Printworks 2018 Opening: The Hydra

Printworks, nestled in an industrial estate in the Canada Water area, just south of the river, is a great example of urban regeneration. It is in the space of what was once West Europe’s largest printing facility responsible for printing the Metro and the London Standard and has now been transformed into a 6,000 capacity multi-dimensional venue. This reuse of existing archaic architecture for new cultural facilities is certainly pleasing in today’s throw away society. Although not as romantic as the squat-cum-clubs of the Berlin scene, Tresor and Berghain, it is still a powerful feeling. Along with the area, Printworks itself is constantly being improved and fine tuned, everything from sound and lighting configurations to crowd flow and drink purchasing systems (no more drinks tokens, yes) which makes me extra excited to witness the second season of events, having a complete overhaul of its audio visual equipment this time round.

For the opening party the Hydra took the realms in curating the dance. Long time legendary party coordinators in London, it’s no surprise they put together such an impressive line up. On entrance it was smooth, a short walk through the winding complex greeted by friendly staff cracking jokes and making you feel relaxed and not tense on edge like the airport style security of some London venues. The building opens up as you start to get a shear size of the space, illuminated with tube lighting installations and ambience with a growing bass thud, enticing you into the cavernous space of Printworks’ main Press Hall.

Revelers in the main hall printworks
Revellers in the main hall Printworks

The sound of Red Axes filled the room with surprising clarity, the improvements to the main room sound system are instantly noticeable; a lot fuller and richer sound through ought even at the bar area. It is a vast improvement to the patchy and often overworked and blast-y sound in the main room before. The duo were bouncing through with clean heavy hitting rolling techno making you forget it’s only early afternoon, playing late night club bangers with worldly acid tinges and playfulness of their productions, such as a the M.A.N.D.Y remix of “My Warehouse” by Roland Leesker. As they build with more cheeky percussive tunes, a hallmark of their sounds, teasing pan pots and tin drums over mystique sounding psychedelic chanting style vocals. The vibe got progressively psychedelic, imagine acid campfire, everyone gradually losing themselves in the over powered strobe lights and then dreamy twinkly percussions like you’re laying back looking at the night sky, then BAM pounding beat back to your feet. A very good set, although relied on cutaway drop a bit too much creating a sense of plastic tension rather than sincere, but still very textbook.

On occasions the lighting in the main room was very overwhelming and distracting, especially the ridiculous amount of lasers and strobes, which become disorientating at times. If they’re well engineered they’ll be fine, but nothing on the epic beam setup of last season. The full on lighting was almost blinding at times making it hard to navigate, but on the whole the crowd flow down the sides of the main hall allowed for good access without getting too crowded, with exits whenever you needed. Coupled with the more solid sound coverage, it was much less hectic than prior configurations.

Room 2, nestled away at the back of the Press Hall hosted nordic rave legends Prins Thomas and Lindstrøm for the later end of the day. I was instantly a little disappointed to find the crisp and clear VOID acoustics had been replaced by a much more boomy and overpowered system which did not sit well in the room, although it still did a fair job. Prins did not disappoint however, playing heavier than usual layering upbeat techno and powerful disco to cosmic effect. There was a lot of positive dancing and happy faces, upbeat ethereal party time; weaving in twinkly synths as though we were dancing in the stratosphere while laying on huge bass keeping us from drifting off in space. A tune that stuck out from his set was Bawrut’s remix of “Devozioni Dialettali” by Enzo Avitabile, although the main highlight had to be an almost 10 minute long rendition of “I Feel Love” by Donna Summer involving rolling Chicago hats and claps yet withholding the vocals, somehow more satisfying in simply respecting the magical arpeggiated beat that Giorgio Moroder concocted.

