1883 Blog

Detroit Swindle: Parallel 002 Launch Party at Phonox

Detroit Swindle play 4 Fridays at Phonox this May for the second installment of the new month-long club series, Parallel.

The Heist Recordings head honchos are suppliers of all things groove led. Their crate digging exploits connect the dots between generations of sounds with one aim of making people dance. The Amsterdam duo have already played host to two legendary parties at Phonox, we expect more of the same this time around.

To open, Detroit Swindle hold down six straight hours – get involved.

To buy tickets click here.


London Club Top Picks – FABRICLIVE: Congo Natty

Congo Natty returns to FABRICLIVE. The lauded junglist makes a special appearance alongside Congo Dubs & Daddy Freddy in Room One, joined by a heavyweight bill representing the best in the UK’s bass-heavy sound. Jungle pioneers Kenny Ken, Potential Badboy, Remarc & The Ragga Twins prepare to face off for a special Jungle Warriors showcase, while one of dubstep’s original innovators returns as Caspa joins us off the back of his ‘Vibrations’ series. Also bringing the 140BPM heat are Hatcha and Youngsta playing together under their Bloodline project, while Ray Keith and Sicaria Sound round off the Room One bill.

In Room Two, DJ Zinc flies his Bingo Bass banner. The UK legend will be playing an extended 3-hour set on the night covering the best of funky, bass, breaks and bassline, inviting Birmingham bassline talent Cause & Affect along with him. Shapes and Blazey Bodynod round off the bill, with AD taking over hosting duties.

To buy tickets click here.

Mighty Hoopla 2018

Sunday 3rd June 2018 | Brockwell Park

Promising to be the ultimate celebration of all time chart-toppers, Mighty Hoopla announce the addition of boyband heartthrobs 5ive and Boyzlife as well as godfathers of UK Garage, DJ Luck and MC Neat. Australian synth-pop superstar Betty Who and more also join the bill as the festival prepares to host headliners TLC for the best selling American girl group’s premier UK festival performance. VIP packages are now on sale with exclusive access to DJ sets from Fearne Cotton, Goldierocks, Gok Wan, Mel Blatt and more. The Glory announce A Man To Pet, John Sizzle’s ‘Iconic Cabaret’ plus more as the iconic East London LGBTQ venue programmes a dragtastic stage south of the river. More of the UK’s primo alternative club nights including Fleetmac Wood, Gay Garage and Girl Power join the celebrations as Brockwell Park prepares to spring forth into a triumphant day of love, pop and glitter-coated acceptance.

This year’s Hoopla follows the massive success of 2017’s inaugural London edition, which welcomed 15000 revellers and huge names including Years & Years, All Saints, Charlotte Church’s Late Night Pop Dungeon, Will Young, Sophie Ellis-Bextor, Fleur East, Alma and many more. Returning for 2018 in a brand new Brockwell Park location, Mighty Hoopla promises to be the ultimate celebration of all things pop and enjoyment.

Super early bird and early bird tickets have now sold out, with standard tickets now available at £40 and VIP packages from £60. For more information, visit mightyhoopla.com

Field Day 2018 – Our Line-Up Selects

Photo Credit – Max Miechowski

Whether you’re an ex-punk looking to sit back and check out some fresh live bands or a gaggle of glitter soaked UAL girls in Hilfiger vintage going wherever the fun and snapchat moments are, Field Day accommodates. The organisers have crafted a place where the finest of every pleasure is catered for under the beaming London sun. For this writer, this meant demolishing some Venezuelan street food after getting too blasted on top notch beer from Beavertown in an effort to sober up for an evening of electronic madness with Nicolas Jaar and Nina Kraviz. What more could a man need?

Although this year marks the first away from East London, we were very happy with the announcement of the festival’s new home in Brockwell Park which has hosted a bunch of other brilliant festivals over the past few years. 2018 also sees the return of the steel laser-cathedral affectionately known as “The Barn” that hosted the life-changing headline set by Aphex Twin last summer.

What has consistently kept Field Day above the rest is their exceptional programming, spanning a whole spectrum of sounds, from the biggest artists in the game to the cutting edges of the UK underground and beyond. Here’s our essential picks for this June’s big party in the park.

DJ Seinfeld/Ross From Friends/DJ Boring
2017 was the year lo-fi house blew up in the blogosphere. Field Day, ever with its ear to the underground, has decided to bring together an A-star team of the originators behind the sensation birthed from YouTube hit phenomenon like the hazy melancholy of DJ Boring’s “Winona”. These Lo-Fi vibes will be prime for the coming sticky summer days.

This Manchester rap queen has us all sing “I-AM-D-D-BEE” in 2017. Her infectious skippy lyrical hooks about “the sauce” are sung with a soulful vocal prowess that’s sweeter than molasses. If you don’t know her trap anthem “Shade” then get to know. This will be the jump-up-and-down singalong moment of the day.

Avalon Emerson
Avalon Emerson has been behind a slew of banging leftfield releases and technically mind-melting DJ sets – listen to the below to understand. Wonky, weird, raw. We can imagine her slaying the Barn with the lazers turned up to 11. Here’s hoping.

