Bubblin Presents RP BOO (Chicago – Planet Mu) + More

Posted in Bubblin on August 25, 2014 by lincolnup


Saturday May 24 2014

Bubblin Presents

Chicago Footwork Originator
Planet Mu – Chicago


With Local Support From:

Rap Class
E Fury B2B Tabor Dark

Visuals by Prism Lab

In The Lounge:

Karl Kling
Maxx Bass
Justin Longerbeam
Josh T

*Plus, weather permitting, from 6-9pm on the patio for free*
Bubblin Residents
Lincolnup & Ben Tactic

Tonic Lounge
3100 NE Sandy Blvd
$10 at 9pm | 21+

About RP Boo
RP Boo – a.k.a. Kavain Space is a man who is revered and respected amongst the dance music cognoscenti. He’s cited as one of the originators of Footwork, the fast, repetitive, rhythmically syncopated music & dance style that’s a grandchild of Chicago house and which has been brought to the wider world via releases from Planet Mu and others, alongside internet archaeology from fans, experts and enthusiasts.

Going back to the roots of this music, his self released track ‘Baby Come On’ made in 1997, sampled and looped up ODB over tough syncopated drums, and in doing so spawned one of the first tracks to solidify the style called Footwork. Later on, in 1999, his track known as ‘11-47-99’ a.k.a. The Godzilla Track was monumental in the evolution of sampling in footwork, chopping up the Godzilla theme taken from ‘Simon Says’, by Pharoahe Monche and setting off a trend for footwork versions of hip-hop tracks. Many cite RP Boo as the originator of footwork music, and it’s hard to argue, when the scrambled, syncopated drum patterns common to footwork can be largely traced back to him.

Kavain was born in West Chicago and moved to the Southside in the 80s. Like many of footwork’s originators, he was brought through into production through associations with the legendary House and Juke dance clique House-O-Matics, DJing alongside DJ Deeon and DJ Milton, then getting shown how to produce by DJ Slugo. The machine Kavain learnt to produce on was a display model of the Roland R-70, a drum machine which gave access to all previous Roland drum sounds and the ability to punch in rhythms on the fly, it’s the machine he still uses today.

RP Boo’s music is singular and unusual in Footwork, featuring raps and dialogue adopted from Juke, often in combination with sharp-edged and incidental samples giving some tracks a paranoid atmosphere. Take ‘187 Homicide’s bleak feeling and question and answer vocals, ‘Area 72’s alien landing scenario or ‘Speaker’s R-4’s audio walk-through. His music is often hectic, seemingly built to to almost psyche-out the listener or offer challenges to dancers; it’s this playful and imaginative quality, along with his sometimes baffling-but-it-works rhythms and sub, that give RP’s tracks their totally unique feel.

Bubblin featured in Willamette Week May 7 2014

Posted in Bubblin on May 28, 2014 by lincolnup

Link to the article here, or read on below. Thanks to Willamette Week for the kind words.

May 7th, 2014 MITCH LILLIE | Music Stories
Bubblin’ Up
Ben Fuller and Lincoln Heath celebrate four years of reshaping Portland’s dance culture.


Somewhere in Portland, there’s an aggressive Old Town bro unaware he helped bring together two of the most influential electronic music promoters in the city. It was 2009, at a show at the Crown Room by Chicago juke master Gant-Man.
“It was kind of a disaster,” says Ben Fuller, who helped promote the gig. “It was packed in there, but a lot of people didn’t get the music.”

“Gant-Man let a record run out because this dude was in his face like, ‘Put on some rap!’” says Lincoln Heath. “I told him, ‘This guy came all the way from Chicago to play his music! He’s royalty!’”

“When Lincoln and I fully bonded is when we almost had to throw this dude out of the club,” Fuller says.

This week marks the fourth anniversary of Bubblin’, Fuller and Heath’s recurring dance night, and if anything has changed in the interim, it’s been Portland’s receptiveness to the forward-thinking styles—bass, house, dubstep, techno, garage—that they bring to town every month. The anniversary will be celebrated in kind, albeit with a heavy pall cast over it: DJ Rashad, the 35-year-old footwork pioneer set to spin at the anniversary party, died suddenly April 26. For many promoters, the loss of a legendary headliner means a lot of refunds. But while Fuller and Heath join the worldwide dance community in mourning, their show will go on. Even without Rashad, the lineup dazzles, with sets from Baltimore club pioneer DJ Technics, dark club duo Nguzunguzu, and DJ Spinn, a member of Rashad’s Teklife crew.

