman

Photo by Ewan McQuillan

Stereotone is a party and label on the rise, and it’s run by a dude who calls himself Wheelman. Their ethos is simpleall they want is a night with good music for good people, and, frankly, who could ask for more? When he’s not running those nights, or releasing tunes by the likes of Bleaker, he’s making tunes like “Bus It,” a Bobby Caldwell sampling woozy-banger for the pissed-up and broken-hearted.

THUMP: So, Wheelman and H+P. What’s the backstory?
Wheelman: Was really straightforward, big bossman Andrew got in touch and asked if I had anything I’d want to contribute to the compilation. I’d been a fan of the label for years and the last Clyde Built was great so I was happy to be involved!

Is Glasgow a city where there’s a real strong sense of cohesion and collaboration amongst musicians?
In certain circles definitely, in others not so much; just like anywhere really. I’ve got a handful of close friends who make music and they give me feedback on what I do and vice versa but I wouldn’t say we have a cohesive style, we all do things pretty differently and I think we’re better off for it.

Do you feel like you’re part of any scene in particular?
It’s quite hard to say really. I quickly became friends with loads of different people in Glasgow when I started going out regularly but the way licensing laws are in the city (with clubs shutting at 3AM), as well as there being so many DJs and artists, makes it hard for newcomers to get warm up slots and prove themselves to people. So after a few years I decided to just do it myself and started up a club night (and now record label) called Stereotone which is, thankfully, still going strong and coming up for it’s second birthday!

What’s a good way to spend a Saturday night in Glasgow?
With good friends and good music.

What’s the big secret on everyone’s lips at the moment?
If someone is trying to keep a secret I don’t think they will have told me about it. If they did it wouldn’t be kept secret for very long.

HAUSFRAU

City-based artist Claudia Nova’s work as HAUSFRAU is deeply disquieting. 2014’s Night Tides is essential listening for anyone with even the slightest interest in Julee Cruise, shoegaze, and listening to minimal wave records very loudly in the dark, which, if we’re honest, should be most of you.

THUMP: How did you establish a working relationship with the label?
Hausfrau: I contributed a track of mine to the Clyde Built 2.0 Compilation. The first Clyde Built compilation was brilliant and showcased such a variety of underground Glasgow-produced talent, and I was really flattered to be asked to submit something.

Is Glasgow a city where there’s a strong sense of cohesion and collaboration amongst musicians?
I’ve only ever made music in Glasgow so I don’t know how it compares to other cities, but the musical community here seems pretty inclusive and supportive. There’s a lot of mutual appreciation across genres, as well as opportunities for newer musicians to work alongside more established acts. Nobody is unapproachable. The programs run by the Green Door Studio are responsible for lot of the most interesting creative collaborations in this city. There’s a good deal of crossover between the fields of music, visual art and performance due to festivals like Buzzcut, Glasgow International and Glasgow Film Festival. It was the latter that prompted a collaboration between Tut Vu Vu and myselfone of the tracks on Clyde Built 2.0 (“When Lovers Finally Meet”) was recorded as part of a commissioned performance at Paisley Abbey last year.

Do you feel like part of a broader scene at all?
I’m not sure if I do, but I prefer the freedom of being able to adapt and shift rather than occupying a fixed position.

How does one go about having the best night out possible?
This is a difficult question for me because I know a lot of individuals who work tirelessly to make Glasgow’s nightlife worthy of its legendary status and I feel like I’m betraying them by admitting that I don’t like going out very much. I feel anxious in crowded places and unnerved by high levels of background noise. That said, I’m not a complete hermitI do enjoy the odd gig at The Old Hairdressers or the Hug and Pint, or a screening at the CCA.

Are there any big secrets you want to let us into?
There are too many choices. I’ve lived here for almost 10 years and I’m still encountering new people and places. I don’t think it’s possible to get bored here. Maybe give me another 10 years.

Apostille

Photo by Joe Oremus

Night School Records is an imprint run by the prolific Michael Kaspiaris that’s played host to the likes of Divorce, The Space Lady, and Helena Celle. He makes music as the Apostille, and the Apostille material is a dark and damaged exploration of the farthest reaches of gutter-dwelling minimal EBM; a clanking, crawling mess of barely-there vocals, tin-can percussion, and crumpled Casio blurt. If you’re not interested in an album called Virile Strain Transmission then you’re pretty much beyond hope.

THUMP: What’s the backstory with you and Andy and the label?
Apostille: I’d been aware of them for ages. I think perhaps I heard of them through an artist I like called Mamacita. H+P approached me kind of out the blue and asked for a track for the compilation. The only thing I had was a demo I had for the next album which I was more than happy to let go.

Is Glasgow really that heavy on collaboration?`
Yes. It’s always been like that, I think. I lived in London for 10 years before moving back home and there’s definitely a different feel. I find it cheering that people are happy to work together and help each other here, often out-with a framework of capital and money. Perhaps because it’s a relatively small city, but things are more cohesive here: you get the same people going to hardcore punk shows, underground raves, independent cinema festivals. I think that’s healthy. People are very open and there are always new and interesting partnerships and collaborations springing up.

