1883 Blog

Field Day 2015 and the 5 Tracks That Defined It

For one of the most hyped festivals this side of Glastonbury, the expectation weighed heavy on Field Day. Luckily it undoubtedly delivered, with artists pushing every corner of contemporary music to its limits. The real feat accomplished however, was the fact that Field Day managed to host such disparate sounds and still achieve a feeling of unity across the entirety of Victoria Park.

Line up and crowd aside, the festival was extremely well put together. Except for some overcrowding for voice of the moment Chet Faker, all stages were well frequented yet free enough to roam for a prime spot. Top this off with perfect weather, sack races, the culinary pleasures of Street Feast food stalls and prime ales from Meantime and you’ve got yourself one of the accomplished festivals to grace the capital. All this achieved with absolutely no muggy, claustrophobic, mud-ridden camping. Here’s our experience spelled out by five tracks from our five favourite sets from across the weekend: essential

1. Pinch & Mumdance – Big Slug (feat. Riko Dan) played by Mumdance

The i-D Tent line up could have kept us occupied all day, kicking things off with the unstoppable Mumdance. Demanding full energy from his audience as early as lunchtime, the king of Weightless brought out a slew of his own bangers; from his old Mad Decent release, “Smasher”, to some of his latest work with Riko Dan and Pinch and a final blast of old school hardcore.

2. MC Brinquedo – Roça Roça played by Yung Gud

We had our hearts on Yung Gud bringing a bunch of woozy ethereal rap beats and possibly even, just maybe, a surprise appearance from head honcho Yung Lean. What we got was an entirely different but no less pleasing set. His sound occupied the space between bassy wonk and wonky bass, from trap bangers to this Baile Funk (Google it) hit.

3. Freddie Gibbs & Madlib – Harold’s played by Madlib

The one and only brother Madlib brought a bouncing set filled with enough DOOM, Quasimoto and Freddie Gibbs tracks to get any underground hip-hop fan in a spin. It was non-stop, summertime boom bap.

4. Told Terje – Inspector Norse played by Told Terje

It was the track everyone wanted to hear from the left-field wonky disco purveyor in his new live band format. Luckily he came prepared with an army of spangled-hot-pants toting drag queens to bust out an ultra-sassy routine just for the occasion. Needless to say the main stage crowd flipped.

5. Pangaea – They Buy Gold played by Nina Kraviz

At the end of the evening, it seemed everyone had their eyes on FKA Twigs and Caribou. However, those looking for a darker end to the evening knew that Nina Kraviz was the one to see at sunset. Her hypnotic acid sounds thrived in the big tent setting as she bounced in synchrony with a transfixed audience. Stompers from start to finish.

With every year passing, Field Day is establishing itself as the taste-making London festival for artists on the rise. A verdict worth waiting for? Probably not. See you in 2016.

Words by David March

A Handcrafted Summer with Amy’s Kitchen

On a warm summer’s evening last week, we wandered down to the E5 bakery, tucked away in the arches of London Fields. The artisanal bakery served as the backdrop for an event hosted by organic food company Amy’s Kitchen. If you’re a lover of flowers or are eager to learn how to make cocktails from natural ingredients, then you need to check out ‘A Handcrafted Summer’, a series of four events.

Guests get to sit down to a vegetarian dinner created by Amy’s Kitchen, accompanied by salads made by The Panthers Whiskers. Then, once everyone has had their fill, it’s time to get creative. Create a beautiful wild bouquet with Grace & Thorn, paint your own soup bowl with ceramicist Charlotte Mei, learn how to make a natural beauty balm with Amanda Cook from Trill Farm or find out how to create cocktails using foraged ingredients with Lottie Muir.

You’ll get some tips from the professionals, but best of all, you get to let your imagination run free.

A Handcrafted Summer is running every two weeks throughout July and August…and it’s certainly a lovely way to while away a warm summer’s evening.

14th July – Vegetarian dinner and Foraged Cocktail Workshop with Lottie Muir

28th July – Vegetarian dinner and Ceramic Painting Workshop with Charlotte Mei

11th August – Vegetarian dinner and Natural Beauty Workshop with Amanda Cook of Trill Farm

25th August – Vegetarian dinner and Wild Flower Arranging Workshop with Grace and Thorn

Tickets for ‘A Handcrafted Summer’ by Amy’s Kitchen cost £10, available on Eventbrite.