“Everyone’s sets will be a celebration of life,” Fuller says, “which is really what dance music is all about.”

The unyielding anniversary speaks not only to how embedded Fuller and Heath are within the electronic scene in Portland and beyond, but also to the duo’s 30 combined years of experience DJ’ing and promoting. Proselytizing for electronic music in Portland wasn’t always easy, though.

“For the first two years, Bubblin’ was an expensive hobby,” Heath says. The low turnouts in the night’s early days came as a bit of a shock to Fuller, who came up in the ’90s rave scene in St. Louis, throwing parties that would draw up to 3,000 people. Given its initial location at the now-shuttered Crown Room, Bubblin’s first audiences were mostly Old Town runoff and bachelorette parties. “We’d have to get the crowd going with some sure-shot stuff, and then we could trick them,” Heath says. “Once we’ve earned their trust, we get to slip in a U.K. funky record or some techno and see how it goes.”

Without even being aware of it, Portland has allowed Bubblin’ to shape its nightlife into a more sophisticated beast. Now, audiences are more willing to indulge genres previously too foreign for their ears. While Bubblin’ may lack the free-for-all nature of the raves of Heath and Fuller’s youth, it has the diversity of music and, more importantly, the weird, positive vibes of rave culture.

The duo says they noticed a shift in the crowd’s reception when Bubblin’ relocated into another now-defunct Old Town club, Groove Suite. “When we moved there, that’s when things really started to take off,” Fuller says. “When we had Todd Edwards, that was the biggest night they’d probably ever had.” The house producer and vocalist asked for a microphone midset and began singing his vocal part from Daft Punk’s “Face to Face.” “He told us afterwards that it was the first time he’d ever done that live,” Heath says. It was a completely organic decision, Fuller says: “He said he just felt so much love from Portland and he wanted to give back.”

There’s a laundry list of venues, promoters and producers that Fuller and Heath attribute their success to, including Dropping Gems, Ryan Organ, Evan Hancock and the staffs at Groove Suite and Crown Room. But if they had more of Edwards’ forthrightness, they’d admit the truth: They’ve felt Portland’s love, too, and given us one of the country’s best and most diverse nights in return.

“We have been irrationally tenacious about doing these events with sometimes only 10 or 15 people showing up,” Heath says. “We’ve just been that hard headed and said, ‘We love this music and we love throwing these parties and people need to hear this music.’”

SEE IT: Bubblin’s Four-Year Anniversary is at Holocene, 1001 SE Morrison St., on Friday, May 9. 9 pm. $10 before 10 pm, $15 after. 21+.

Ben Tactic – Vibes (Spring/Summer 2014 DJ mix)

Posted in Ben Tactic, Free Download, mix on May 12, 2014 by bentactic

VIBES cover art-01


Its been far too long since I posted up a new mix.   I was going for something that would be perfect for driving around with your windows down or just hanging with friends in a park or on a rooftop. It starts out with soul, boogie and modern funk then transitions into more RnB inflected house and warm Detroit vibes.  Hope you enjoy!

1. Jungle – The Heat
2. Sasac – The Chase
3. Gwen McCrae – My Feelings For You (Edit)
4. Prins Emanuel & Golden Ivy – Midnight Cruise Pt 2
5. Stevie Wonder – As (Whiskey Barons Rework)
6. Huerco S. – No Jack
7. Reva DeVito – Friday Night (Produced by Kaytranada)
8. Mark E – RnB Drunkie
9. Marvin Gaye – Heavy Love Love Affair (The Revenge Rework)
10. Boohgaloo Zoo – Testify (Soulphiction Boogie Version)
11. Late Night Tuff Guy – Dancefloor Baby
12. XL Middleton & Eddy Funkster – Night Time Is Coming
13. Marquis Hawkes – Roger Funk
14. Modern Amusement – Cold as Ice (Louie Fresco Remix)
15. Galcher Lustwerk – Put On
16. Max Graef – No. 5
17. Unknown – Unknown
18. Jayson Brothers – Monster Box
19. The African Dream – Make A Living