Where, if anywhere, do you feel you fit into the Glasgow scene?
Ha, God knows! I’ve always had a low-grade chip on my shoulder which I’ve been slowly growing out of, it’s comforting to be an outsider sometimes. The reality is I’ve been around long enough to know quite a few people in Glasgow who make things. I think I’m probably smack bang in the middle of being naive and excited enough with the music I make not to be jaded but also I’m active enough in putting records out and putting gigs on to be, I hope, some sort of help for people traveling to the city to play and also new people trying to make music. I’m probably completely self-deluded though.

Sell us the ideal night out in the city?
For me, making no plans, or very few. Food in Mono, Paseano, Dining Inn, Yadgar, Ranjit’s Kitchen (though not all of them in the same night), maybe a gig in The Old Hairdressers or Sleazy’s or someone’s house, a drink in the Laurieston, or Heraghty’s, maybe stumble upon The Modern Institute/Golden Teacher crew and their sound system in a tunnel or dancing in someone’s house. The likelihood is I’ll probably be putting a gig on and stressing about turn out if I’m being honest.

Go on…what’s Glasgow’s best kept secret?
No matter how many times you fuck up, it always forgives you.

Clyde Built 2.0 is out now on Huntleys + Palmers

Josh is on Twitter

Get To Know The Label Who's Bringing The Most Exciting Artists In Glasgow Together Right Now

This post ran originally on THUMP UK.

“It’s no secret that the weather here, is atrocious.” Andrew Thomson is talking about the microclimate the envelopes Scotland’s second city. He’s run his label, Huntleys + Palmers, in and out of Glasgow since 2007 with the intention of bringing “the artists and DJ’s who excited me to the city for the first time.” Yet it wasn’t until H+P’s first release in 2011Auntie Flo’s Goan Highlife 10″caused a stir, that things started to look up for the imprint.

Bold, statement releases from the likes of SOPHIE and Alejandro Paz followed, making it clear that H+P wasn’t going to be a run of the mill-house operation. With their stature growing, Thomson was keen forge ideas of interconnectivity and inclusion within the citysomething that Glasgow is already famous for. Venues like the Green Door Studios have long been creative hubs for musicians and artists to explore in a collaborative manner, and that sense of kinship strikes me as important to Thompson, H+P, and the acts that circulate around it.

“When planning our Boiler Room session, I faced a dilemma…I wanted to use it as a platform to showcase as much of Glasgow’s talent as possible,” Thomson told me. “So while not being able to feature everyone on the broadcast itself, I came up with the compilation idea.”

The result was Clyde-Built, a 22 track overview of everything innovative and interesting made in Glasgow in early 2016. Featuring, amongst other treats, avant-YMOpop by Joe Howe, Italia90’s Baikal-deep house, and some good old fashioned art school detachment courtesy of the fantastically named Modern Institute, Clyde-Built was, and is, a great overview of a city that’s having something of a renaissance at the moment.

He’s decided to round off the year in by releasing Clyde-Built 2.0, another fantasticand fantastically oddrun-through the city’s musical outer limits. Inside you’ll find club music, disjointed house, and even some Life Without Buildings heartbreak shamble-pop by my new favorite band Still House Plants. Listening to it, you can’t help but imagine that London, with its vastness, its inability to read itself as a totality, could never produce such a diverse but succinct statement of intent.

Thompson, who’s spent time living in London, seems slightly damning of the place. “I was really taken aback when I moved to Londonthe lack of decent venues for a city of its size was quite striking,” he says. “This was back in 2010 and I don’t need to add any more inches to the ‘woe is London nightlife’ columns, but let’s put it this way: eight million more people live in London, and Glasgow has the same amount of decent clubs that I would happily go to/play at on a weekend as London does. Which I think speaks to more about the vibrant scene in Glasgow than it does London…”

But you know what? Fuck London. Let’s leave London out of this. To really get to grips with what’s going on north of the border, we spoke to a few of the producers featured on Clyde 2.0. Now, if you need us, we’ll be on a Megabus…

MR TC

As MR TC, Thomas Lea Clarke produces music that sits somewhere between La Dusseldorf, Suicide, and Nitzer Ebb; disturbed cosmic surf jams for basement dwelling insomniacs. Clarke’s released two EPs on Optimo Music, plays live with a four piece band, and throws the much-loved Night of the Jaguar parties down at the Art School.

THUMP: How did you come to work with the Huntleys + Palmers guys?
MR TC: I met Andy at a night at the Art School when he moved back up to Glasgow. After that we ended up seeing each other around at a lot of things and I’d always go to H+P nights so we got to know each other. At some point he sent me a message about contributing a track to the first Clyde-Built comp and that was that.