Kerri Chandler looks out over the printworks crowd in the epic Press hall
Kerri Chandler looks out over the printworks crowd in the epic Press hall

The finale came in the form of House legend Kerri Chandler, hailing from New Jersey, he steps up, straight into high energy drum roll double tension tempo claps slapping the slider to his own beat. He knows a party and truly turns it into one, expertly blending from big room techno bangers such as “Bang’t” by Geeeman to euphoric disco house “Let Love Enter” by The Disco House Lovers and high-energy punchy numbers like “Work It Out” by Karizma, to modern house classics like “If Only (Lehult)” by Liem and “Never Grow Old” by Floorplan. You could really tell he is a class above the rest the way he effortlessly swept away any lingering residue and fatigue from an afternoon of heavier tunes and filled the crowd with ecstasy and new energy. The set was accompanied by a huge bright disco ball, sparkling down the vast hall, a lighting fixture which was tasteful and added to the music. Overall a great way to end a solid selection of music and set everyone up for a beautiful rest of the weekend.

The epic disco ball glistening perfectly in unison with Kerri Chandler's infectious grooves
The epic disco ball glistening perfectly in unison with Kerri Chandler’s infectious grooves

Photography by the talented Jake Davis at Hungry Visuals

Golide @ The Roundhouse, Camden

Goldie, known by most as one of the pioneers ofthe Drum and Bass sound, famous for tracks such as “Inner City Life” and “Digital” along with the ground-breaking album Timeless, has been out of the game for some time; so when he announces his first proper studio album in nearly 19 years and accompanying live tour you can imagine the deep feelings stirred. Having not been too dialed into recent developments in the Drum and Bass scene, I went for a chat with long-term friend and DnB head to get his take on Goldie’s movements before the show. To sum up, his perspective was that “Goldie is trying desperately hard to stay relevant” and wrote his new live show off to be a gimmick. With this pretext I had mixed feelings leaving the house on a wet and windy Sunday evening.

These feelings were very quickly forgotten upon entering the roundhouse with ease; the smooth and polite door staff made you feel very welcome, right at home setting the tone for the show. An iconic venue to say the least, the dome spherical setup allows for great sound and clear view from most points.

The lights dimmed and the man himself exploded onto stage, Goldie for the first time taking centre stage, under the spotlight, rather than staying second to the music behind the decks. His new role suits well as he wastes no time introducing the new band consisting of three keys/synth/controllers, two drummers and two backing singers accompanied by a whole host of guests including Natalie Duncan, who Goldie showed great reverie for as his “musical muse”.

The band are extremely tight from the outset and it instantly becomes apparent just how many layers of sound go into creating the intricate soundscapes of Goldie’s music. Taking the humble position of percussion using an array of instruments (favouring the tambourine) Goldie bounces around the stage providing glowing encouragement and enthusiasm for each and every member of his new band; clearly super excited on this new venture, he breathes energy into the band and crowd a like.

The new album, The Journey Man, is the focus of the show and is flawlessly brought to life. The drummers for me were especially impressive never seeming to let up and miss a beat, keeping up the intensity for the duration of the show. The album is generally easy listening with a few too many slower songs smattered in between the classic Drum and Bass jams which hark back to his iconic sound from the nineties. However, when played out live with a more refined selection accompanied with live musicians, especially the baking vocalists and Natalie Duncan who were superb, the show cut the perfect balance between hype Drum and Bass and mellow sections to create a very accessible, enjoyable show for all. Not directly appealing to the OG Metalheadz, although Goldie made a point to share his respect and appreciation to the ‘old heads’, it is broadly a very enjoyable spectacle. A real highlight enjoyed by all was the rendition of “Inner City Life”, with Natalie Duncan singing impressively true to the original sound, sending shivers of nostalgia throughout the room.

Goldie has done so much for the Drum and Bass scene, and the electronic music scene alike; from helping mold the sound at Fabric many years ago to being a prominent key figure in helping the institution that helped kickstart his career remain open. I see this live show as an extension of that spirit, showcasing the true musicianship that goes into Drum and Bass music, which along with other electronic music doesn’t always receive the fullest appreciation and respect it deserves.

Planet Giegling @ Superstiton, Village Underground

Giegling

If you have not heard of Giegling, they’re a crew of super-talented individuals, majorly German, who came into contact around a small German university town called Weimar. They have been releasing music since 2009 and rapidly becoming more prolific with every release, a vinyl only policy with very limited online presence in conjunction with their unique sounds helps make them highly sought after in such a commodified era.