Posted in Bubblin on April 23, 2014 by lincolnup


Friday May 9th



DJ RASHAD & DJ SPINN (Hyperdub Records / Teklife – Chicago)


DJ TECHNICS (Baltimore Club Legend)

NGUZUNGUZU (Fade to Mind – LA)





Holocene Portland
21+ 9PM
$10 Before 10pm
$15 After

Video by PRISM LAB



About Rashad & Spinn:

Rashad & Spinn have been instrumental to the creation and evolution of Chicago juke & footwork music alongside key players such as Paul Johnson, DJ Gant-Man, DJ Godfather and Jammin Gerald. Blending ghetto house, disco, juke, and ghetto-tech to create an unplaceable physicality on labels such as Hyperdub, Dancemania, Juke Trax and Planet Mu, they have made the scene international with heavy online support and headlining slots all over the world.

About DJ Technics:

Dj Technics is a true legend of Baltimore Club music. Djing since 1982, he was one of the first members of Unruly records, then went on to run three hugely influential record labels (Club Kingz with Rod Lee, Knuckleheadz & Baltimore Beatz). By 2003 he was producing & doing music supervision for the HBO series The Wire. Dj Technics endless hard work laid the foundation for the Jersey Club phenomenon and we are thrilled to host him at our 4 year anniversary!

About Nguzunguzu:

Integral members of LA’s lauded Fade to Mind crew Nguzunguzu blend together a kaleidoscopic assortment of slamming club tracks, contemporary dance music & slick nineties RnB.

Bubblin Presents KAHN (Deep Medi/Tectonic/Young Echo – Bristol) + MORE + LINCOLNUP’S BDAY

Posted in Bubblin on March 25, 2014 by lincolnup


Saturday April 12th 2014

Bubblin Presents

KAHN (Pacific Northwest Debut Performance)
Deep Medi / Tectonic / Young Echo – Bristol


with Main Room Support from:
Ben Tactic
Lincolnup – Happy Birthday!

In the Front Lounge:
Ghost Dub
Rap Class

Tonic Lounge
3100 NE Sandy
$10 | 21+
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Please join us for the Pacific Northwest Debut Appearance of Kahn, who is without a doubt one of the most crucial and commended producer/dj’s to emerge in the past few years. Kahn very much embodies the Bubblin ethos of embracing a wide range of dance sounds in both his productions and his dj sets, with distinctive and compelling takes on garage, grime, and dub wise styles – we can hardly wait for his set, trust it’s going to be amazing.

This will also be Lincolnup’s birthday party – come hug it out with your guy! Plus we’re stoked to be throwing our first event at Tonic Lounge, who have graciously re-opened their fine venue to dance music sounds. They’ve even taken Lincoln on to do their dance music programming and talent buying – at last providing a solid, and very much needed, additional venue for dance parties on the Eastside. We’re programming two rooms of dope sounds for the occasion, featuring a bunch of our favorite local ringers in addition to Kahn – a whole lotta vibery awaits!

About Kahn
Hailing from Bristol (U.K) and having grown up immersed in the city’s renowned culture of sound systems, punk rock and hip hop; Kahn is at the forefront of the new wave of Bristol producers and DJs.

From his first vinyl releases in 2011 on cult record label Punch Drunk Records to his more recent cuts on Mala’s Deep Medi label, Kahn has established himself as one of the most diverse producers of his generation.

His production style tends to draw influence from dub reggae, early 2000’s grime, digital dancehall, UK steppers and music from across the 140bpm spectrum. As part of the Young Echo collective, Kahn has also explored other areas of electronic music and incorporates his own vocals and instrumentation into his sound.

As a DJ, Kahn keeps true to the traditions of sound system culture with sets full of dubplates and versions. Whether performing solo as Kahn, alongside fellow grime producer and DJ Neek or as Gorgon Sound (dub and dancehall project also with Neek), it’s always a dubplate and vinyl operation.