Is Glasgow a city where there’s a real strong sense of cohesion and collaboration amongst musicians?
I think the size of Glasgow means that it’s very easy for people to know everyone that’s in the scene. You get plenty of new projects starting up all the time and with things like the supergroups course at Green Door, interesting collaborations always seem to be happening.

Where do you feel you fit into the Glasgow scene?
Maybe somewhere in the crossover between electronic/club/techno/house/etc scene and the guitar/band/gig scene. I run club nights and DJ at the Art School but we’ll often have punk bands playing amongst DJs and I make electronic music that’s tinged with Krautrock and psychedelic guitar music. I also work a day job as a booker for a rock venue.

What’s the ideal night out in the city?
Every now and then you get these incredible nights where you feel like everyone you know is there, the club will be great and there’ll be a great after party that people end up talking about for ages.

Finally, what’s Glasgow’s best kept secret?
Green Door Studio!

Cucina Povera

Photo by David Boyson Cooper. Maria Rossi is one of the more experimentally-minded producers featured on Clyde-Built 2.0. Her material as Cucina Povera (which translates loosely as an Italian concept of peasant cooking) is sparse and spectral, eldritch incantations for the dispossessed. Alongside Daniel Magee, she’s also part of H+P staple Luxos. She hosts a show (Between the Acts) on the city’s Subcity Radio.

THUMP: Can you tell us what brought you and H+P together?
Cucina Povera: I initially got involved with the scene through DJing at Subcityinterweaving vinyl records with spoken word and weird field recordingsand subsequently through Green Door’s projects aimed at developing young people’s musicianship skills. Thanks to material created within this realm, H+P got in touch to release a track I co-wrote and co-produced for Luxos, a collaborative project with Dan Magee of Lo Kindre.

Is Glasgow as collaborative as it seems?
I feel as though “the scene” can be quite insular and self-serving, so unless you already have a foot in the door it can seem insurmountably intimidating to try and put material out there, to try and play gigs. But I have been fortunate enough to have lived in the city for a while, and so I have been able to get involved with projects that have helped me grow.

Do you fit into what’s going in the city? And does that matter?
I feel like a bit of an oddball chancer; I don’t have fancy equipment and I cycle to gigs with my set-up in a backpack. I work with found stuff and chance encounters as the name Cucina Povera evokes. When it comes to music, I work with what I find in the cupboard, or on walks around the citywithin the dual paradigm of precarity and serendipity.

What’s the best way to spend a night out there?
The ideal night out is a wander through the Necropolis at pitch dark, equipped with a torch, a portable recorder, cigs and a flask of mulled Bucky.

Tell us the city’s best kept secret.
Glasgow’s best kept secret is the putrid spectre of the water treatment plant at Kelvin Hall, and other, vaguely less smelly, more convivial waterway spirits inhabiting the nooks and crannies of Glasgow’s rivers, ponds and locks.

Hammer

Most THUMP readers will be familiar with Rory Hamilton through his work with Belfast bruisers Bicep, with whom he’s released a trio of heavy-hitting house records on their very own Feel My Bicep imprint. Hamiltonwho works at Sub Clubhas also, like half the city, released material on Optimo Music. “CSX1,” his contribution to Clyde Built 2.0 is a spacey rumbler, suitably indicative of Hamilton’s ability to blend whomp and whoosh with aplomb.

THUMP: What was your first run in with Andrew?
Hammer: Andrew has been a good friend for years, and that began when I started running nights in Glasgow around 2008. H+P was always an inspiration for me, from the bookings, to the artwork, to the general vibe, plus Andy always gave me lots of advice on various things that I didn’t have a clue about. More recently he lived with me for a year, overhearing a lot of the music I was making from my bedroom studio, which was the catalyst to get me involved with the label. One of my tracks actually inspired the first Clyde Built comp, but never made it on!

Is there a community spirit in Glasgow?
For me this couldn’t be more true, with Andy supporting me when I was starting my first parties, Optimo supporting and releasing my first ever solo EP, and also collaborating with artists such as General Ludd and Hi & Saberhagen. Everyone gets along and supports each other, which I am sure is common in a lot of vibrant cities. Glasgow is quite small and it has so many producers and musicians, so it’s really easy to go round to a friends place in the evening and record some music. It’s also a very social place, and from my experience a lot of people are wanting to work together. Green Door studio is another example of this, it runs funded music programmes that bring people together in an amazing way; bands like Golden Teacher were formed there and Optimo are constantly releasing music from the projects that go on there.

Do you think that what you do equates to the wider city scene?
I’ve never really thought about this, and I’m not sure how I feel about placing myself in a scene. What I would say is that there is a lot people who love to have fun and also really appreciate quality underground electronic music. Some of the people contribute creatively and some just enjoy it and participate. I’d like to think I do both.