Meet the winners of the Woolmark regional prize

Image – curtesy Woolmark

Huge congratulations go out to Agi & Sam and Teatum Jones today. Both fashion labels were awarded the regional Woolmark prize for the British Isles.

Set up by Woolmark, a global authority on wool, the prize recognises emerging talent in the fashion industry. Agi Mdumulla and Sam Cotton received the award for their menswear label Agi & Sam, whilst Catherine Teatum Rob Jones won it for their womenswear label Teatum Jones.

Both brands were commended for their use of wool. Agi & Sam commented: “Wool is a strong part of our brand DNA; it’s amazing to get this recognition. We already use wool a lot in our collections because we’ve come to realise that no other fibre can match it in terms of versatility and quality.”

Both labels will be awarded AU$50,000 and, as representatives of the British Isles, will compete in the International Woolmark award finals, which will be held early 2016. Good luck to them both!

Electrochoc by Laurent Garnier & David Brun-Lambert

DJ Laurent Garnier ardently believes that his primary focus, regardless of creative format and setting, has always been that of a storyteller.

These storytelling impulses are realised in an expanded and newly translated English language version of Electrochoc: an ambitious and singular history-cum-autobiography which utilises Mr. Garnier’s unique career trajectory as an exploratory device to interrogate and chart dance music’s cultures, protagonists, commercial interests and consequences.

Renewing past collaborative efforts with journalist David Brun-Lambert, Mr. Garnier weaves together his experiences within dance music to reach a very personal but wholly imperative set of understandings about its progression. Having spent most of his life intertwined within the celebration, evolution and defence of the sounds and cultures of house and techno musics, Electrochoc is interested in, but crucially not confined to, plotting a history of these genres.

Yet Electrochoc does not exist as a mere hedonistic scrapbook of names, dates, vogues and tracks (although for the dance-music anorak there are a series of Garnier curated playlists which appear in the margins throughout.) It is instead a book which, amongst its very apparent myriad aims, has a commendable propensity to problematise and expose the internal issues that dance music’s culture faces and brings upon itself.

Although nodule passages shimmer poetically with Laurent’s love for his chosen musical culture; a love which has brought him experiences as far-reaching as his last rave in 80‘s England as a young man (‘Live the Dream’) and the last dance at Japanese superclub Yellow as a globally renown DJ. These evocative memories are not chosen for their stand-alone anecdotal worth – though their interest to any fan is clear – but cherry-picked as evidence to support Mr. Garnier’s beliefs on maintaining a ‘purity’ within dance-music culture.

As Mr. Garnier and Mr. Brun-Lambert chart the evolution of dance-music in vivid socio-cultural and emotional detail – from its beginnings in sweaty, maligned enclaves of youthful bourgeois breakaway, freedom of expression and the nightime hangouts of sexual, ethnic and social minorities to its current, seemingly ubiquitous, conception as a cacophonous, mind-jarring, lazer-backed, pre-packaged product of the juggernaut that is big record label hyper-commercialism – Mr. Garnier’s intent for being involved in the writing of this book becomes clear.

Dragged along by a fast-moving narrative that seam-stretches with anecdotes, Electrochoc is a clearly demarcated interrogation of dance music that blends together the personal, cultural, commercial and social to expound on Mr. Garnier’s unease at those who abuse, and have abused, this music for money, vapid hedonism, political gain or an easy journalistic story.

It also celebrates the characters, whom he believes have maintained a creative output that does not pander to contemporary tastes to keep all culture invigorated. Or, at the very least, who have defended dance-music culture in the face of adversity.

His continuing career – inseparable from the artistry, ethics, creative output and compunction it has embodied – is reassuring. So long as him, and others like him, are fighting for their voices to be heard and their music to be listened to, in the manner in which they believe it should be, we can take solace that the music industry is still sane – at least in part. Which, simply speaking, is why Electrochoc is as compulsory reading as can be for any person planning a career in whatever chosen artistic direction.

Mr. Garnier’s anger, in the face of rampant commercialism, is refreshing within an industry whose whorish commercial face overshadows the achievements of DJs, producers and curators who still embody a ‘paie de sa personne’ attitude.

That he has a platform to rail against the nature of ‘the authentic experience being abused for commercial gain ….compounding [a] misery is that the absence of judgement in the kids with regards to the mediocrity of what they are experiencing – and labels that just want to market their image’ Mr. Brun-Lambert needs commending, for instigating and guiding the production of this as yet-to-be matched guidebook and history of, and for, modern dance music.