As well as releases and affiliations with a number of respected record labels, Kahn also runs his own imprint with Neek, Bandulu Records. Since forming at the beginning of 2012, the record label has gone on to showcase the darker forms of instrumental Grime permeating from Bristol’s current underground scene, with limited runs of heavyweight vinyl and hand screen-printed artwork.

ECSTASY & BUBBLIN PRESENT: Traxman (Dance Mania), Jammin Gerald (Dance Mania), Modern Melodies, Ben Tactic & Lincolnup

Posted in Bubblin on March 25, 2014 by lincolnup




>>>TRAXMAN<<>>Jammin Gerald<<<
(Dance Mania Records)

Modern Melodies ( Massacooramaan & DJ Rafael)

Ben Tactic (Bubblin)

Lincolnup (Bubblin)

$5 before 10pm $10 after

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Posted in Bubblin on March 8, 2014 by lincolnup


Friday March 21st

Bubblin Presents:

Hyperdub / Hum + Buzz / Planet Mu – London






The Rose Bar & Lounge
111 SW Ash PDX
21+ 9.30pm
$8 @ the door
*Limited Capacity*

Ikonika is one of the outstanding producers of her generation. Her 2008 debut ‘Please’ (Hyperdub), announced a forward thinking, highly melodic, twisted take on UK underground dance music. After further singles for Planet Mu and Hyperdub, she went on to release one of the best albums of 2010 ‘Contact, Love, Want, Have’, receiving glowing reviews from The Guardian, BBC, NME, FACT, Resident Advisor, Pitchfork among many more. Her remix projects have included Interpol, Caribou, Cubic Zirconia and DJ Mujava.

Equally accomplished is Ikonika the DJ. Her technical proficiency has taken her to bookings at clubs and festivals all across the world. Her live and studio sets journey from classic House and Techno, to RnB bangers, to the freshest sounds of the underground. Her talent was recognised by DJ Mag with nominations for ‘Best Breakthrough DJ’ of 2009 and ‘Best DJ’ of 2010, in their ‘Best Of British’ awards.

Ikonika also runs the label Hum + Buzz with Optimum (Night Slugs/Planet Mu). As well as releasing singles from the owners, it focuses on introducing bright new talent.


Posted in Bubblin on February 8, 2014 by lincolnup


Friday February 28th

Bubblin & Obvious Present

DMZ / Deep Medi / Soul Jazz – London

ZamZam Sounds / Idle Hands / Peak Oil – PDX

Various / Vinylogy


116 SE Yamhill
$12 Advance

About Mala
Mala is a producer, DJ, label owner and visionary best known for his contributions to the scene known as dubstep. But to people who have been touched by his music or moved by his DJing, he holds deeper place in their hearts. Through certain frequencies, his music carries a message that fundamentally connects people.
Mala began spreading this message from South London in the early ‘00s, when the dubstep scene was a tiny, ignored community of likeminded individuals, committed to exploration and imbibing of subsonic frequencies in locations like the record shop Big Apple, club Forward>> at Plastic People and pirate station Rinse FM. He formed production outfit Digital Mystikz with one friend Coki and by adding two others, Loefah and St Pokes, they launched the DMZ night, the first club night to share dubstep on a wider scale.
His music was first cut to dubplate and played by pioneering DJ, Hatcha and released on his label Big Apple Records. As the music began to flow, the DMZ label was born to share it on vinyl and now, years later, those records are viewed as foundational dubstep milestones. Tracks like “Learn” displayed Mala’s breathtaking and intuitive sense of rhythm, while “Anti War Dub” – played the weekend after the 7/7 London tube bombings – showed both Mala’s talent for uplifting percussive groove but his ability to express message and meaning through his music.
As dubstep began to shift from tiny collective to national and then international movement, Mala was at the forefront of the wave, able to take his frequencies to ever increasing audiences and communities. The Deep Medi label was formed and began showcasing likeminded production talent from beyond the DMZ stable, releasing to date, 58 12” vinyl singles and 7 artist albums. Mala himself released his longplayer “Return II Space.” His music has been used in major motion pictures (“Children of Men”) and he has had the opportunity to remix and connect with likeminded artists from other movements like NYC’s Francois K, Moritz Von Ozwald from Basic Channel, Grace Jones, and Lee “Scratch” Perry, amongst others. This year he launched his new night System.
Fundamentally however, scenes, gig sizes, notable collaborations and major motion picture soundtracks are milestones of little import to someone like Mala. What was and remains central to him is his deep connection with sound and his ability to create frequencies and harmonics that share that connection in a way that blissfully, powerfully and peacefully unifies all those who listen.
Martin Clark aka Blackdown
LDN Summer 2012