During their early days of lurking in separate music scenes they gradually made contact and gravitated around a rundown post-GDR space with a great system that they used on the cheap “Giegling” (Originally called The Giegling) and used for 4(ish) legendary parties which set the precedent for their whole ethos moving forward. A deep, enticing sound of spacial nostalgia and lost emotions across many genres; minimal, micro house, dub, techno and leftfield electronica. Their music really has a sense of message and purpose, super heartfelt taking you away to places and feeling far out there you didn’t know existed. They’re one of the tightest labels in terms of sound and aesthetics, epitomised by their ethos “For us, Giegling is the belief that we are better together than as individuals,”

You can read deeper into Giegling at Resident Advisor and Juno Records.

As you can guess I was super excited at the announcement of their world tour…

Planet Giegling.

 

Planet Giegling Tour Poster

I was lucky enough to take a trip to Planet Giegling during the London stop of the world tour, and I must say it was quite the trip. For this leg they chose the renovated turn-of-the-century warehouse space, Village Underground, based in Shoreditch. The space has a real cryptic, religious feel with candles burning along the wall and and matched with a new installation from Giegling behind the decks, formed of a cross of 5 holes which looked to be carved into the wall holding extra large candles, perfectly suiting the aesthetic of the club night who hosted the event, Superstition. This also perfectly matched the Giegling vibe, and the almost religious experience that was to unfold, I can’t think of a better place in London.

Photos by Luca Crescenzi, full gallery here

Dwig (live) @ Planet Giegling, Village Underground

Setting the scene

The instant I walked into Village Underground I was taken aback with what they had done with the place; a bosom of filament bulbs hang above the dance floor; pulsing away to the downtempo beats of Dwig. You can catch his set here.

In addition to this an interesting bunch of Balloons float just above the decks, a mix of all different shapes and sizes, wafting gently between some abstract neon lighting. Initially I thought it was some bespoke scutltpure they’ve been carting around the world, but on closer inspection the balloons became apparent. They were a very impressively simple piece and along with the different colours and intensities of lighting, morphed into all kinds of awesome and bizarre shapes and figures, maybe helped with some slight acidity in my system, but nonetheless a great addition to the spectacle.

Giegling family all stand around assembling the beautiful bulbs
Giegling family assembling the beautiful bulbs
Bulbs an Bunting
Bulbs an Bunting

Journey begins

Warming the crowd up nicely with his more downtempo vibes Dwig sets the scene for one of Giegling’s more well-known acts Dj Dustin, the founder and runner of affairs, who come through with his trademark sound featuring kicks so crispy it feels like you’re right there inside the drum. Catch his Giegling #1 mix here.

Following him was probably my choice for the evening, Edward. Someone who has been hot on the lips of my Berlin-based friends, often playing in the ‘hain, I’ve been keen to check him for a while. He majestically moved the crowd and tempo through a multitude of feels, peaks and troughs, building powerfully to ecstasy quite impressive for the mid point of the party around midnight (had been running since ~7pm).

Gaining momentum

Up next ATEQ, who’s set I can’t speak too much about as I had a fair session in the smoke pit still wallowing in the highs of Edwards performance enjoying the pleasant sensations of some of the finest Moroccan. Following him was another heavy hitter of the crew Konstantin who recently gained hype after his sublime mix for the famous Georgian club, Bassiani. Really building on the intensity he took the crowd deeper and deeper, a pure energy felt to be building around the floor as though we were preparing for something big, real big.

Vril built upon this energy, initially curve-balling with some off-key trippy downtempo numbers before easing into his trademark hypnotic, powerful techno sound. Something the crowd were more than ready for an apparent in the increasingly abstract forms of dancing, raw energy flowing around pulsing the bodies like rag dolls.

Blast off

Kettenkarussell was to close of proceedings, named as the German for a chair-swing fair ground ride, he took the crowd of on the final spiral ascent up onto Planet Giegling. The last hour was a pure whirl wind of excitement as the real hardcore remained and danced themselves into an absolute bliss ascension.  The ballon installation was gyrating to the bass and masses of smoke which swirled all around, highlighted with the powerful lights and tears streaming down my face. It was such a spectacle I couldn’t help but break the events no-phone policy to snap the takeoff…

Blast off to Planet Giegling
Blast off to Planet Giegling

Floating down

Even weeks after I’m still on a high from the energies shared that trip to Planet Giegling, it was such a powerful, emotional night that is very hard to compare to anything else I’ve witnessed. Doubly inspiring that such a grass-roots group of friends can go on to traverse the globe spreading their unique sound and message, something rarely seen in the world of electronic music.

