MEOKO Exclusive Archives — Page 36 of 37 — MEOKO

Select*Elect Meets Cafe’ Sturz with Jimpster and Foehn & Jerome, Ranacat & Kasia at TBA – London

By Competitions, Hot Off The Press, MEOKO Exclusive

This competition is now closed.

select elect

Select*elect’s next house and techno showcase is upon us. Freerange Records head honcho and DJ/producer extraordinaire Jimpster headlines bringing with him 19 years worth of experience guaranteeing any dnacefloor to ignite. Alongside him are Grelle Forelle residents Foehn and Jerome who recently mixed MEOKO 30:

Foehn and Jerome Exclusive Podcast 


To win two tickets + Freerange T-shirts for the September 22nd event simply email with ‘Selectelect me’ in the subject title. Expect cutting edge music of the highest order, a basement pimped out with pumping sound and an intelligent up for it party crowd!

Jimpster  ( Freerange Records | 2020 Vision)
Foehn & Jerome  (Grelle Forelle | Symbiont Music )
Ranacat  ( Select*Elect | WoM | ARG )
Kasia  (KP Sessions |UK)


Guest List & Info:


Tickets for Select*Elect 

Select*Elect on Facebook 


Dachshund talks to MEOKO + Exclusive Podcast

By Hot Off The Press, Interviews, MEOKO Exclusive


How has your early love of Reggae music influenced your current sound?

Reggae music is what I learned first, when I started to play guitar. Then I became interested in dub music, as I was impressed by way the Jamaican sounds engineers take part of the production of a track, mixing and arranging in real time on the multi-track-mixing-desk, playing with the echos, reverbs, frequencies etc…So my first try of music productions was with dub music. 15 years later, I’m still influenced by the reggae/dub sound, I think in many different ways: the sound warms, the importance of the bass lines, the hypnotic effect, the real time arrangements, and much more.  

To give you a real example, on my album track called “Infinity Dub”, I’m using an old trick that you can’t do with software:  I’m sending the drums into my Space Echo, with the return of this “treated” sound, driven into an analogue mixing desk, then sending it back in the Echo creating a feedback loop. By controlling it with the mixing desk, I play with the frequencies and the auxiliar, the result is that I create this fluting and raw feedback sound, reaching to distortion.  This old trick was more used to have a longer echo/feedback or to modulate the frequency of the feedback.

What was your first big piece of studio equipment and how did it help take your production sound to the next level?

Every piece of the studio equipment have been important, but when I started to get into music production, the sampler (it was an Akai S1100), was the craziest thing on earth. After touching it, it was a non-return – I left my guitar and got involved with the machines. I was using the studio of the conservatory in Geneva, experimenting with wonderful synthesizers like Roland System100, EMS Synthy A. But what I bought the first are my speakers, and today I am still using the same ones!

Dachshund Exclusive Podcast 

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How did you first get involved with ‘Music House’ in London?

Going to “Music House” in London was like going on a quest for the Holy Grail! 

If you can imagine, I was a dreadlocked youth, speaking only few words of English, and I was also a fan of Drum ‘n’ Bass music. I’d take the plane from Switzerland and would only be going there to cut my tracks on dubplates, and sometimes meeting my music-heroes too (also waiting in the lobby of the studio to cut dubplates). In the cutting room, the bass would always hit me to the maximum sound pressure level possible, and the engineer would always be asking me if I wanted some more?

I was coming back home with the smile on my face but no money in my pockets. And eating pasta for the rest of the week!

What was your first big club hit and how did it feel when you first saw a dancefloor really react to it?

The term of “big club hit” is maybe a bit too strong, but my first track that have reach the chart and been played by a lot of international Djs was “Somehow”. It really helped me to be part of the scene and to start playing out of Switzerland. To see the crowd react to a track you’ve done is always a big pleasure, no doubt about it!

Who have you most enjoyed collaborating with and why?

An old and interesting collaboration was with a reggae band called Resstless Mashait. The concept was to record the rhythmic base of a reggae track: drum, bass, keyboard and guitar on analogue multi-track tapes in Switzerland. Then once that was complete, I travelled over to Jamaica to record the other instruments and the singer. That is what lead me to a studio in downtown Kingston. I was amazed to see the sound engineer dubbing the track in real time. It’s another reason I love Dub so much.

How did you come to work with Highgrade Records?

Tom Clark contacted me via myspace, before that, we had never met for real before. He proposed me to make some tracks for the label and I was happy to start a collaboration with Highgrade Records. I did my first track for the compilation called “Group of Connected Heads”. After that few EP’s and now the Album!