About Coki
Coki – the quiet man who makes a big noise, or “creatively one of the sickest producers of all time” as his production and DJ partner Mala puts it – has one of the most unusual career trajectories of any producer in electronic music. Although he is without question among the most influential musicians of the 21st century, although he has a good decade of classic tunes and thoroughly demolished raves behind him both solo and as half of Digital Mystikz, and although his fans include some of the biggest and highest-earning names in dance, from Skrillex to Skream, he remains two steps removed from the hustle and hype of the industry.
Indeed, until very recently, Dean Harris – his birth name – held down a 9-5 job, preferring to keep music as something that exists away from financial pressures. Ironic, maybe, for a man whose early 12” releases easily fetch £50 and more from avid collectors, and who can pack crowds of 2,000 into the DMZ sessions he occasionally still runs with partners Mala (the other half of Digital Mystikz), Loefah and MC Sgt. Pokes. But it says everything about an artist who has never sold out, never become jaded and still retains the same wide eyed excitement about music he had as a kid.
Growing up in south London suburb of Croydon, Coki’s passion was reggae and dancehall – something you can still hear shot through all his work – and even when his friends were more interested in jungle and garage, this remained his obsession. He had a peripheral involvement in the garage scene with he and his friend Mark Lawrence – Mala – briefly forming an MC duo to perform at raves. However it was only when influential Croydon DJ and record shop buyer Hatcha, along with a few others, started garage into something darker, sparser and more bass-oriented – the sound that would become dubstep – that Coki found himself unable to hold back and he and Mala began making beats.
From the very beginning, his tracks stood out, sending audiences wild at dubstep’s foundational club, FWD>>. Fellow dubstep legend and founder of the Bristol scene, Pinch, remembers: “I remember those early raves when you’d hear a new Coki track and just go ‘what the fuuuuuck, he’s done it again, I’ve got my head in my hands, I don’t even…. … WHEEL IT UP!’” And that ability to completely gobsmack people with a new bass drop has never left him. Other sharp ears were listening too: the late John Peel was a fan, and in 2004 Digital Mystikz featured at number 29 in his annual Festive 50.
In 2007, he transformed dubstep once again with his track ‘Spongebob’: a preposterous, churning, industrial monster of a tune, its basslines swooping and gurgling with massed Low Frequency Oscillator filters (“LFOs”), in one fell swoop it launched the “tear-out” side of the genre. Caspa & Rusko chose it to feature on their groundbreaking FabricLive mix – the release which truly sent dubstep international and into the mainstream, and still to this day the biggest-selling in Fabric’s mix series – and both mix and track spawned a thousand noisy imitators, fuelling the EDM explosion in the US and around the world. 6 A few months later Coki was involved in another game changing record, the relentlessly catchy Dubstep anthem ‘Night’ which he co-produced with Benga. ‘Night’ was the first Dubstep record to break into the UK charts top 40.
But Coki just kept on keeping on, continuing to record and release, dropping further ‘Spongebob’ style noise bombs like ‘Horrid Henry’, intense, meditative reggae-centric tracks like ‘Celestial Dub’, and combinations which bridged the gap as with his reworkings for Greensleeves of dancehall artists Busy Signal and Mavado. His partners conquered new territory in the underground, with Loefah forming the impeccably cool Swamp 81 label, and Mala nurturing huge talents on his Deep Medi imprint, and then launching his own ‘Mala in Cuba’ project, but Coki just kept on quietly making music. It was only in 2011 that he finally joined them in label management and launched his Don’t Get It Twisted brand, and in 2012 that he finally quit work, got an agent, played his first transatlantic gigs and began to consider DJing and producing his main livelihood.
This, then, is in many ways just the beginning. Although he has repeatedly turned the music world upside down, Coki remains untroubled by ego to an almost unbelievable degree. Still thrilled by the possibilities of technology to produce brain-boggling sounds, still as joyfully attached as ever to the communal vibe and explosive crowd reactions he and his friends created at their DMZ raves, still seemingly immune to hype and hustle, he remains one of the most unpredictable, and thus exciting artists in the game. Whether he makes more dancehall records, starts recording singers, or digs further into the world of grime as on his recent collaboration with MC Blacks, the one thing you can be assured of is that Coki’s next move will leave people reeling and calling for a rewind, just as surely as his very first dubplates did.