Nils Frahm
Frahm’s gift for fusing classical analog styles with contemporary electronic sounds has earned him prodigal status in the eyes of his fans. After a year-long hiatus, the pianist, composer and producer has finally returned, blessing his followers with a new album – All Melody. We caught his recent show at the Barbican and he took us to the stratosphere, using his mind boggling array of synths, pianos and organs. We can’t wait to see how it translates to the festival setting.

Erykah Badu
No explanation needed. The queen of soulful hip-hop, a sunny South London field, a well made cold drink in hand and a farmers tan on our forearms. Field Day you spoil us.

Words by David March

Buy tickets for Field Day here: http://fielddayfestivals.com/tickets/

Interview: A Discourse with DAMMIT!

Dubbed Toronto’s own ‘enfant terrible’, Joey DAMMIT!’s work is described as a “headlong collision between David Lynch and Andy Warhol”. Expect to see a mirage of dream, nightmare and optical explosions, manically sourced from a plethora of pop culture and transformed into nuanced, subversive montages. A dynamo of darkness, Joey manages to epitomise what he describes as a “love-hate relationship with mass media” (quotes stolen shamelessly from his website bio).

So, if you weren’t at Gate 403, Toronto, in July ‘94 witnessing the debut show of this sensational Portuguese-born, Canadian artist, well you’re in luck – because we’ve had the chance to spend a sunny August day at Pauper’s Pub, downtown Toronto, chatting to Joey and eating some really delicious fried chicken.

Tell us about your name, “Joey DAMMIT!”
In college we were taught how to make silk screens for Christmas cards. We had to write ‘concept and design by: (insert name)’ on the finished product and I wrote concept and design by: Joey, DAMMIT! I’ve given Now Magazine and Toronto Life hell for not spelling it correctly.

We’ll keep that in mind! You describe your style as the ‘Manic Montage’. What is this and how did you come up with it?
After many years in a rock band (I always told myself that if at 27 you’re not signed, try something else) I went back to college to study advertising and graphic design. I studied at Humber College for three years as a ‘mature student’ (something I’ve never really been). I just wanted to be like Darrin Stephens from Bewitched. After I graduated I got really sick, I was diagnosed with depression and bipolar. And so the concept behind the Manic Montage is this:

I went through months of a ‘manic episode’. Mania, being the opposite of depression, makes you so creative; you don’t sleep and you talk even faster than I do. I took a bottle of diet Pepsi, the name Joey DAMMIT! and created the Manic Montage with help from two things: An Ikea poster (featuring jazz bands and Louis Armstrong) and a British writer Nick Bantock, author of The Griffin and Sabine Trilogy. Bantock’s magical books and art helped popularise the collage as an artistic style. It inspired me to photocopy stuff and then hand-paint it. I was manic at that point and I wanted to use a lot of collage and basically go nuts.

The myriad of cultural references in your work is hypnotic. Is this an analogy for how we are enchanted and brainwashed by, as you call it, ‘the cult of celebrity’?
Let’s let the viewers decide the deeper meaning, because honestly I had no idea where I was going. Going through magazines you see beautiful pictures. You also see words and sentences that don’t necessarily have anything to do with your subject matter but subconsciously it’s just so right for it, and I can’t explain to you why. A lot of people call me an intuitive artist. Picasso said the greatest tool an artist can have is intuition. So the word ‘manic’ simply came from cranking music up incredibly loud, not thinking, letting your intuition lead you, and going through magazines finding stuff that you’re not ready to find yet. It’s more a manic movement, the more time you take to think about it the less good it’s going to be.

So the process is more manic than the montage?
It’s the process yeah. If you want to read anything into it, you’re more than welcome. I love reading or hearing what people think ‘cause I usually don’t know what it’s about. But you’re right in saying I have a love-hate relationship with celebrity. I love movies, but why is Kim Kardashian famous? Why do people keep talking about her? The world is full of interesting and talented people and you’re wondering if she’s blonde or brunette? My favourite style on her is lobotomized.

Er, moving swiftly back to you. On your website you write that you were initially an altar boy with aspirations to priesthood, what brought on this rebellious change in you?
Priesthood actually. I was raised Roman Catholic, I was an altar boy, and I was absolutely going to be a priest. Then came something called puberty and I starting asking questions like “I CAN’T DO WHAT?”. I began questioning stuff after a while and am now an Atheist. In fact, it’s interesting; Atheists statistically know the most about the Bible. The more you educate yourself about something, the more you start to question it or notice hypocrisy. My piece All Good Catholic Boys Wake up Screaming is one of the most biographical pieces I have ever done. It’s based on childhood nightmares – a velvety purple robe, wanting to scream but being unable to, and being unable to take my eyes off Jesus, as he raises his head to reveal black eyes. He said something then, I can’t remember what, but I always woke up screaming. As for the rebellious change, well, there’s only one type of artist and that’s a rebellious artist. Having now been deemed Toronto’s ‘enfant terrible’, I can’t tell the world that I’m at home watching TV and drinking milk and Oreos. I prefer: “He doesn’t remember anything after too many martinis” – I’ve built the perfect character of Joey DAMMIT!