Tell us about your new album ‘Eleven Ridims’ and what were the main influences for it?

 Eleven Ridims is my first album, I didn’t ask myself too many questions about the concept or how it should sound, I just wanted to have the occasion to present something various but not overproduced, something spontaneous. So the result is eleven tracks with different taste from tracks for the dancefloor to duby sounds for the living room. Of course I’m influenced by my background in Reggae and Drum ‘n’ Bass, and I like the way it colours my sound.

There is only one collaboration on the album, it’s on the track called “Give Thanks”. The vocal samples come from a track that I recorded in my studio with a Jamaican artist and friend called Nello B.

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Your playing at Beatfreak + launching your new album – what can people coming to see you expect from this party?

It’s the first party of the “album launching tour”, so I’m really excited, and I will be playign the more danceable tracks of the album!

How are things going with your label CLAPPER?

I would say slowly but surely, hahaha! Clapper isn’t a big structure with many artists, and the goal is to release one EP every month. It’s more about it being a personal project with my friend Quenum. We release whenever we want, and try to put no pressure at all on ourselves…

The next release will be a remix compilation, but I can’t say the release date yet because we’re still collecting the remixes, but we’ve got already got lots of good stuff in the bag for it!

What keeps you awake at night?


Beat or Freak?


Words by Anna Wharton 

Dachshund next at Beatfreak at Basing House 22nd September 

Tickets Here 

Dachshund on Facebook


Ernesto Ferreyra Interview + Exclusive Podcast

By Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive


Ernesto Ferreya, the Cadenza vagabond who left his native Argentina in pursuit of freedom and musical enlightenment, dedicates his life to making intricate micro-measured yet very gripping house sound. After a few formative years in Mexico he disembarked in Mutek-home base Montreal to become part of its influential scene, also making up one part of the production duo Miniature Chic (with Guillaume Coutu-Dumont), he moved on to music-production mecca Berlin, attracted to its infinite potency. Positioning himself in the eye of the storm, Ferreyra has reached an accomplished state of equilibrium which perfectly balances his original desire to expand and explore, and the need to retreat and reflect. Regularly surfacing in the most attractive party destinations such as Ibiza, Ernesto is travelling from club to club as part of the Cadenza Vagabundo outfit, only to spend the remaining hours in the studio where he lets himself flow freely. Releasing only few and far-spread EPs, he is currently working on his second album. To listen to his podcast is an aural pleasure as he juggles rare tonalities with perfect hitting beats with ease and perfection. And to read this interview is very touching as Ernesto talks about his moving family history.


Hola, thanks for your brilliant mix! How did it come about, where did you make it, and what was it you wanted to get across?

Well, every time I make a mix, and they are not live mixes, I try to find songs that are more intimate, and I can identify with. When you have to cater for a bigger crowd, you cannot always play deeper and more refined stuff. Recently, I fell in love with  the productions coming out of Romania, it’s some kind of sound I always look for in my own productions, which is why there are quite a few tracks by Romanian artists. Sadly, I could not make the mix in my house as I would have mixed with vinyl and turntables, but on the road, on my laptop, travelling on the train from Poland to Berlin. It’s that kind of music you can only play at special occasions or at some after hour or in some cool club in Berlin. 

Ernesto Ferreyra Exclusive Podcast 

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Where are you based right now, how do you feel about being in exile for so many years right now, and what kind of effect does this have on your music?

I live in Berlin for over four years right now, before this I was in Montreal for four years and before this in Mexico City for three. I am originally from Cordoba, Argentina, and I travel there once a year to see my friends and family. I always long for Argentina, and every now and then the thought of going back crosses my mind. But unlike the other Argentinean artists, have I started my career somewhere else and not in Argentina where I am quite unknown. This makes it a tough one when playing with the thought of going back. Six months here, six months there would be perfect actually. We’ll see. I really like it here right now. Berlin is to producers and DJs what Hollywood is to actors. It’s the place. Things are happening there and then. I feed myself with Berlin, my travels, lots of reading, lots of jazz, funk and soul, friends, collaborations with other artists… 

With who are you making music at the moment – with Guillaume And The Coutou-Dumonts (as Chic Miniature)?

With Guille, we already have some stuff ready that is almost finished, but ultimately, I have been working with Alejandro Mosso, Mirko Loko, and Cesar Merveille. We jam, have sessions in which we just explore. In which one almost always learns and teaches new things to the others. I love that! But I also love to be locked away in my own bubble and compose in my sobriety.