Giegling truly are producing a sound so hauntingly emotional and yet so highly personal that it feels like there is an honest and important message behind it, Planet Giegling feels like the most complete representation of that, yet I still cannot put my finger on it; magical.

 

For Dylan xxxxx

Dylan Rieder was one of the most stylish and talented skateboarders to ever grace this planet, even typing this I am struggling to come to terms with how monumental a loss this is. Dylan sadly passed away yesterday, at the young age of 28, due to complications with Leukemia. This is for you, all your family, friends and fans; Galaxy wide.

Dylan Rieder gazing off into the galaxy

Whether it was the pages of Vogue magazine, modelling for DKNY, or shredding the streets, Dylan had an almost effortless cool which influenced our culture more then anyone else I can think; his influence spanned through many generations and industries making waves in both skateboarding and fashion . His black/white New York chic has been imitated by many, but replicated by none. The sheer amount of social media posts is a moving homage to just how many hearts he touched.

The real essence of Dylan however came out in his skating, explosive, powerful and of course stylish he was a true don papa. Unique in his trick selection, no one else was doing impossible tail-grabs and definitely not as audaciously high as Dylan.

Dylan Impossible over Bench at the Seaport NY

He was a true inspiration, and one legend who will be immortalised within skateboarding’s history.

Enough words, as they’re really just scratching the surface on his brilliance, below are a selection of our personal favourite from the don Dylan.

For Dylan xxxxxxxxxx

Now you’re suitably amped, please, go out there and shred…

For Dylan

Have you come from Farr?

Nestled away in Bygrave woodlands just north of London a few miles off the North Circular, Farr Festival manages to create a unique sense of isolation in which you can leave your worries behind and immerse yourself in the woodland vibes. This year was no exception with an expertly curated selection of music, across nine stages featuring the likes of John Talabot, Paranoid London, Move D, Dorisburg, Project Pablo, Denis Sulta, Helena Hauff and of corse the long awaited 6hr B2B2B with Ben UFO, Joy Orbison and Midland.

The festival offered both camping and day ticket options, capping at around 4,500 revellers; it never felt too crowded or busy. Even at peak times you could generally find space to get loose. All of the stages had their own unique charm, scattered throughout the woodlands you could really loose yourself in the mix; I constantly found myself finding little hidden cotches and areas I’d missed before. The campsite was a short way down the hill which provided both an impressive view on the walk back to the campsite, often to the backdrop of a beautiful sunrise, along with a walk up full of anticipation as the woods gradually came into view, the slogan “Back to the Woods” felt fitting indeed.

Group journey past the corn onwards to Farr, Bygrave Woods
cheeky
Flying Farr colours
Flying Farr colours

The Hidden Palace was as the name suggests, nestled deep into the heart of the woods and due to its more enclosed nature compared to other stages played host to a number of intimate standout sets. Funkineven was one hot on the lips of many after a funky lit acid electro set, eluding cool and charisma the crowd loved it when he stopped the music to get his smoke on, one of the many little touches by artists which really help to create a intimate atmosphere. A highlight for me was Tesselate Soundsystem dropping Oh Jabba by O B Ignitt, one of my all time favourites such a treat to finally hear it out. Giles Peterson was another highlight from this stage, a real crowd pleasure. Unfortunately I didn’t get to check out the extended set by A Love from outer space who hosted the stage, but I’m sure that was nothing short of intergalactic.

Farr Festival 2016 - Hidden Palace Stage
“~…Rummaging through a dustbin left by the old tenants, and there she was starring right back into me~”
[Rhys Salt] 2016
Farr festival 2016, blessed at the Hidden Palace stage
Blessed at the Hidden Palace

The FARR sign proved both a perfect meeting spot and even better vantage point, looking out across the rolling fields of surrounding Hertfordshire; It was a real perfect hub for gathering friends and brewing spirit.