What’s your ideal night out in Glasgow?
Starting on Friday evening: Tabac for a few drinks, Sub Club, after party, a few more pubs (Distill, Chip or The Drake), back to Sub Club for Harri & Dom, after party. That’s generally how things go.

Finally, what’s Glasgow’s best kept secret?
Everyone is pretty upfront so there’s not too many secrets left.

Wheelman

Photo by Ewan McQuillan

Stereotone is a party and label on the rise, and it’s run by a dude who calls himself Wheelman. Their ethos is simpleall they want is a night with good music for good people, and, frankly, who could ask for more? When he’s not running those nights, or releasing tunes by the likes of Bleaker, he’s making tunes like “Bus It,” a Bobby Caldwell sampling woozy-banger for the pissed-up and broken-hearted.

THUMP: So, Wheelman and H+P. What’s the backstory?
Wheelman: Was really straightforward, big bossman Andrew got in touch and asked if I had anything I’d want to contribute to the compilation. I’d been a fan of the label for years and the last Clyde Built was great so I was happy to be involved!

Is Glasgow a city where there’s a real strong sense of cohesion and collaboration amongst musicians?
In certain circles definitely, in others not so much; just like anywhere really. I’ve got a handful of close friends who make music and they give me feedback on what I do and vice versa but I wouldn’t say we have a cohesive style, we all do things pretty differently and I think we’re better off for it.

Do you feel like you’re part of any scene in particular?
It’s quite hard to say really. I quickly became friends with loads of different people in Glasgow when I started going out regularly but the way licensing laws are in the city (with clubs shutting at 3AM), as well as there being so many DJs and artists, makes it hard for newcomers to get warm up slots and prove themselves to people. So after a few years I decided to just do it myself and started up a club night (and now record label) called Stereotone which is, thankfully, still going strong and coming up for it’s second birthday!

What’s a good way to spend a Saturday night in Glasgow?
With good friends and good music.

What’s the big secret on everyone’s lips at the moment?
If someone is trying to keep a secret I don’t think they will have told me about it. If they did it wouldn’t be kept secret for very long.

HAUSFRAU

City-based artist Claudia Nova’s work as HAUSFRAU is deeply disquieting. 2014’s Night Tides is essential listening for anyone with even the slightest interest in Julee Cruise, shoegaze, and listening to minimal wave records very loudly in the dark, which, if we’re honest, should be most of you.

THUMP: How did you establish a working relationship with the label?
Hausfrau: I contributed a track of mine to the Clyde Built 2.0 Compilation. The first Clyde Built compilation was brilliant and showcased such a variety of underground Glasgow-produced talent, and I was really flattered to be asked to submit something.

Is Glasgow a city where there’s a strong sense of cohesion and collaboration amongst musicians?
I’ve only ever made music in Glasgow so I don’t know how it compares to other cities, but the musical community here seems pretty inclusive and supportive. There’s a lot of mutual appreciation across genres, as well as opportunities for newer musicians to work alongside more established acts. Nobody is unapproachable. The programs run by the Green Door Studio are responsible for lot of the most interesting creative collaborations in this city. There’s a good deal of crossover between the fields of music, visual art and performance due to festivals like Buzzcut, Glasgow International and Glasgow Film Festival. It was the latter that prompted a collaboration between Tut Vu Vu and myselfone of the tracks on Clyde Built 2.0 (“When Lovers Finally Meet”) was recorded as part of a commissioned performance at Paisley Abbey last year.

Do you feel like part of a broader scene at all?
I’m not sure if I do, but I prefer the freedom of being able to adapt and shift rather than occupying a fixed position.

How does one go about having the best night out possible?
This is a difficult question for me because I know a lot of individuals who work tirelessly to make Glasgow’s nightlife worthy of its legendary status and I feel like I’m betraying them by admitting that I don’t like going out very much. I feel anxious in crowded places and unnerved by high levels of background noise. That said, I’m not a complete hermitI do enjoy the odd gig at The Old Hairdressers or the Hug and Pint, or a screening at the CCA.

Are there any big secrets you want to let us into?
There are too many choices. I’ve lived here for almost 10 years and I’m still encountering new people and places. I don’t think it’s possible to get bored here. Maybe give me another 10 years.

Apostille

Photo by Joe Oremus

Night School Records is an imprint run by the prolific Michael Kaspiaris that’s played host to the likes of Divorce, The Space Lady, and Helena Celle. He makes music as the Apostille, and the Apostille material is a dark and damaged exploration of the farthest reaches of gutter-dwelling minimal EBM; a clanking, crawling mess of barely-there vocals, tin-can percussion, and crumpled Casio blurt. If you’re not interested in an album called Virile Strain Transmission then you’re pretty much beyond hope.

THUMP: What’s the backstory with you and Andy and the label?
Apostille: I’d been aware of them for ages. I think perhaps I heard of them through an artist I like called Mamacita. H+P approached me kind of out the blue and asked for a track for the compilation. The only thing I had was a demo I had for the next album which I was more than happy to let go.