How does this happen? Do you work together on the machines, or each of you on his own? 

Well I have quite a few machines in my studio, a lot of them analogue, it’s quite a nice way to invest and get tax refunds… so, most times, we just take over the different machines and instruments and record them all on separate tracks, for hours and hours. And then later take the best parts and edit them. 

Do you have a German passport? 

No, I have a Canadian citizenship, so I applied for a Canadian artist visa. 

And why did you choose Mexico when you left Argentina behind? 

To be honest, any place would have done the trick, I just wanted to get away. I was on the best way to go bold and get bored to death in Cordoba. I would have ended up with a car, a house and a secure job. But also sad, and bored! I am a studied export merchant and I was working for the government. During the weekends, I was DJing, I lived in a parallel world. 

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Well, you made the right decision: To be free, and making music. 

This is the legacy of my dad: You have to be free and do what you believe in. I never got to know him. I was born during the dictatorship, 14 days after his disappearance. My mum and I got away. My mum was abducted as well, but just this once, the soldiers were kind enough and let her escape. The one who let her jump off the truck was expecting family around the same date. My mum says I was born under a lucky star. We look after each other. My parents were psychology students, and just happened to be hunted down by the military, just like many other completely innocent victims of the military government. 22 years old, students. There was no war, no guerillas, just victims. The only good thing I learned from this is that you have to live life to the fullest, chasing your dreams at all costs. 

We are just listening to your album “El Paraiso de Las Tortugas”, dancing…

Well, perfect timing. The track “Asequia” was actually made in memory of my parents. When they were hunted down, they were trying to escape through an irrigation ditch on the fields of the lands of my grandfather. 

There are just so many memories and feelings buried in the depths of this album. I think I read somewhere that it took eight years to make it.

No, that’s not true. I made it in the course of two years, just one of the tracks was older but I modified it. It’s very intense. I had to finish it when I flew out to Ibiza every weekend, and ended up completely wrecked, with my back killing me. Right now, I am working on my new album and it’s taking quite a lot of time. But it’s winter soon so this will actually be easier, to just spend a lot of time in the studio. Right now, I might tell you what it’s going to be like, and it will end up differing from what I said, so I better not tell you too much, just that it’s going to be different. The most important thing is that it has to make sense, there has to be a connection between all the elements, a concept, a certain homogeneity, that’s the most difficult part. That’s the difference between an album and an EP. It’s taking a stand where an artist is at, music-wise, encapsulating different moods, and unlike an EP, which is consisting of three mainly floor-orientated tracks, an album is something more complete. Well, right now, I am making music. And nothing else. So this is going to pull together sooner or later. 

Ernesto Ferreyra on Facebook 

Cadenza Vagabundos on Facebook 

Words by Katrin Richer 

Weekend Circuit presents Stroboscopic Artefacts Showcase with Lucy & Xhin at Rhythm Factory

By Hot Off The Press, MEOKO Exclusive, MEOKO Presents, Reviews

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Weekend Circuit bring a nine hour techno marathon to Whitechapel courtesy of Berlin based label Stroboscopic Artefacts. At the helm is head honcho Lucy (aka Italian born Luca Mortellaro) taking you on a journey through the darkest outer reaches of the genre all the way through to industrial and will be sure to pepper his set with surprises in between. Also in session is one of Stroboscopic’s star acts, the Singaporean Xhin (pronounced “sheen”) whose oppressive brand of electronic music marries techno with so many other genres that the only way to describe it really is as a “soundscape”. Support comes from Gareth Wild (EarToGround) and Michael Wells (Weekend Circuit) and there will be a VJ team on hand throughout the night making this exclusive showcase one of the most anticipated events of the weekend.

10pm – 7am

Rhythm Factory

16-18 Whitechapel Road


E1 1EW

£15 adv / early entry £13.50


Weekend Circuit on Facebook


Fatherhood, a near-death experience and the resurrection of his labels: Jay Haze talks to MEOKO + Exclusive podcast

By Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive

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With over two decades experience in the music industry, Jay Haze has pretty much seen it all and, earlier this year, it appeared as though his career had all but ended when he apparently quit the music scene closing his seminal labels, Contexterrior and Tuning Spork, in the process. However, due to a dramatic series of events that have occurred in his life recently he is now resurrecting the labels and returning to music with a renewed zeal and determination. Brimming with new ideas that combine his charity work with music and visual productions, Jay is a changed man and in the interview that follows, he discusses his new outlook on life, impending fatherhood and why he’d become disillusioned with the electronic music ‘scene’ in great depth with Marcus Barnes for MEOKO..