Lincolnup :: Mix For The Wood Horse

Posted in Bubblin, Lincolnup, mix on January 31, 2014 by lincolnup


Lincolnup :: Mix For The Wood Horse

For the Chinese New Year commencing January 31 2014

This is a live DJ set of many of the cuts that I’ve been playing at Bubblin parties and beyond for the past year – ft. house/garage/techno/disco/slow hardcore/oddballer sounds mixed for a deep foray into funky vibery – representative of what you could hear from me while at the controls of a dance party for heady freaks, which is what Bubblin functions generally are.

192k mp3 download from soundcloud
wav download at dropbox

Mixed and recorded live in one take by myself using all lossless audio files of at least 16bit/44.1kHz resolution, two Technics SL-1200M3D Turntables customized w/ KAB Acoustics DJ1200 Interconnect Cables, Pioneer DJM-900 DJ Mixer, Serato SL2, Logic X, Macbook Pro, Apogee Duet DAC. 1.5 meter Audioquest Forest USB cable and 1 meter Audioquest Evergreen RCA’s from SL2 to MBP and 900, 3′ Mogami Gold XLR’s from 900 to Duet – no weak links in the signal chain. *Mastered by Ben Tactic* Sound quality is expansive, punchy, and detailed – wav file playback on a well set up sound system with room to dance in low lighting recommended.

Andy Mac : Cities and Desires : Idle Hands
Arkist : Summer Shimmer ft. Lee Risdale : Apple Pips
Untold : Breathe (Nautiluss Remix) : Hessle Audio
Lords Of Midnite : We Gonna Ride Tonite : Unknown To The Unknown
Doc Daneeka : Just Say The Word : 2020 Vision
Pev & Kowton : Raw Code : Hessle Audio
Killjoy : Higher : Formula
Etch : Sounds ft. J-One : Keysound
Alan Johnson : Goron Sound : Blank Mind
Palace : Trust : Unknown To The Unknown
Special Request : Mindwash : Houndstooth
Graze : TheSust : New Kanada
Alight : Obelisk : Local Action
NHK’Koyxen : 341 : PAN
Altered Natives : Morta Apropos : Bosconi
Various Replicas : 12seven : Various Production
Shape Worship : Air White Smoke Signal : Gang Of Ducks
Shape Worship : Concentration : Gang Of Ducks
Walton : Homage : Keysound
Alex Coulton : Break Pressure : Black Acre
Neville Watson : Crossing the I’s : Don’t Be Afraid
Dauwd : Silverse (Dub Edit) : Ghostly
Flava D : Love Will Save The Day : FlavaD.com
Soundstream : Julie’s Theme : Sound Stream
A Taut Line : Laxckqer : Diskotopia
Presk : Mold : Fourth Wave
Tuff Sherm : Monarch Engineer : Merok
DJ Kolt : Afroolove : Principe
Robert Dietz : Common : Running Back
William Onyeabor : Good Name : Wilfilms/Luaka Bop


Press/Booking Inquiries bubblinpdx@gmail.com

Bubblin Valentines Day Edition w/ L-VIS 1990 (Night Slugs, LDN) & BEYONDADOUBT

Posted in Bubblin on January 21, 2014 by lincolnup


Friday February 14th

Bubblin Valentines Day Edition


L-VIS 1990
Night Slugs/Clone Records – London


Ecstasy – Portland

Bubblin – Portland

Bubblin – Portland


Any profits from this event will be donated to Basic Rights Oregon, a wonderful organization that pushes for marriage equality and LGBT rights in the state of Oregon.

