based out of glasgow, the motto for one of the hottest new labels of recent times is “real rockin’ raw shit from the street for the clubs”, and it sums up the imprint to date perfectly. dixon avenue basement jams, quite frankly, releases weird, non standard machine music that spits and splurts, blurts and bleats all kinds of alien patterns, hooks and melodies into your ears and has done with every single one of its five eps so far.
despite belying any one easy genre classification, never is the music too weird, alien or off the wall to not be hugely likeable – there is often a moment of serene synth calm, a catchy vocal clip or soulful detroit reflection hiddin within the rawness of eps from marquis hawkes, odd and jarred wilson.
each one comes pressed on coloured vinyl, with the hand-stamped dog face logo and a print out of the tracklist, and never cost more than £7. i like the label’s style, a lot, and as such tracked down daniel lurinsky aka dan monox aka the manager of glasgow’s rubadub to talk about the label he runs along with the wasp…
who is behind the label and how/why did it first come into being? you already run at least one other label, right? how will this differ?
myself [dan monox] and the wasp run the label together. we had been talking about starting a new label for the last couple of years and had been sitting on jared wilson tracks for ages, and then one day we were like, “lets get our fingers out our asses and get this label started!” and it kicked off from there. we had already been running the mnx label since 2002 that ran in conjunction with our club monox, which we had been putting on in glasgow since the year 2000. there was no real “direction” with mnx, we just put out stuff whenever we felt like it, so it could be one release a year or four releases a year.
it was mainly artists who had played at the club who we had built relationships with that we would release on mnx recordings. it was focused [if i can use that word!] more on techno, electro, ambient and industrial elements, and like i said there was no real pattern to it. just like the club! people who came to the club, knew they could expect good music but it was always pretty varied… one month we’d have alexander robotnik, followed by tyree cooper or dj funk and then the likes of adam x or lory d. we like a lot of different styles of music and i think that came across in our bookings. dabj, has a more focused, freaked out dancefloor vibe with a splurge of funk in there too.
what was the thinking early on, did you have aims or goals or was it more that you knew guys with good music and wanted to get it out there or?
the thinking early on was basically, “ok, we have these tracks, lets put them out and see how it goes…”. we were absolutely amazed at how the first one went down, it made us sit up an take notice a little more. it wasn’t long before we were lining up the second release from marquis hawkes, a friend of ours who goes back a long time. he sent us the four excellent tracks including of course “sealion woman” and that went down really well. vernon was a guy from outside our initial circle of contacts and friends, he came to us with a load of great music and we selected our favourites for the third release, we called in our friend fudge fingas from the east coast of scotland to lay down a remix on that release and once again it sold out crazy fast.
all of the first three releases sold so fast we had to repress them all within a week of release, that’s great going for such a new label. same goes for the fourth and fifth releases from marquis and another old friend o.d.d, they flew off the shelves in stupid times as well, but with those we pressed larger quantities to begin with to save having to repress so quickly. so it’s been really encouraging and inspiring and kinda surprising first year for all involved.
what if any impact does your locale in glasgow have on things? are you a product of the city you think? does being based there have an impact on what you like, what you will release etc? is there a healthy scene you feel part of?
hmmm… i would say we are a product of our past, we still draw a lot of inspiration and ideas from what we did with monox and our various other projects over the years. i have also worked in rubadub records for the past 13 years now, and that has been a huge part of my life, i have learned so much through rubadub over the years, musically and in life generally. also through strong friendships we have built in our time in glasgow, the wasp and i share a lot of friends and we are constantly bouncing ideas and music off each other, we don’t always agree 100% but i think that’s really healthy. do we feel part of a healthy scene? yes and no… through myself working in rubadub and both of us djing all over glasgow and beyond, we are both pretty familiar faces in the city and tend to get on with most people, so yeah we are definitely part of something, and there is a lot going on in glasgow for such a small city in comparison with the likes of berlin, london etc… but at the same time the main reason we started monox and dabj was as a result of not hearing what we wanted to hear at those times…. so simultaneously we were kinda kicking against the “scene” too i suppose?
the marquis hawkes and odd releases are basically… weird house music. is that your aim, to release such stuff? where does that desire/penchant come from, is it the music you have grown up with or currently love or…?