So, Jay, you’re going to be a father…. are you ready?

Well, like I always say, ‘You can never be ready, you can just be accepting’. So… I’m ready to accept! [Laughs]

Has it taken you a while to accept?

Well, it hit me out of the blue so.. I guess I always wanted to have a child, but with this career it always made it seem as if it was something far away, off in the distant future.

And how do you feel now?

It’s great, getting through the pregnancy is hard for the man because women, when they’re pregnant, have hormones flying everywhere, so you just have to be super patient and… you have to be very docile…

… a bit of a punchbag?

Yeah yeah [Laughs], you can say that. There’s not a lot of logic sometimes!

That’s women for you. 😉

It’s humans for you. We never really make sense to the other person and it will forever be that way, I guess that’s the nature of relationships in reality.


Yeah, very true… and so how about your outlook in terms of your career? Becoming a father is going to impact in some respect..

It’s definitely scary to think about my career in electronic dance music.. now, living so far away, being in South America. I actually planned to move back to Europe before I found out that I was gonna be a father. It’s been really hard living down in South America – it’s been great because I’ve been able to get a lot of my social projects off the ground and, now that they’re working I feel like I had a chapter of my life that I needed to do [and that’s complete] so I was planning to move back and find a place to live, I was thinking about moving to Ibiza.

Yeah, there are some really beautiful places on that island.

That’s the thing, I like to live in places that are close to nature – with the sea, mountains… so that was the plan. Actually, when I went on my last tour, I found out three days into the tour that we were gonna have a child. And the weird thing is, my girl was told by several different doctors that she couldn’t have children.

So it’s even more amazing than a ‘normal’ pregnancy.

I guess you could say that. What was really shocking was the events that happened in my life up to that point. Basically, this last year has been the hardest of my life – absolutely, positively gut-wrenching. And literally three weeks before our child was conceived, my girlfriend and I suffered a very huge tragedy together in the Amazon jungle, where our boat sank and we fought on open waters for our lives for nearly four hours.


She made it to a tree that had grown out into the river, and I was just floating out in the river for hours in the dark, it was night time. There was nothing for me to hold on to, I was just floating down the river and, yeah… I had a near-death experience, I actually died. I swallowed water and drowned, it was such an intense moment – it changed everything for me. In fact, I haven’t been the same since then. So, that was already such an intense moment to have with this girl and so, shortly after, I flew her to Tulum, Mexico… I had to do a tour five days after this near-death experience…

How did you manage to do it and not cancel?

Well, because I’m almost broke! [Laughs] If I didn’t do it, then I wouldn’t have money to live. The whole thing is interesting because it made me look at life differently, now I’m in my thirties and about to be a father and don’t have a High School education – electronic music is really the only thing I have. I mean, I do art, I do sculpture, but it never pays any money. It kicked me in the ass and made me realise what I should be focusing on and… yeah…

If there’s anything that’s gonna change your perspective it’s things like that isn’t it. Is that why you’re resurrecting Contexterrior and Tuning Spork?

Sure, sure… it started after the near-death experience, then I knew that I had to not give up. I’ve spent 20 years of my life deeply involved in this industry…

…Did you feel jaded before the experience?

Sure, there’s so much going on, it’s hard to be somebody that’s been around for so long and seen so many changes and see certain aspects of the industry that are just really, really unfair and hard to… because I’m such an emotional person, it’s hard to deal with because I see so much real talent out there, people who are really putting their heart into something, and really care and they’re not getting any play. And you see a bunch of clowns and jokers who don’t even really understand the history and the roots of this thing and the work that people have done before them, the foundation that was laid out to allow them to be doing what they’re doing and… I guess I was jaded once I knew you can buy your way in and the most successful people are the ones that already had money, that’s the truth. There’s not really many rags to riches stories in electronic dance music [laughs]. The people who are running things already had money before.

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They’re in the majority at least anyway…

Yeah, so if you have money you can pay your way to the top of this thing and that’s what jaded me because I wasn’t fortunate enough to have money and I had to rely on my work and my craft and my skills and… when I started to realise that wasn’t enough…

…it’s heartbreaking.

Yeah, because it should be about your talent. It’s like now people are just in that state where they’re like, it’s a career opportunity, you know, to become an international DJ or producer or something like that.

Yeah man, when did that happen?!