Published by Rocket 88. RRP Hardback £30. Released, for the English Language, July 2nd 2015.

Words by Dan Cave

Ciderdog comes to town!

Cider-lovers: take note! If you’re in London this Saturday (or Saturday 11th July), we’ve got something that might be just the thing for you.

Ciderdogs, which just so happens to be London’s largest cider festival, will be taking place over the coming two weekends. On Saturday 4th July, Ciderdogs will be hosted by The Sebright Arms, before it relocates to The Miller in Bermondsey on the 11th.

The Sebright Arms, which is hosting for the first time ever this year, will have a selction of 40 ciders to choose from. The Miller on the other hand is going all out: a 100 differents types of cider, supplied by independent producers across the UK. Anything from cider aged in whisky barrels, to perry (and even cider-based cocktails) will be available, so regardless if you prefer yours sweet or dry it sounds like there will be plenty choose from!

There’s music too, so your ears don’t get bored: The Sebright Arms will have a lineup of DJ, whilst The Miller has called upon the Solid Steel Band. And in case you get peckish, food will also be on hand – cooked up by the guys at Bunsmiths.

The event is free entry and all pints of cider will be priced at £3. At that price, it’d be silly not to, right?

Ciderdog at Sebright Arms
: Saturday 4 July
, 31-35 Coate Street, London E2 9AG Free entry all day from 12pm-12am

Ciderdog at The Miller: 
Saturday 11 July
, 96 Snowsfields Road, London SE1 3SS Free entry all day from 12-1am

Beat the Heat

If you’re currently melting thanks to the heatwave which has embraced London, then look no further than our Summer Essentials Guide to help. We can’t promise to save you from sweaty commuters and the unbearable heat on the Central line, but we can help make it somewhat easier. Read on for our no fuss heat wave survival kit.

Make Up V.S Sweat.

We’ve all been there. Its 5:30pm, rush hour London, 30 degree heat and make up running everywhere. The Avene Thermal Spring Water is a favorite of ours in situations like these, providing an instant refresh as well as keeping make up in place. Pop into your handbag, and away you go. Tip: Pack the travel size aerosol in your holiday carry on for post-flight cleanse.

Boots and Net a Porter 150ml from £7.00

Covering Up.

Summer in any city is always a conundrum with some taking it as a chance to strip down to their beachwear for their daily commute. The 1883 team instead prefers to embrace the new season trend of midi dresses in an array of colour palettes to help us stay cool in both senses of the word. Our top picks this season come from Finery London with their easy silhouettes and perfect prints.

Rivington Fit and Flare Sundress £55 www.finerylondon.com


Dior So Real Sunglasses need no introduction. Favorite of stars ranging from Cara Delevingne, Rihanna and Olivia Palermo, the Dior So Real Sunglasses are bang on trend for SS15. Their reflective frames are only the start of their unreal coolness, and add an instant update to any wardrobe and style.

From £325 Dior.com

Keeping Clean

The harsh alcoholic content of most hand sanitizers leaves our skin feel dry and irritable even in cooler weathers. So when we came across the Aesop Resserection Rinse-Free Hand Wash, which simultaneously kills germs as well as moisturizing, we knew it was perfect summer go-to product. Also included: perfect uplifting scent to refresh mind, body and soul.

£7.00 from Aesop.com, Aesop store and www.cultbeauty.com


Shoes with shoes printed on them! These fun loving Christian Louboutin wedge sandals are both cutesy and chic. Pair with a clashing pedicure and an easy breezy summer dress for the perfect summer look with style.

£475 from www.netaporter.com


Hands Free

Tired of those all together painful shoulder strap marks from your bag? Embrace the SS15 trend of micro bags seen on the Fendi, Armani and Dolce and Gabbana catwalks. We love this Fendi Peekaboo rolling together two trends in one: texture and micro. Hashtag lovz

Fendi Peekaboo Micro Bag Price on Quotation Fendi Stores

Words by Sofia Khan


Pringle of Scotland x Michael Clark Production during Milan

London Collections: Men might be over for the year, but the fun still continues with Pitti Umo in Florence and now Paris.

The shows this season contained a distinct relaxed vibe, with designers coming out with a more laidback vision of menswear come next summer. There was the obligatory slouchier silhouette, but the overall feel of each show maintained a cool, easy going and dare we say nonchalant guy.

No more apparent was this than Pringle of Scotland with their light (both in colour as well as designs) and floaty runway looks.