Is Glasgow really that heavy on collaboration?`
Yes. It’s always been like that, I think. I lived in London for 10 years before moving back home and there’s definitely a different feel. I find it cheering that people are happy to work together and help each other here, often out-with a framework of capital and money. Perhaps because it’s a relatively small city, but things are more cohesive here: you get the same people going to hardcore punk shows, underground raves, independent cinema festivals. I think that’s healthy. People are very open and there are always new and interesting partnerships and collaborations springing up.

Where, if anywhere, do you feel you fit into the Glasgow scene?
Ha, God knows! I’ve always had a low-grade chip on my shoulder which I’ve been slowly growing out of, it’s comforting to be an outsider sometimes. The reality is I’ve been around long enough to know quite a few people in Glasgow who make things. I think I’m probably smack bang in the middle of being naive and excited enough with the music I make not to be jaded but also I’m active enough in putting records out and putting gigs on to be, I hope, some sort of help for people traveling to the city to play and also new people trying to make music. I’m probably completely self-deluded though.

Sell us the ideal night out in the city?
For me, making no plans, or very few. Food in Mono, Paseano, Dining Inn, Yadgar, Ranjit’s Kitchen (though not all of them in the same night), maybe a gig in The Old Hairdressers or Sleazy’s or someone’s house, a drink in the Laurieston, or Heraghty’s, maybe stumble upon The Modern Institute/Golden Teacher crew and their sound system in a tunnel or dancing in someone’s house. The likelihood is I’ll probably be putting a gig on and stressing about turn out if I’m being honest.

Go on…what’s Glasgow’s best kept secret?
No matter how many times you fuck up, it always forgives you.

Clyde Built 2.0 is out now on Huntleys + Palmers

Josh is on Twitter

Scotland’s T In The Park Festival Has Been Canceled For 2017

Photo via Flickr user gpainter.

According to festival organizers, Scotland’s T in the Park festival has been canceled for 2017 citing logistical constraints. The festival is near an unregistered, but protected osprey’s nest and configuring the festival around the nest while creating an enjoyable experience for its guests was deemed too difficult. There is no word when the festival will return.

In a statement on their website, festival organizers wrote, “As the build up to the festival was well underway we were informed by Scottish Government Ministers that we would have to apply for full Planning Permission due to the presence of an unregistered, but protected in law, osprey’s nest. The constraints logistically and financially – that the resulting planning conditions put upon us are simply not workable.” Despite searching for a solution, organizers claim the fixes would put too many restrictions and limitations on the experience of their fans.

In 2015, the festival was forced to move from Balado, Kinross to their current location. T in the Park festival first launched in 1993 and has grown from a small camping and music festival to one of the largest and best known festivals in the world with nearly 80,000 gusts attending every year.

In July, two people died at this year’s T in the Park Festival.

Scotland’s T In The Park Festival Has Been Canceled For 2017

Photo via Flickr user gpainter.

According to festival organizers, Scotland’s T in the Park festival has been canceled for 2017 citing logistical constraints. The festival is near an unregistered, but protected osprey’s nest and configuring the festival around the nest while creating an enjoyable experience for its guests was deemed too difficult. There is no word when the festival will return.

In a statement on their website, festival organizers wrote, “As the build up to the festival was well underway we were informed by Scottish Government Ministers that we would have to apply for full Planning Permission due to the presence of an unregistered, but protected in law, osprey’s nest. The constraints logistically and financially – that the resulting planning conditions put upon us are simply not workable.” Despite searching for a solution, organizers claim the fixes would put too many restrictions and limitations on the experience of their fans.

In 2015, the festival was forced to move from Balado, Kinross to their current location. T in the Park festival first launched in 1993 and has grown from a small camping and music festival to one of the largest and best known festivals in the world with nearly 80,000 gusts attending every year.

In July, two people died at this year’s T in the Park Festival.

Images Have Emerged From First Minister Of Scotland Nicola Sturgeon’s Debut Boiler Room Set

This article was originally published on THUMP UK.

Over the years livestream behemoths Boiler Room have welcomed all sorts. Until now the trophy for the weirdest Boiler Room no doubt belonged to the dick-faced Anklepants. Until now. We thought we’d seen it all, but now we really have. Just this morning an image from a previously unseen set on the roof of the Scottish Parliament Building’s surfaced, and fuck me, it looks like a proper ecto-fuelled affair.

The full video’s yet to hit the BR site, but if the photo we’ve seen from the bash is anything to go by, this might just be the set of the decade.

Along with this image what appears to be a tracklist from the set has also leaked, which you can see below:

As evidenced in the image, Nicola Sturgeon, or simply ‘Sturgeon’, as she is labelled on the bill, played the entire set off USBs exhibiting a distinct mixing styleeffortlessly flitting between records using only her index fingers. Boiler Room Holyrood also featured sets from Eclair Fifi, Optimo and a seemingly very refreshed (and revitalized) Gordon Brown who rolled through with a rare Crystal Waters – “Bigoted Woman” dub.