So you’ve suffered badly in the past from depression, and you’re not afraid to speak out about it in order to help others. Has the depression affected your artistic style? Would your art have been any different if you hadn’t suffered from it?
People say, it must have made you a better artist. No. It’s hard enough to get out of bed most of the time, even to watch TV. The first thing depression does is take all the joy out of anything you find joyful. It made being an artist worse. To be perfectly blunt, you want to die and you have to shake people’s hand for four hours at various events and I would just go home, get drunk, paint and then the next morning go downstairs and say, “Wow! You did that Joey? Great!”

I have one regret. I was robbed of 18 years. It made me the person I am, but why did I need 18 years to become who I am, why couldn’t I have done that in 18 weeks? This has come from doctors, best friends, best enemies: I would not be the person I am today if I hadn’t had depression. It didn’t form the kind of art I do, but it moulded me as a person.

What brought you out of depression?
The same thing that brought me in: a mystery. I would open my sketchbook and get a major anxiety rush and I couldn’t do it. But everything changed when a fellow artist called me up in March 2008, because that’s when Toronto has its Annual Indy Race. I didn’t care about cars; I had nothing to do with cars. My friend said to me, “Joey come on, it’s right up your alley, how did Jane Mansfield die?” The inspiration that gave me was like when you see cartoons and a light-bulb comes on, except it was more like lightning struck me. From then on, I don’t think I’ve gone more than a week without working on art. I don’t know how I came upon it, art came upon me.

So you have the Toronto Indy Race to thank?
Oh yeah, now I actually have to go…

Tell us about your inspirations.
Billboards, magazines, the supermarket as you’re waiting for that lady to take all her change out her purse. I love music and film too, but basically my number one inspiration is the opening credits to David Fincher’s movie Se7en. It’s Nine Inch Nails, listen to it over and over again and you’ll find it’s the audio version of my art.

And there you have it. His favourite Lynch film is Elephant Man (it made him cry), his favourite band is Jesus and Mary Chain, and he loves the art of Hieronymus Bosch. Stepping inside the mind of Joey DAMMIT! is like seeing every Hollywood starlet, punk subculture, anti-establishment lyric, anarchist, pop artist, Lynchian surrealist, cult movie, diva, and Crayola crayon explode in a fireball of noise and colour and land on a canvas to effortlessly embody something real. Check out more of his work here.

Words by Libby Brown.




Nils Frahm at The Barbican

Nils Frahm is a name that often pops up in the more high-brow discussions of electronic music, alongside journalist buzzwords like “neoclassical” and “contemporary avant-garde classical-fusion prodigy of the futurepast”. It is very pleasing, then, to discover that Frahm does not take himself anywhere near as seriously as the press do. On Friday, mid way through his sold-out four gig stint at the Barbican Hall, he had the crowd giggling and cheering at every intermission. He delivered plenty of self-deprecating banter, poking fun at his “failed project” of a pipe organ that sounded too cheery for depressing Germany and England, and that he would always play “the songs with the most clicks on spotify” because “maybe you didn’t like the new album”.

If he came onstage without uttering a word, I wouldn’t complain given the amount he has to focus on. The mind-boggling array of kit is a work of art in itself; the panels of wood and steel frame endless synthesizers, sequencers, pianos and god knows what else. Everything is placed with purpose and the intricacy of a space shuttle interior set inside the Tate Modern. All this is lit by a moody strip of soft yellow spotlights. As Frahm gets in to some of the big songs of the evening, mostly material from his latest release “All Melody”, he puts every square inch of the tech to use. Coordinating loops and beats with every limb and digit, it’s hard to comprehend managing so many components at once, let alone remembering them. I can barely coordinate a coffee some mornings.

Filling the grand auditorium with thunderous waves of percussion and scattering stabs of pipe organ, his newer compositions took on a stratospheric level of intensity; the spotlights leaving the audience hurtling through the cosmos. But the real moments of entertainment are when he is seated for a piano solo, moving from haunting bittersweet depths to peaks of pure joy in a run of keys.

Before finishing, Frahm says he is always happy to play the songs that made him famous, and the crowd is clearly grateful. It’s not hard to see why, as the grand piano erupts in the finale of “Toilet Brushes – More”. He jokes about how his old songs wouldn’t ever be approved by a music teacher, “I play one chord for seven minutes”. He may not be the god-level composer of contemporary revelation he is labelled ad nauseum, but after tonight’s show, I have witnessed few musicians more deserved of their praise than Nils Frahm.

Photo Credit: Tom Howard

Words by David March


Tata Naka LFW Feb 2018


Photography Federica Tenti


On/Off LFW Feb 2018


Photography Federica Tenti


Emilio De la Morena LFW Feb 2018


Photography Federica Tenti


Sophia Webster LFW Feb 2018


Photography Federica Tenti