And this was normal runway. As well as being a key show each season, Pringle of Scotland continued to celebrate their 200th birthday, this time with an opening performance by the Michael Clark Company.

The dance piece offered the perfect poetic introduction to the show – this year held in Milan for an intimate audience of 120 guests – merging together contemporary visions with the traditional values of the brand.

And if you weren’t one of those lucky few, you can now watch the performance here and gain a better understanding of the 200th vision of Pringle.

Words by Sofia Khan

Best in New Music // Klyne

Dutch electronic-pop duo Klyne have announced the release of their infectious single ‘Paralzyed’. The track surfaced earlier this year and instantly captivated with bold, bitter-sweet hooks and shimmering electronic backbone. Now, ‘Paralzyed’ has been picked up by the ever on-point UK label Aesop (SOHN, Sylas, Tala) and is accompanied by a slick, stylist dancing video. We’re already big fans. Check out the video here:


Parklife 2015 Review

Probably the greatest asset of a festival is its creation of organized chaos, given that managing swathes of hedonistic festivalgoers is no easy feat. This ability to ensure the safety of its attendees whilst certifying they have the best possible time, listening to the best possible music, is something that Parklife has surely proved very adept in. Indeed, the festival this year was so impeccably organized that even the sun made a prolonged appearance, in Manchester of all places.

Aside from Parklife’s array of musical pleasures, the festival’s offering of delectable street food, surprisingly great facilities, and fairground attractions were all sure hits. Moreover, prior concerns of music tents quickly reaching capacity were easily dispelled, and ensuring you were a few minutes early to any performance virtually guaranteed a great spot. Perhaps the only negative of Parklife’s presentation was the muted and fluctuating sound on the main stage, especially prevalent throughout Disclosure’s headline slot. However, it was clear the organizers were keen to right this wrong with the clear audio on the following day with even Jessie Ware’s hushed vocals pounding around Heaton Park.

As a whole, this desire to please combined with the artist-curated line-ups definitely fostered a sense of community that reflected the festival’s intended ethos. There was a complete absence of jostling in queues, or in tents, and I personally saw no trouble whatsoever, something that critics are keen to tar Parklife with.

The shared enjoyment in being a part of baying crowd, euphoric in their demanding and receiving of the best in a plethora of musical genres is an experience that is hard to surpass. However, to simply speak about the festival’s success in broad terms would do it a disservice, so here are a few specific highlights we enjoyed:

Guitar-driven music is more than just a gimmick or a novelty at a festival like Parklife; it’s a representation of the broad scope of musical genres employed to please the crowds. On Saturday Mac Demarco’s crowd-pleasing was definitely in full swing, his energetic and hilarious part-goofy part-repugnant (in the best way) mannerisms energized an already fervent crowd.

After greeting “London, Manchester” Mac and Co. bizarrely unleashed a variety of Shrek quotes, revealed what hotel and room they were staying in and asked the crowd for the ‘Beckhams’ and ‘Queen Lizzie’ to appear. Firing off a passionate best-of set from ‘Salad Days’ and ‘2’ followed by a largely failed crowd dive it was clear they were having just as much fun as we were.

Vice writer Clive Martin once referred to ‘Au Seve’ as the ‘Smells like teen spirit’ of the house revival. But, Julio is clearly not pretending to be Kurt Cobain, although some would argue that he delivers a similar ecstasy, especially in the record’s famously direct bassline. Julio instead offered a great tribal-infected set at ‘The Temple’ stage, gaining one of the festival’s biggest crowds for a daytime slot as his swerving beats certainly induced a festival atmosphere of playfulness and elation.

Upon entering the ‘Drop The Mustard’ stage on Sunday, weary from the night’s previous gratifications, I was disappointed to walk straight to the front of an empty tent. Surely Manchester’s dance music Godfather deserved better, or had everyone just seen it all before? Well it was fair to say he soon got the grateful reception he deserved. A frenzied display, aided by the help of his new live show drew in the crowds, and five minutes later it was clear to see the masses had come to their senses. By the time the anthem ‘Neighborhood’s’ first chords had played Zed was in full flow, much to the appreciation of a now full tent, honoring one of the greatest contributors to Manchester’s continually thriving music scene.

If Zed Bias had revived the crowd then the bassline champions would surely send them into overdrive. A typically manic set by Wookie & DJ Q displayed their almost ‘ADHD’ approach to mixing, with complex but swift changeovers making the crowd (and us) lose our bleary eyes and hungover heads.