Keep your eyes peeled for the full set.

Now, obviously, this didn’t happen, but Sturgeon really did step up to the decks as part of an announcement over new government measures to tackle child poverty.

Images Have Emerged From Nicola Sturgeon’s Debut Boiler Room Set

This article was originally published on THUMP UK.

Over the years livestream behemoths Boiler Room have welcomed all sorts. Until now the trophy for the weirdest Boiler Room no doubt belonged to the dick-faced Anklepants. Until now. We thought we’d seen it all, but now we really have. Just this morning an image from a previously unseen set on the roof of the Scottish Parliament Building’s surfaced, and fuck me, it looks like a proper ecto-fuelled affair.

The full video’s yet to hit the BR site, but if the photo we’ve seen from the bash is anything to go by, this might just be the set of the decade.

Along with this image what appears to be a tracklist from the set has also leaked, which you can see below:

As evidenced in the image, Nicola Sturgeon, or simply ‘Sturgeon’, as she is labelled on the bill, played the entire set off USBs exhibiting a distinct mixing styleeffortlessly flitting between records using only her index fingers. Boiler Room Holyrood also featured sets from Eclair Fifi, Optimo and a seemingly very refreshed (and revitalized) Gordon Brown who rolled through with a rare Crystal Waters – “Bigoted Woman” dub.

Keep your eyes peeled for the full set.

Now, obviously, this didn’t happen, but Sturgeon really did step up to the decks as part of an announcement over new government measures to tackle child poverty.

How Did A Beardy Scottish Folk Duo Write The Best Song About Going Out Ever?

This article was originally published on THUMP UK.

“Went out for the weekend, it lasted for ever/High with our friends it’s officially summer.”

One of the great joys of going outand by going out I’m referring to leaving the house with hedonism in mindis that more often than not, you find yourself coming back in without a story to tell. That might sound strange, but think about it: eventful nights are often stressful nights, and the stories we tell ourselves and tell othersthe stories we tell others to tell them about ourselves, as it wereusually involve an element of shame, regret, remorse. We use those stories as a crutch, a form of conversational closure. Good nights out breeze by. You’re just fucked enough, you don’t spend too much money, the DJ plays the record you’ve been hammering all week, and you slide into bed at a reasonable time and wake up the next evening with only the mildest of hangovers. That kind of night is barely an anecdote, let alone a story.

And that’s why writing about the experience of going out, of going to a mate’s house and then a pub and then a club and then back to another mate’s house, is difficult. Life’s experiences, despite being processed by them, don’t neatly translate into sentences. Not fluid ones, at least. They’re garbled and jumbled, a syntactical mess. That doesn’t stop us trying, and failing, and trying again, to turn nightlife into a successful narrative. But it’s probably why so few songs actually get to the sozzled beating heart of why nightlife actually matters.

If there’s one record out there though that does get somewhere close to replicating that strange sense of chemical imbalance colliding with natural high of being with all your friends at once, of being both unreal and as real as it gets at the same time, it’s “The First Big Weekend” by Arab Strap.

As Arab Strap, Aidan Moffat and Malcom Middleton spent a decade or so peddling the kind of folk-tinged indie miserablism that seemed to be Scotland’s predominant cultural export at the time. These were songs about cigarettes and alcohol that didn’t have the bombast of, well, “Cigarettes & Alcohol.” and this was music for the kind of people who were more likely to be nipping out for Rizla at 4AM than watching a Riz La Teef set.

Lo-fi Scottish folk isn’t normally the kind of thing we write about here on THUMP, but to date, as far we know, as far as we’re aware, no one’s come close to capturing the queasiness of a proper blow-out bender. The songthe group’s 1996 debut single, taken from the aptly named The Week Never Starts Round Here LPtells the story of a Thursday night that ends on a Monday afternoon. And then immediately starts again.

Along the way, our narrator meets an ex’s new squeeze, goes to The Arches, drinks “someone else’s strawberry tonic wine,” sleeps through the England vs Scotland match, visits an indie disco, breaks into a children’s play area, watches The Simpsons (“a really good episode about love always ending in tragedy except, of course, for Marge and Homer.”) goes to the pub and sees another ex, has a nightmare, eventually gets a bit of sleep, is introduced to a previously unfamiliar brand of super-strength cider, and then, finally (but not really finally), he finds himself gearing up for another night on the town.

20 years on from that summer, the band re-issued a slightly updated version of the track that became their calling card. Both the rejig and the original possess a a strange sense of power. They make you really, really, really want to have the weekend the narrator’s embarked on for the rest of the summer. You can feel the strange shimmer of heat-haze combining with that perfect four pint buzzthe beer-garden-four-pint-buzz is arguably the greatest any human being can ever feeland you’re there. You’re there abandoning any pretence of this being the summer that you’re going to go vegetarian, take up yoga, read Descartes and finally start giving to charity, because as good and worthy as those things are, they’re just not as good as living in a state of perpetual pissedness. Would you rather spend warm summer days indoors writing frightening blogposts about the future of the Labour party or be down the pub, six pints and two bags of peanuts in, ready to stumble into bed two days later?