it’s what we dig, weird music written by weirdoes on a weird label run by weirdoes for weirdo. it’s what we have always been attracted to, no matter what style. it’s gotta have something quirky that grabs yours and the dance floors attention.
how did you come to marquis and odd, and are you keen to keep them as label artists and build a bit of a family or?
marquis and odd are both friends of ours through music, going back many years. of course we want to keep the family together, that was one of the main aims of the label to create a tight knit little family of friends putting out great music and enjoying what we do together, and knowing we can trust them to give us the dopest jams and they can trust us not to fuck them around or play them for fools.
will you release anyone as long as they make good shit or are personal relationships important to the whole operation?
although in the previous question we said we are to be and are a pretty tight knit family unit, this doesn’t mean we are not interested in checking out demo’s and being contacted by new artists. it’s been really refreshing and interesting checking out some real gems from new artists and some of that material already lined up for future dabj destruction. the family just keeps growing!
and will you look for there to be a narrative in all the releases, something that ties them all together or is it just about spur of the moment feelings?
i’d say dabj definitely has more of a narrative to it than mnx did. wasp, myself and of course the artists put a lot more thought and time into each release than i would have in the past with mnx. like i said earlier sometimes we don’t always agree with each other 100% so that makes us discuss things and to and fro a lot more than in the past, which is good because it means the final product is guaranteed killer. not that the mnx releases weren’t stone cold killers in their own right!
five releases in a year is good going, will you keep up that rate or was it cos you had a backlog of stuff to get out when you started?
our aim is to keep it regular but only if we have the material ready to go, we won’t rush ourselves or artists into putting out what we think is substandard music just to keep to any sort of schedule, but yeah, when it allows we want to keep the good music flowing, and so far that’s not been an issue! we didn’t have a backlog at all when we started, apart from the first release from jared everything else was sent to us once the label had already kicked off.
where does the name come from and why have the dog as your logo? any real reason?
the name comes from an apartment i lived in on dixon avenue in the south side of glasgow around 12 years ago or so. i rented a room in it from my friend george. it was a party flat, so all the afterparties would tend to gather there once the clubs emptied out on on friday night. the wasp didn’t live there but he was a constant presence! the apartment had a basement, with tiled floors, blacked out walls and windows, a dj booth, pa system, smoke machine and strobe. so basically a private club for us and our friends. many crazy times were had, and its a place that still has a big place in our hearts and memories, so it was natural that we wanted to honour it in some way. george, the owner of the apartment also kept english bull terriers, so the logo is to remember his dog reggie, who shared the apartment with us.
you include printed notes with each 12 too, why is that? are you collectors at heart just looking to add value to each release?
of course we are collectors [or maybe some people would call us hoarders!], its an addiction we have been struggling with for probably close to or over two decades! it’s not just records either, synths, drum machines, outboard effects, sneakers too! the printed notes actually started off as a bit of an accident i suppose. originally we were just going to release the records with the stamped label and zero information about who was on it or who had written the music, but then we thought that’s kinda pointless and would possibly end up being problematic further down the line when it came to cataloguing releases etc.
also, i think it’s nice to have something to look at and read. i remembered buying old submerge records years ago and sometimes they would come with an inlay of notes on the release or sometimes telling you what was forthcoming on the label, i always loved that, so i guess thats where the inspiration for that came from…we’d like to think the music is what adds the most value though, at the end of the day that is the most important factor to us. speaking of value, the whole discogs prices issue is just getting ridiculous these days. people buying copies of brand new records and instantly sticking them up for sale for £60-80… it’s got crazy, and we certainly don’t support that shit, but if prices of dabj go crazy and there’s enough demand, then of course we will repress so music lovers don’t have to pay through the nose for our releases.
i notice cat numbers are ’1201, 1202’ etc – does that mean you intend to do lps in the future or?
we have no plans to release any lps at the moment, as we said before dabj is more of a dance floor orientated label to us and it is very rare to hear an album full of straight up dance tracks that are all killer. but we can never say never!
i read in a comment on fb you don’t do digital cos you’re lazy. surely wax is a harder pursuit than digi? are you just being coy? are you vinyl fanatics at heart?
no, we are definitely lazy! i guess what we really meant was that we can’t really be bothered putting a lot of effort and money into releasing something as a free download [we don't see the point in charging for them] when after a couple of weeks of a record being released its all over the internet on these dodgy download sites anyway. if we did do digi, only reason for doing it would be so we could furnish people with mastered digi files rather than the burned files that are kicking about just now. and the only way we would probably provide them would be along with the record so you would still need to buy the record anyway. we are not against the digital format, although i still use only vinyl when i dj, the wasp uses both serato and vinyl, so its definitely not for “vinyl label only” snob reasons or whatever. it really is mostly down to laziness and lack of interest more than anything else. but we have started to look into it, who knows when we’ll get around to doing anything about it though…
what else have you got coming up/are you excited about?
we have just sat down last week and sorted out the next few releases, so we’re pretty excited about that. we are sending off the new vernon release to get mastered and cut this week, and that will be followed by more releases from marquis, o.d.d, jared and also a new “dabj allstars” split release series. other than that, the wasp and i are working on some dabj edits and remixes for various other projects and labels at the moment…marquis hawkes has also remixes due out on unknown to the unknown, crème organisation, and crow castle cuts over the coming months, so exciting times ahead!
19:00 (+2 GMT) Dany Rodriguez "Recode" with guest Sierra Sam
Sammy Goossens aka Sierra Sam has been active in the electronic music world for more than 15 years. Starting as a party promoter in his home town Liege (Belgium), he shortly hit the studio to produce music for labels like Reload, R&S, Rotation, Pure Plastic, Muller, Teknotika. In the past, Sammy was also the co producer for other artists like Suburban Knight (UR, Peacefrog) or Bloody Mary (Contexterrior).
A few years ago, he met Marcus Vector and they started their own Toys For Boys imprint, which has been very successful and supported by the major players in the scene. More recently he relocated to Berlin to work as label manager for Jay Haze's Contexterrior and TuningSpork, which brought him to release on both labels (as Sierra Sam or D.I.Y.) as well as Dirt Crew, Trapez ltd, Einmaleins, Supplement Facts, Serialism, Souvenir, Upon You, Nordik Net, Dame Music ...
Sammy is also a great remixer with work for Tim Xavier & Par Grindvik (LTD 400), Monika Kruse (Terminal M) or B Pitch Control (Fuckpony). Last but not least, Sammy is a performer: he played in clubs like Fabric, Rex, Watergate, Goa Madrid, WeekEnd, Fuse to name a few.
20:00 (+2 GMT) Andrew Duke In The Mix (w/ Stewart Walker live PA)
Andrew Duke has been composing, producing, remixing, and performing music since 1987. His music is consistently referred to by the media and listeners alike as continuously presenting a unique and distinct sound.
Quotes: “Andrew Duke creates music that sounds like it has a reason for living” (The Wire, UK); “He often seems to be inventing new genres” (Cyclic Defrost, Australia); “Andrew Duke renews my faith in the world of techno” (Igloomag/Microview, USA); “Andrew Duke reinvents himself almost with every release” (All Music Guide, USA); “Andrew Duke puts his soul into his experimental music” (The Halifax Daily News, Canada); “The man behind the East Coast electronic music scene, Duke displays a different facet of his skill with every release” (Exclaim, Canada).
Consumer vs. User (Phthalo/USA) was nominated Album of the Year (Urban) at the 2006 Music Nova Scotia Awards. Two PSAs he scored for the national Racism: Stop It! campaign were recognized with awards in March 2005. His Sprung album (released on France’s Bip-Hop label in 2002) was nominated for Album of the Year (Electronica) at the 2003 annual Canadian Independent Music Awards.
22:00 (+2 GMT) SLAM RADIO with guest EDIT-SELECT
Tony Scott who under the name Edit-Select has reinvented himself to the place he is happiest having total control over all his output a dj -producer, and having his own successful record label.
Tony has been producing electronic music since the early nineties, remixed Speedy j, Chris Liebing, Adam Beyer, Slam, Gary Beck, Mark Broom, Death In Vegas and others.
Acid house was the catalyst to kick start his DJ career in 1989 with Todd Terry’s ‘Black Riot’ and Richie Rich .. salsa house .. being the pivotal records.
Tony now runs< edit-select> his own label which he started in 2007...
23:00 (+2 GMT) Christian Smith "Tronic Radio" with guest Wehbba
Beatport features Wehbba's album "Full Circle" debute on Tronic Music. Having delivered standout releases for Renaissance, Bedrock, Great Stuff, Get Physical and Primate and garnered the support of DJ Hell, John Digweed and Hernan Cattaneo, Wehbba’s ‘Full Circle’ album is a natural next step for such a prolific producer. ‘Full Circle’ takes in ten tracks of superb house and techno characterized by heavily melodic content and dense, constantly evolving textures.
From the blistering opener ‘The Speech’ to the final bars of closer ‘Technocolor’ Wehbba delivers a massive variety of sounds and emotions yet the album as a whole is cohesive and just ‘makes sense’ as a listen.
Full support from Joris Voorn, Laurent Garnier, Stephan Bodzin, Nick Warren, Fergie, Lauhaus, Tom Novy, Karotte, Joseph Capriati, Michel de Hey, D-Nox and more...
24:00 (+2 GMT) Dr Hoffmann "Blind Spot" with guest Roberto Capuano
Roberto Capuano was born in Naples in 1987. He soon discovers his passion for music production and at 11 years old has the first contact with machines and software of the time.
Gradually he made some small releases, until he reaches the attention of one of the godfathers of the Neapolitan techno scene, Markantonio, who manages to capture the very outset talent of the young boy, so in January 2009 Roberto released the first release of prominent on"MKT" entitled "Got You EP" which immediately proved popular among the great DJs of the moment with great support by Richie Hawtin, Alex Under, Umek and many others.
From there, he searched for his own style from minimal techno to tech-house with a good number of releases on labels like "Loose Records", "Suara", "Monique Musique" and received excellent feedback from the best international DJs.
Towards the end of 2011, he had his first release on "Drumcode" with a single track titled "Oblique" included in the compilation for the 15 years of the label that was one of the tracks leading of the entire compilation.
In 2012 Roberto and Markantonio decide to join forces for a special release on "AnalyticTrail" with an EP of 6 tracks and one of them, "T4", reached the second place in the Beatport techno chart as well as many charts of famous djs. A partnership that solidified the professional profile of producer and DJ Roberto, leading him to play in some clubs in Europe and in the temple of Neapolitan techno music, the “Old River Park”.
From there comes many other releases that have been all great success, like the 'EP on "AnalyticTrail" named "Free", again a single track in another compilation on "Drumcode", a new collaboration with Markantonio on "Unrilis", other EPs and remixes on "Driving Forces", "Phobiq" and more ...
In March 2013 he released his first solo EP on "Drumcode" entitled "Vertigo EP" that have reached the 1st place on Beatport's Techno chart with the track “Vertigo”. In May a new release on “AnayticTrail” with the name “Sweet Willy EP”.
ViaSound frontman Andreas Zead is back tonight at 21:00 (+2 GMT) with his monthly show featuring his favorite tunes. Tonight’s set includes tracks from artists like:
Nachklangmusik, DJ 3000, DJ T-1000, Denny Trajkov, Tomi Chair, DJinxx, Mokos Vibe, Oxytek, Life Recorder, John Shima, Samoil Radinski, Syrinx, Kaelan, Dcnt, Ataneus, Antwon Faulkner, Edge Effect, Dave-G, Sean Deason, CODE AM, D' julz, Ian O'Donovan, Alex W, Lex Gorrie, Mark Archer, Roberto Espinosa. Enjoy ;)
Check out Wednesday’s radio program:
18:00 (+2 GMT) Craig Stewart "After Dark Mix Sessions"
20:00 (+2 GMT) Dark Room Dubs Radio presented by Silicone Soul
21:00 (+2 GMT) Andreas Zead "ViaSound Rules"
23:00 (+2 GMT) Axel Karakasis "Remain Records"
24:00 (+2 GMT) OXYTEK
Miami Ice joins Strakes on Episode 52 of the Dogcast. With releases out on labels including Beef Records, Endemic Digital and Lost My Dog (Pretty Criminals & Miami Ice – Feel The Crowd), German producer Markus Greulich’s stock is definitely on the rise. He will soon appear on Lost My Dog again as part of a collaboration with Pete Dafeet and Sara Brito (included in his guest mix). This Dogcast also includes music by Kerri Chandler, Robosonic, Pezzner, James Dexter, Citizen, Sek, Roland Nights and Prince Club.
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