Here I present a series of variations – trees and textured backgrounds. The addition of colour, textures, patterns to the mix brings a new feel to each. I hope you enjoy the progression from one set of emotional references to the next.
I have written previously on the subject of small venues. In a different blog – f4mmedia – I looked particularly at the Redhouse, a Sheffield venue typified as providing the widest range of music in South Yorkshire. I love small venues – so much friendlier, warmer, more personal. I have worked at quite a number and DJed at many. These have included:
The East House was the venue where futurhood was first established leading to the creation of futurhood av. Its origins lie in the phrase ‘in the neighbourhood of the future – that’s where we are’, a phrase coined by a close friend. This was the venue where I re-engaged with djing putting on nights based around northern soul, ska, classic soul, liquid dnb, 2 step garage, funk, deep house and all sorts of other material.
The Earl was the venue giving rise to an event which made some personal history for me and the group of friends with whom I co-promoted – Spannered. we use to say it did what it says on the tin. Based around breaks, techno and other electronica, it made DJ mags top ten nights in the land and forged brief links with other DJ mags. it was the venue which saw the birth of Aromatiq.
The Redhouse was a major step in my own history of involvement with small venues. Aside from dealing with security I put on events and djed for others. The range of music included ska – all 3 waves and most languages, house, techno, trance, mashups, funk, jazz funk, deep house, balkan, african, latin of all varieties, dubstep, dnb, garage, broken beat, nujazz, nusoul and probably a load I have forgotten.
Soon after I returned to djing, nearly two decades ago, I latched onto deep house. It became something I loved. Admittedly the producers I loved were not necessarilly the original producers of the genre. My tastes ranged through Ludovic Navarre – St Germain, Kevin Yost, artists using Robert Owens, Mateo and Matos – people such. Gently seductive beats, an occasional hint of jazz, developed instrumentation, subtle vocals well executed – my tastes gripped each of these qualities.
via Deep House Page.
via What is DEEP House.
In the whole of the house genre it seemed to be the most thoughtful and developed. Wherever I was – be it bright bar, dimly lit club or somewhere vintage – I could drift into closed eyes picturing a particular beach and friends dancing. Given my love of Ludovic Navarre, it is hardly surprising that I had come from a past littered with Dave Brubeck and other early modern jazz greats courtesy of an uncle with such tastes.
Featuring in the above mixes – Andreya Triana, one of the new wave of trip hop – ish performers. Quite a voice!
The mixes above have all sorts of classic trip hop artists and tunes included:
Portishead, Lamb, Hooverphonic, Morcheeba, Nightmares on Wax,
as well as related artists such as Gotye, Moloko, Groove Armada.
via London Grammar.
London Grammar new stars of the revitalised trip hop scene.
on deviant art – resources, prints
For Francis, Motsi, Lebo and all the rest of our friends from Maseru 81-2.
From my time spent in Africa in the 80s it is really nteresting to see how the whole african music scene has moved on – it has managed a massive integration with major elements of the music scene in both Europe and the USA.
Here are a collection of images taken from work done towards current audio visual art projects. You will be able to view them soon via Youtube and possibly Vimeo.
a history by Dave Mumblist
Room 303 was born from the many late night, early morning, post party, smashed out our faces conversations which myself and my housemates/band of reprobate friends found ourselves having over and over again while playing music and eating disco biscuits.
The situation was thus it was about 2007, we were all in our early 20’s and fresh out of university without a clue what we were doing. What we did know was that our taste in music was fresh, deep and completely underrepresented in Sheffield. We were into acid techno (that was rapidly dying on its arse everywhere in the world), dark drum n bass, old skool hardcore, dubstep (before it turned into an obnoxious bassline war) and breakcore jungle. What we wanted was to go to a night which played some or all of these things but specifically didn’t just play the same thing all night (we had short attention spans).
So one Sunday morning I found myself talking to a stranger I had just befriended while waiting for some form of transport in surprise view car park after a free party in the middle of the peaks. I was bending this gentleman’s ear about how we could put on an epic night that was fully underrepresented in the city we lived in, the reply was that this person owned the Redhouse (I had discovered the redhouse several months earlier for a Tinnitus night, when it still looked like an old man’s pub, full of teenagers moshing to gabber with their shirts off). I asked how much it’d cost to put a night, free he said and they would pay us if we filled it.
Room 303 was born, the name was a mixture of Room 101 from 1984 and our love of the Roland TB 303 acid synth. I banged up a poster on the photocopier at work and we postered, flyered and facedbooked our hearts out. We made a banner, took our decks, mixer and laptops down to the redhouse and waited nervously to see if anyone would turn up (The first night was billed as surprise view car park dave presents a night of….. due to me neglecting to tell Jeff what we were called). No one showed for the first hour or two and then smack bang in the middle of my set the place was rammed. The flyer said seven hours of banging music for free and that’s what our lovely crowd got.
We continued in this vain for the next 12 months (Jeff made us start charging money on the door), booking whoever of our mates we thought were mint in whatever style of music they wanted to play (we liked for people to play what they were into). In Summer possibly 2009 we got summoned to see the owner of the Harley who invited us to do a regular Friday night gig once a month, which would allow us to be able to book actual DJ’s at a bigger capacity venue, so went for that. We booked a slew of class acts including Warlock, No Yeah No, Zomby (Worst and funniest booking- 2 hours late and so smashed he couldn’t DJ), Ant, DAVE the drummer, King cannibal, Stormfield, Scan one and Altern8 to name a few. We got loads of people down for the first 6 nights then numbers started to drop, I have no idea why, some of us fell out with some other of us and left the night, then the owner said that he didn’t want us to continue!
At this point it was pretty much only me keeping the 303 flame alight, so I went back to the Redhouse and put on a couple of sparodic half-hearted gigs. In about 2011 my good friend A.R.D. pushed me into putting Room 303 on more regularly and because he was into the harder end of dance music the BPM of the night increased and it slowly morphed into playing UK hardcore, hardcore techno, really hard drum n bass, core and bass, breakcore and gabber. Our mate Scott Kemix (orifice) moved to Sheffield and with him a bunch of contacts in the nails end of dance music which meant cheaper bookings of higher quality and more extreme music! Towards the end of 2012 I decided to move to Leeds and left 303 in the capable if not slightly deranged hands of A.R.D. who brought on board Bee log (Neil) and they have since put on the most forward thinking, hard as balls DJs they can muster.
Going into 2014 Room 303 is keeping in good health, still putting on aggressively independent music which you wouldn’t see if it wasn’t running. It’s put on for the love of it, with passion and largely cos we want to stomp our feet to fucking mental music and stay up forever!
I have been many things in all sorts of places. I have lived and worked in Africa as well as a number of places in the UK. In London I worked for Burberry, helping with the opening of their factory shop, the discount sales network and also did the hands on running of the HQ warehouse. Thus, I can say I helped with the birth of chav haute couture. In Sheffield I currently run 'f4mmedia' and 'futurhood av', both involved in marketing and content creation. A core element of work is video. You will find a couple of youtube channels of mine. I still DJ, VJ and create audio-visual art. I worked for a long while in various areas of entertainment, running club nights, helping small venues, adding visuals and music to the mix of what was going on. as futurhood av I help artists, venues, and more with their marketing and promotion. I make music videos and film performances. As f4mmedia I give the same help and content creation to small businesses. This can invlove social media campaigns, blog articles, video and design content and a whole lot more.