The great works of art seamlessly blend specificity with universality, and “The First Big Weekend” is no different. What could have been a vague, meandering, aimless and unfocused wander through a weekend where fags replace oxygen and you start to sweat molasses thick drops of Guinness, is, instead, a rich, deeply detailed, charmingly personal account of a descent into bacchanalian madness. And that’s thanks to the specificity of the reference points: the England score, the 24hr cafe, Morag’s house, the Merrydown cider that’s 8.2% and costs 1.79 a litre, the slide that doubles up as a “urinal for drunk teens.” All these moments, the seemingly insignificant small details that are more often than not the crux of any good story, are what makes it the best song about going out ever written.

With just an acoustic guitar and a drum machine, Moffat and Middleton managed to translate the usually untranslatable, and in doing so, they created a record that’ll always speak to the part of of us that wants nothing more than to abandon life itselfwith its bills and ready mealsand slip into a summer that’s never going to end.

Josh is on Twitter

How Did A Beardy Scottish Folk Duo Write The Best Song About Going Out Ever?

This article was originally published on THUMP UK.

“Went out for the weekend, it lasted for ever/High with our friends it’s officially summer.”

One of the great joys of going outand by going out I’m referring to leaving the house with hedonism in mindis that more often than not, you find yourself coming back in without a story to tell. That might sound strange, but think about it: eventful nights are often stressful nights, and the stories we tell ourselves and tell othersthe stories we tell others to tell them about ourselves, as it wereusually involve an element of shame, regret, remorse. We use those stories as a crutch, a form of conversational closure. Good nights out breeze by. You’re just fucked enough, you don’t spend too much money, the DJ plays the record you’ve been hammering all week, and you slide into bed at a reasonable time and wake up the next evening with only the mildest of hangovers. That kind of night is barely an anecdote, let alone a story.

And that’s why writing about the experience of going out, of going to a mate’s house and then a pub and then a club and then back to another mate’s house, is difficult. Life’s experiences, despite being processed by them, don’t neatly translate into sentences. Not fluid ones, at least. They’re garbled and jumbled, a syntactical mess. That doesn’t stop us trying, and failing, and trying again, to turn nightlife into a successful narrative. But it’s probably why so few songs actually get to the sozzled beating heart of why nightlife actually matters.

If there’s one record out there though that does get somewhere close to replicating that strange sense of chemical imbalance colliding with natural high of being with all your friends at once, of being both unreal and as real as it gets at the same time, it’s “The First Big Weekend” by Arab Strap.

As Arab Strap, Aidan Moffat and Malcom Middleton spent a decade or so peddling the kind of folk-tinged indie miserablism that seemed to be Scotland’s predominant cultural export at the time. These were songs about cigarettes and alcohol that didn’t have the bombast of, well, “Cigarettes & Alcohol.” and this was music for the kind of people who were more likely to be nipping out for Rizla at 4AM than watching a Riz La Teef set.

Lo-fi Scottish folk isn’t normally the kind of thing we write about here on THUMP, but to date, as far we know, as far as we’re aware, no one’s come close to capturing the queasiness of a proper blow-out bender. The songthe group’s 1996 debut single, taken from the aptly named The Week Never Starts Round Here LPtells the story of a Thursday night that ends on a Monday afternoon. And then immediately starts again.

Along the way, our narrator meets an ex’s new squeeze, goes to The Arches, drinks “someone else’s strawberry tonic wine,” sleeps through the England vs Scotland match, visits an indie disco, breaks into a children’s play area, watches The Simpsons (“a really good episode about love always ending in tragedy except, of course, for Marge and Homer.”) goes to the pub and sees another ex, has a nightmare, eventually gets a bit of sleep, is introduced to a previously unfamiliar brand of super-strength cider, and then, finally (but not really finally), he finds himself gearing up for another night on the town.

20 years on from that summer, the band re-issued a slightly updated version of the track that became their calling card. Both the rejig and the original possess a a strange sense of power. They make you really, really, really want to have the weekend the narrator’s embarked on for the rest of the summer. You can feel the strange shimmer of heat-haze combining with that perfect four pint buzzthe beer-garden-four-pint-buzz is arguably the greatest any human being can ever feeland you’re there. You’re there abandoning any pretence of this being the summer that you’re going to go vegetarian, take up yoga, read Descartes and finally start giving to charity, because as good and worthy as those things are, they’re just not as good as living in a state of perpetual pissedness. Would you rather spend warm summer days indoors writing frightening blogposts about the future of the Labour party or be down the pub, six pints and two bags of peanuts in, ready to stumble into bed two days later?