Revelers sit upon the Farr sign, looking out over the rolling hills
FARR

FARR sign rolling hills rhys oosh squat

Although this seemed too much for some people, when one of the most savage out breaks of “Get if for the gram” I’ve ever seen killed it so hard, Some people just fully lost their shit shouting crazy, no lie it was fucking ridiculous. I say people but it was really only one person, I’m just so shocked never have I ever met witnessed someone kill tha vibe so hard in my life it is difficult to portray just how astonished I was… see squalling clear 20 plus people out the way to “Get it for the gram” was simply bizzare, so much for peoples ponchos huh… shame because they did look legit.

Girl at Peoples Ponchos move revellers aside to "get it for the gram"
Power to the People…’s ponchos.
Peoples Ponchos @ Farr
Peoples Ponchos @ Farr
Peepin at the people through the peephole
Peepin at the people through the peephole

ensue party people

The Shack Stage at Farr Festival 2016, earlier in the day before the madness ensued
The Shack Stage earlier in the day before the madness ensued
Warm Up stage
Warm Up stage was great during the day, providing lush warm and deep grooves for the afternoon sun. Its a shame this stage didn’t stay on later to float the party people up to the sunrise with some magical melodies and

The Terrace was popping the majority of the Friday night as you would’ve guessed, although I managed to catch first two hours before dashing off to see Move D at the Shack.

Alex and friends @ The Shack for  Move D
Alex and friends @ The Shack for Move D

After an hour of the legend Move D, I had to move on to the late and great Dances Tunnels stage wile out with Dorisburg. Bumped into my buddy Steveo and the Warm Up head honcho Aidan; getting excited for them to host the Terrace stage on Saturday.

Steveo and AidanSteveo and Aidan (Warm Up)  happy times
Steveo and Aidan big love

Hunnee was simply perfect to close out the Friday at the shack, a beautiful selection of soulful music transition through disco, funk to techno and house, his mixing was impeccable, a joy to behold.

 

Come take a trip
Come take a trip
Have you seen the Yo Yo Man ? Farr Festival 2016
The Yo Yo Man, have you seen him?

 

Waves at the Hidden Palace
Waves at the Hidden Palace

Wavelord

The Ran$om Note went deep on the Saturday evening with Paranoid London playing live along with Helena Hauf and finished by OGs Optimo

Ran$om Note stage at Farr Festival 2016
Ran$om Note stage at Farr Festival 2016

 

Dancing @  Farr Festival 2016

 

 

Aj and Steveo @ Farr Festival 2016
Aj and Steveo

 

See you next time
See you next time

 

At the start of the festival I was surprised when my friend steveo described Farr as a boutique festival, but now thinking back I wouldn’t describe it as any other way. The taste is delicious  throughout, great music selection, festival setup, atmosphere were all on point, Only thing is that it didn’t go on longer! The 4am finishes and wrapping up on the Saturday night were a surprise, and a little bit of a shame.

 

Shoot film, stay broke.

How to make a ghetto fisheye for any camera CHEAP!


For only £2.50 you can make yourself a ghetto ass fisheye for all those proper gully angles.

Works best with cameras with small flush lenses like mobile phones or handicams.

Instructions:

Step 1) Buy this (or get cheaper one from your local hardware store)

Step 2) Cut out a gap in a bottle gap to fit the neck of the peep hole in (Not essential, just easier to mount)

Step 3) Unscrew back of peep hole and push the neck through, screw the back on.

Step 4) Mount the finished lens on your camera with whatever you can get your hands on! Tape, blu tack etc… For true security duct tape that fucker!!

Your finsihed ghetto fisheye should look something like this

Ghetto fisheye made from a peep hole

 

Here is some footage of Grant Taylor recorded with this sick little fisheye to show you its true power (about 50 seconds in)

 

 

HUF x Bronze 56k // Hippie Speedball

Bronze 56k coming in hot with their second collab of the year, building on the hype from the Palace x Bronze paramount video, they bring out this dope as fuck shoe with HUF. A rad iteration of the HUF classic hi with stronger materials an hype bronze branding on each ankle.

 

Bronze 56K HUF classic hi
Bronze 56K HUF classic hi

Peep the edit Hippie Speedball below: