OLDIES GOLDIES 2 @ Samsara, Kolosej - Maribor 19.10.07

BEN LONG a.k.a. Space DJz


Within the techno genre, many claim to have been influenced by the now heavily commercialised hip hop movement. For Ben Long, one half of London’s infamous and influential Space DJ’z, this statement comes from within. Having grown up in the early 1980’s immersing himself totally in the lifestyle of breakdancing and graffiti, his attitudes towards hip hop, and the connections he sees between it and techno were forged, and his beliefs are those of someone who has followed both genres from the underground upwards. When commercialism finally set about popularising hip hop to the masses, Ben turned his focus towards the familiar beats and bass of techno to satisfy his love of electronic music.

When Ben linked up with old friend Jamie Bissmire in 1988, the two urban Londoners had already been avid record collectors, and they began experimenting on turntables, and in the studio, and the Space DJ’z were born.
As Jamie formed his Bandulu project , Ben continued to hone his skills, which were considerable even at that time, and in 1990 this was rewarded by his first gig, appearing as support DJ for Bandulu and The Orb at Brixton Academy. With Bandulu enjoying extensive success, Ben focused on producing the music he loved, dj’ing and working at the London based Infonet label. It was Infonet that was to be the platform for The Space DJ’z first release ‘Loose Change’ in 1994, then again in 1996 when the duo’s seminal and hugely successful ‘Return to Earth’ proved to be one of the years biggest techno records, and catapulted them into the frontline of the thriving British techno scene.

With Bissmire still hard at work with Bandulu, Ben used his new found fame to develop his career by setting up his own record label Potential Recordingz. His releases on Potential proved to be massively popular, and soon Ben’s production and remixing skills were in demand from such heavyweight techno labels as Primate, Tortured, Advanced, Audio, Ground, Consumer Recreation and Pounding Grooves. He rightly takes pride in the fact that he also offered Potential as a springboard to other techno producers such as Umek, Ade Fenton and Chris McCormack, who have since become established artists in their own right, and with the label reaching it’s 20th release, it has become synonymous with the highest quality techno for over 8 years.

During the late 1990’s and beyond, the Space DJ’z have continued to enjoy enormous success, from their ‘On Patrol’ album on Soma, to the staggering electronic mayhem of their AK-47 release on Ben’s own Potential.
As dj’s, Ben Long and Jamie Bissmire have been performing individually, and as the Space DJ’z for over 12 years, regularly playing at techno clubs across every continent of the world, and in 2003 they released their first mix CD ‘The Last DJ’z on Earth’. Ben puts this longevity down to their total dedication to the art, and by “staying true to themselves and their beliefs. With the Space DJ’z, what you see is what you get”.

As a solo artist, Ben’s dj schedule is busier than ever and his performances behind the decks undoubtedly reflect his hip hop roots, and it is clear that it is behind the turntables that he can truly express himself.
As Ben himself says “I see the two as parallel musical forms with no constraints - techno is always changing and always moving, and hip hop is exactly the same”. It is because of this inventive and innovative attitude to his profession that Ben set up his Ergonomix label, an imprint influenced by Jeff Mills ‘Cycle 30’ release, solely devoted to locked grooves.

2004 saw Ben return to production duties after a short time away from the studio with a new label Re-Rub, with it’s philosophy of sampling and re-sculpturing old tunes mixed with razor sharp percussion, scored an immediate hit.

ADE FENTON



Ade Fenton first broke onto an unsuspecting techno scene in 1998 with the legendary ‘Coded’ EP on his own Advanced label, and since then he has continued to develop his own brand of harsh, twisted dancefloor beats. His sound was recognised by many of his peers and releases on such revered labels as Potential, Ground, Planet Rhythm, Audio, Zenit, Primate and Primevil have all helped to consolidate his considerable standing within the genre.
More recently, his work has seen him experimenting by fusing his love of industrial acts as Nine Inch Nails and Cabaret Voltaire into his dancefloor material. His independent techno record label Perverter provided the perfect platform for these darker soundscapes epitomised most recently on the brutal ‘Confessions of an English Psychopath’ single.
As a compliment to his production work, Fenton is also an in demand dj with a busy schedule that has taken him across the globe, from Europe to North and South America, from Malaysia to Australia. He continues to hold his 9 year residency at English techno superclub Atomic Jam, and electrify audiences worldwide with his fierce dj sets that fuse thunderous drums with electro and industrial elements such as NIN, Aphex Twin et al now thrown into the mix, as exemplified on his recent 'Live At Maida Vale' performance for BBC Radio 1.
In late 2005, Fenton’s career was to take a dramatic upturn when world famous electronic/industrial godfather and innovator Gary Numan commissioned Ade to co-produce and co-engineer his album ‘Jagged’, which was released worldwide by Mortal Records in March 2006, and the album was released to huge critical acclaim, reaching number 3 in the BBC Indie chart. .
Such was the success of their working relationship, the pair continued working throughout 2006 on a series of studio and live collaborations, including new versions of a number of classic Numan tracks including Are ‘Friends’ Electric?, Down In The Park and Metal, as well as brand new material.
Since completing the album, Fenton has set up a new music production company Industry Music, and is currently producing albums for a number of artists. He also begins work on a new Gary Numan album in spring 2007.
Numan also contributes vocals to 4 tracks on the long awaited April 2007 release of Fenton’s debut artist album 'Artificial Perfect' on his new industrial/electronic label 'Submission' including songs ‘The Leather Sea’, ‘Slide Away’, ‘Recall’ and the first single to be taken from the album,’Healing.’

CJ MACKINTOSH



Look at the history of British clubland, and youll find the name CJ Mackintosh is woven inextricably into the tale. From house parties and illegal all-nighters through to British DJs beginning to create music of their own, from the acid house explosion to the British club scene coming of age with the Ministry of Sound, CJ has always been there, pushing things forwards by playing the music he loves.
Born in Paris but raised in London, CJs DJ career began at the age of 15 when he and his 17-year-old brother set up their own sound system and began playing house parties in South London, mixing up disco, jazz, funk, soul and early hip hop. He blagged his first professional gig at Flim Flam, an underground but influential night in south-east London run by Coldcuts Jonathon More. There was a guy scratching, and I knew I could do better. I hassled Jonathon for about a month, until he offered me a half-hour slot. So I got Einstein, a rapper/MC, and we started doing sets there. Eventually I started getting paid. Money wasnt the object, though it was just doing what I wanted to do.
In 1987, he made a name for himself by winning the UK title in the DMC Mix Championship. Suddenly he was in demand as a remixer, Dave Dorrell, another DJ prominent on the London club scene, asked him to join Nasty Rox Inc one of the first bands to mix rock and dance, with a DJ playing alongside the live instruments. Lauded by the style press, they toured extensively and recorded an album with Trevor Horn. I learned a lot, it was a good experience, being with the band for two years.
But ironically, it was a one-off dance single made with Dorrell and members in indie bands AR Kane and Colourbox that was to have the real impact. An adrenaline rush of samples and beats that defied categorization, Pump Up The Volume by M/A/R/R/S topped the UK charts in September 87, charting in the US the following year. At a time when Britains national pop station Radio One barely recognized dance music, this success was a vital confidence booster for clubland. Along with Bomb The Bass, it opened doors for all the DJs to say, Oh I can do that. Now look how its changed some of the bigger DJ's are like pop stars.
Since then, CJ has continued his prolific mix career, working on tracks by C&C Music Factory, Janet Jackson, Whitney Houston, De La Soul, Inner City, PiL, Coldcut and countless others. He has released several mix albums, and his Love Happy project charted in 1995 with Message of Love. He has traveled extensively as a DJ, and this experience and his ability to span musical genres made him an obvious choice for a residency at the Ministry of Sound in the mid-90s. He was a mainstay at the club until 1997.
This year, CJ intends to get back his home studio, and make a long overdue return to writing and producing music of his own rather than remixing everyone elses. But he still loves playing live, and makes regular trips to quality clubs all over Europe.
As a DJ, CJ prefers to stay low-key, to let the crowd focus on the music rather than his personality. After more than two decades on the cutting-edge, he still has the same passion that fired him from the start. I can understand why people used to cry in clubs in the early days. When you hear the right record, at the right time, in the right place, theres no feeling like it.

na tole bom še js mogoče pršo pogledat tk nimam daleč

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