The great works of art seamlessly blend specificity with universality, and “The First Big Weekend” is no different. What could have been a vague, meandering, aimless and unfocused wander through a weekend where fags replace oxygen and you start to sweat molasses thick drops of Guinness, is, instead, a rich, deeply detailed, charmingly personal account of a descent into bacchanalian madness. And that’s thanks to the specificity of the reference points: the England score, the 24hr cafe, Morag’s house, the Merrydown cider that’s 8.2% and costs 1.79 a litre, the slide that doubles up as a “urinal for drunk teens.” All these moments, the seemingly insignificant small details that are more often than not the crux of any good story, are what makes it the best song about going out ever written.

With just an acoustic guitar and a drum machine, Moffat and Middleton managed to translate the usually untranslatable, and in doing so, they created a record that’ll always speak to the part of of us that wants nothing more than to abandon life itselfwith its bills and ready mealsand slip into a summer that’s never going to end.

Josh is on Twitter

Two People Died At Scotland’s T In The Park Festival

Photo via Flickr user gpainter

Scotland’s T in the Park music festival is off to a solemn start following the deaths of two people, as reported by the Guardian.

The largest Scottish festival kicked off yesterday (July 7) at Strathallan Castle in Perthshire, which is expected to host upwards of 80,000 attendees over three days. Presently, details surrounding the situation are scarce, though it’s confirmed that the deaths involve one male and one female. According to the BBC, both were 17 years old. Police are reportedly treating them as separate, unexplained incidents, though neither is thought to be suspicious.

T in the Park director Geoff Ellis told the BBC, “We are shocked and saddened by today’s news and our thoughts are with the families and friends at this time. We are offering our full support and assistance.”

Glasgow Nightspot Sub Club Finally Responded To Social Media Safe Space Criticism

It only took four days of online uproar, accusation and rapidly increasing anger, but Sub Club managed to put out a statement yesterday in response to criticism regarding their use of the term ‘safe space’. It’s been a tumultuous few days.

A quick recap. The origins of the controversy lie in a post from the legendary Glaswegian venue’s official Twitter account last Friday, heralding the club’s credentials as a safe space, since “1987” (the year Sub Club opened, obviously). What was intended as a uneventful assertion of woke credentials by an eager social media manager quickly erupted into full-scale shitstorm.

A swell of incredulous users pointed out that, contrary to the earnest meme, they had been assaulted, groped and made to feel generally unsafe on the club’s dance floor. This led to a fraught debate one Twitter and a resulting piece on the excellent A Thousand Flowers site, who anointed the club their Weekly Wanker, alongside previous luminaries such as Stefan King. In all earnestness, Subby have had better weeks.

As ill-advised as the initial comments might have been, it was the tenor of the club’s response to the criticism that properly ignited the debate. Bluff, unwieldy and tone deaf, it ran at a slightly surreal angle to the sentiments expressed in the safe space post. One Twitter user who’d previously worked at the venue put forward that it wasn’t just revellers that felt unsafe. Despite being “a big fan of subby,” the tweet ran, ‘”I (and multiple friends) were groped there regularly 2006-2012 sooooo”. The club’s official account response (“you worked at sub, are a friend and know us personally. You never once mentioned this to us or stewards as far as we know?”) displayed, according the A Thousand Flowers post:

“zero fundamental understanding of how the culture around sexual violence works to silence those affected, particularly women, (as) they’re just straight up victim-blaming. How can you trust a club that declares itself a safe space but won’t even reflect on what people are telling them about their experiences there?”

Which would seem like the appropriate time to issue an apology, reflect that legitimate concerns have been raised and maybe just acknowledge that the crassness of the initial response doesn’t exactly read particularly brilliantly, at best. Would have been a start wouldn’t it? Hardly perfect, but a little sincere contrition never did any harm now, did it?

Sub Club revellers back in happier times (image via YouTube)

Well, the Subby social media bods seemed to have missed that particular memo. The increasingly bad tempered episode then migrated over to Facebook, with a post on Sunday night that appeared to link the criticism of its initial Twitter posts with the twin horrors of Jo Cox’s assassination and the Orlando massacre which claimed the lives of over 50 people. The status signed off with “It’s important never to be complacent in the face of deliberate and poisonous campaigns of misinformation,” with an accompanying clip of Heaven 17 track ‘(We Don’t Need This) Fascist Groove Thang.’

It’s really quite difficult to envisage a more spectacular deficit in self-awareness and surplus in self-importance for a pastime thatfor all the talk of transcendence and seamless ecstasyis essentially meaningless. If ever a week was to make that brutally apparent, then it was the week just passed. The response to the post was predictably, and utterly justifiably, one of revulsion.

It’s since been deleted and accompanied by the lengthy statement, apology and pledge to work on safety for attendees. The jury remains out whether it’s a case of too little, much too late for one of the UK’s most famous clubs.

You can read the apology in full, here.

Francisco is on Twitter

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