The Rose Bar & Lounge
111 SW Ash PDX
21+ 9.30pm
$8 @ the door
*Limited Capacity*

As L-Vis 1990, James Connolly has been releasing a singular brand of club music free of rules and genres since dropping his eponymous debut EP in 2008. Yes, we understand if you’re sceptical—everyone claims to be a rule-breaker these days. But try putting into words the music on his and Bok Bok’s inimitable Night Slugs label or any of his tracks and remixes over the past few years and it should quickly become apparent that L-Vis 1990 has been doing things just a little bit differently.

James grew up in Brighton, UK, where during his teenage years he began to DJ, produce and promote club nights. He co-founded the Fallout night, while picking up gigs across the city and experimenting with music production software. The booking of NYC producer Drop The Lime for another of his club nights, So Loud!, would prove to be an epiphanic moment, in that it reconnected James with a love for bass music, inspiring him to write his standout first release, the L-Vis 1990 EP.

As though setting in motion a domino effect, the track “Change The Game” from that release piqued the interest of Alex Sushon, AKA Bok Bok, who got in contact with James, thus beginning an enduring creative relationship that would indeed change the game. James relocated to London soon after, although the pair quickly concluded that the city’s music scene was, to quote Alex, “shit and we weren’t feeling it.” The by-product of their vexation was Night Slugs. The first party went down in March 2008 at Camberwell’s Redstar, and went on to take up primary residence at East Village (among many other raves at one-off venues) with guests like Oneman, Lil Silva, Geeneus, Christian Martin, Roska and Kode9 feeding into the night’s freewheeling attitude.

As Night Slugs began to properly establish itself, as did James as a producer. In 2009 Compass / Zahonda for Sound Pellegrino and the colossal United Groove for Mad Decent were supplemented by a slew of remixes for artists like Laidback Luke & Diplo, Riton & Primary 1 and Gucci Vump. Acting as a precursor for all that was to come the following year, James and Alex also dropped The Night Slugs EP through Glasgow imprint Dress 2 Sweat, introducing Alex’s now famed style of artwork and their common interest in eschewing any sort of formulas.

The energy and creativity surrounding the Night Slugs party had reached critical mass by the end of that year: at the start of 2010 the Night Slugs label was launched via Mosca’s Square One. By the time James had made his full NS debut with the anthemic Forever You in August, the imprint had put-out peerless music from Girl Unit, Egyptrixx, Lil Silva and Jam City, and was already being spoken of in terms of ‘label of the year’. A tumultuous first year was encapsulated on Night Slugs Allstars Volume One, while James and the extended NS family had successfully cultivated a vibe and an outlook that was entirely sui genius.

This considerable momentum spilled over into 2011—killer releases from Kingdom, Bok Bok, Pearson Sound and Jam City made sure of that. In the studio, meanwhile, James had begun to further explore the groove-based exploits outlined on “Forever You” and his remix of Gucci Vump, via re-rubs of Cassius and Round Table Knights. In fact, the real result of these endeavours could be thought of as a lifetime in the making as James released his debut album, Neon Dreams, through PMR Records. Using exclusively hardware (Roland’s 707 drum machine features on every track), James has crafted a deeply personal record that, through the voices of Javeon McCarthy and Samantha Lim, conveys the story of a year in his life. Neon Dreams brings 15 years’ worth of musical influences to bear, while shifting into focus the love of classic house music that has transcended all of James’s output to date.

Never one to let the dust settle 2012 see’s James dive further into the House music whirlpool, with an anthemic remix for dance legends Orbital and his first release for NIght Slugs since 2010′s ‘Forever You’. Club Constructions Vol.1 is part of a a new series of releases that will operate alongside Night Slugs’ main EPs and white label series, a home for their most direct productions, aimed straight for the dancefloor. With CC Vol.1 James draws on classic Dance Mania and Underground Construction vibes to deliver 5 tape-saturated, strictly-analog slices of modern-day ghetto hard house that have been supported by DJ’s across the world of house and techno. 2012 looks set to be the year that James and Night Slugs reaffirm their place at the forefront of progressive club music.

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