The first time on Sunday that I had actually seen Waze & Odyssey was in Manchester Piccadilly station as I overheard them bickering on the escalator behind, “If I had listened to you we would still be on that train!”. Struggling to find the taxi rank to take them to a festival they were playing in just a few hours would perhaps cast doubt on the capability of the unit’s abilities. Yet, the meteoric success of the house duo has been clearly chartered and it was evident they are capable of performing on the world’s biggest stages. Rosé wine in hand, they smashed through a blistering set, a highlight being Patrick Topping’s ‘Voicemail’, hardly a sing along anthem but one that the ardent fans screeched in rapture, a telling indicator of their knack for timing and momentum.

Atop of the hill called the ‘G-Stage’ Dusky’s hard hitting tech-house was a real treat. Pumping hi-hats and booming basslines are hardly unique in a festival like Parklife, but it was clear that Dusky’s set was uniquely passionate and precise. As ‘Careless’ played and the sun set with the final rays creeping into the tent it was clear that they are something different live.

Hearing the entirety of Nas’ opus ‘Illmatic’ would surely excite even the most casual of hip-hop fans. The genre-defining album was definitely conveyed in the most emphatic of manners as Nas illustrated his continuing contemporary relevance with an artistic set. The rare opportunity to witness a master at work was met with the most thunderous of appreciation as Nas superbly took us back to Queensbridge in 1994.

It is perhaps fitting that Jamie XX, one of the most eclectic artists in recent years, releasing an equally extensive critically acclaimed album, would be playing at Heaton Park. After a similarly rolling set from Nicholas Jaar at the ‘Now Wave’ stage, Jamie XX, records in hand, was sure to rejoice with the awe-filled crowd. Yet his set, including a decidedly great big room edit of Room 5’s ‘Make Luv’, was hardly full of crowd-pleasers, but that was clearly never his intention. Instead the sometimes-nervous London-based producer assuredly sent the crowd to dizzying new heights, even greater than the now widely documented stage climber.

The triumphant final track of his set, ‘Loud Places’, disclosed the paradoxical smallness and giganticness of the producer’s success. Playing a song describing the pained notion of being desperately alone to an adoring crowd certainly held more than a hint of irony. If he asks “Didn’t I take you to, higher places you can’t reach without me?” Jamie surely knows the response, he and Parklife did, let’s just hope the festival does stick around.

For more information visit www.parklife.uk.com

Words by Ben Bulter





Field Maneuvers 2015

In the build up to another British summer, it seems as if there is a new electronic music festival born each week. These big budget behemoths lure in vast amounts of attendees with glossy branding and replicant line-ups of the usual pedestrian-house suspects. It seems inevitable that someday this bubble will pop, as the festival scene becomes overly diluted with homogenous events, the supply will soon exceed demand. There are only so many Navajo headdress toting twenty-somethings and slickback shufflers.

In this post-scarcity economy, the niche festival is king. We are talking about stripped-back grassroots events like Farr Festival (take a look on what went down in 2014) and Freerotation. For the keen eyed, early adopting music head that seeks out such gatherings, the rewards are plentiful. Well curated line-ups and a crowd void of Essex day-trippers trying Mandy for the first time. 

One new promising star in this movement is Field Maneuvers. Only in its third year, this micro-festival takes over a secret location in the Oxfordshire countryside and sees as little as 500 revellers gather to enjoy a line-up that reads like a techno connoisseur cheat-sheet.

It’s hard not to draw parallels to “everyone’s favourite festival you’ve never been to” , the elusive, hyper-exclusive Freerotation; famed for having an application process so long you wouldn’t be surprised if there was a clause expecting blood sacrifice and your first born child. From what we hear, it’s worth the wait. However, with Field Maneuvers all you must part with is the very reasonable cost of a weekend ticket. 

The line-up focuses on the rough and ready side of house, techno and disco; Berghain mainstay Ryan Elliott, UK techno overlord Ben Sims, disco-punk The Black Madonna and Detroit royalty Marcellus Pittman, all the way through to the weightier tones of Blawan and even grime’s godfather DJ Slimzee. What better way to spend the final days of summer than getting up close and personal with some of the world’s finest selectors until the wee hours and leaving with 499 new friends.

With such a small number of tickets we suggest you don’t sleep on this one. Buy your ticket and find out more here.
Words by David March.