I think it’s happened within the last five years. It has a lot to do with many factors – the spread of social communications, digital communications, throughout the world has helped that. Like Facebook, MySpace, Twitter... things where people can constantly promote themselves and some of what they promote might not even be true, I mean who’s checking?  Every other DJ right now writes on their Facebook that they’re supported by Richie Hawtin and… is anybody even checking that? [Laughs] It doesn’t even matter really but..

..yeah, it doesn’t matter but it would be funny if someone approached Richie with a list and asked him who he was really supporting.

Well, the truth is he would just say yes to everything because that’s the way you get by in this world, say yes to everything. Pretend like you like everything, just kiss ass man.

Yeah, don’t have an opinion because who has an opinion these days?

It’s dangerous to have an opinion.

Definitely, just nod your head and carry on…

Yeah, [In a sarcastic voice] “It’s a great record man, I really loved it…”

So, how important are the labels to you.. I guess they’re pretty crucial to your career?

Yeah well, I can only say that I have dedicated so much of my time, energy and my life savings into them that the decision to stop them was a culmination of events that happened and just wore down on my soul. Getting ripped off from so many different angles, from artists, distributors, from GEMA, it’s really hard. In life you go through ups and downs and, where you’re in a down, which I have been in for a while now, you just see things completely different. And what becomes more apparent to you is what’s wrong and I guess all those years I allowed myself to live in this bubble where it’s like, ‘Oh yeah, this is all great and this is all dandy’ – I had an epiphany and I thought, ‘What are we doing? We’re just running around in this world hopping on aeroplanes… what is the substance of our conversations?’ I have friends all over the world but how many of them are really close and, if we didn’t have techno, would we be friends at all? I guess I just felt the pressure of, you know.. it’s called a mid-life crisis, that’s what I had. I had a mid-life crisis and I wanted to start something new and I thought people would be up for it. I had a lot of support for Music 2.0, but in the moment it’s just not a viable reality.

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What stage are you at now in terms of coming out of this mid-life crisis and resurrecting the labels?

I think I’ve found myself again. I guess when you go through things like this you kinda forget yourself and what ended up happening was, I ended up putting myself in a category that I didn’t necessarily belong in. I put myself in the same category with people who’ve really done nothing to have success and just was really down on myself. I was really depressive, even though I was having gig requests, I wasn’t having things the way I’d hoped after all I’ve done- I just kind of felt like ‘Who am I? I’m a nobody’. Over the last few months I’ve had a lot of people reaching out to me and just being like, ‘Dude, you’ve made five killer albums your work has been represented in magazines and press all over the world’ and it’s still growing. I still have a fanbase, even with my old records people are rediscovering them. I guess I needed to be around people who cared about the work that I’ve done and recognise the struggle I had in trying to be original and not playing the game the way everyone else was and kissing everybody’s ass, not making hits of the moment and trying to be ahead of the game.


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Tuning Spork

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I think it’s definitely the right way to go about things. I take it the labels will be affected by this renewed focus?

I’ve got artists on the label like Arttu aka Lump, who’s rocking things right now. He’s got a new sound, it’s a raw, old school sound. I have artists that depend on Contexterrior and Tuning Spork to release their music and, simply put, there’s just not many labels out there that have been around that long and are a brand. I don’t know if it’s gonna be… I can’t predict the future, I’ve stopped trying. But basically I’m just gonna work with my artists and, if I like what they’re making, then I’m gonna release it and I hope that people find an interest in the labels again and take note to the fact that we’ve been here a long time, we’ve put a lot of work into this and it’s been a long struggle and there’s no reason for me to give up. The moment when I said goodbye to everyone in the world, the moment when I was dying, literally when my mouth was above water gasping for breath and fishes were biting my feet, in those moments you have such intense reflecting on your life and one of the things that struck me was how much love I have inside me for electronic music, how much love I have inside me for the culture, the possibilities, the sheer potential to create change in the world through unifying people with music. It was an eye-opening experience for me and I think the thing is to just continue on with that same focus rather than being concerned with being at the cutting edge of a new sound or something like that, you know?

Yeah, rather than trying to be ahead of the pack or the coolest it’s better to carry on trying to spread the message and unifying people.

Exactly, exactly. At some point I got side-tracked by the glamour and the glitz of this whole thing.

It’s easily done!

Yeah models and after-parties and it got boring really fast.

The superficial stuff gets boring really fast.


Well, if your heart’s in the right place anyway.

Yeah, the superficial stuff lasts too long for my comfort but… [laughs] you know, at some point you have to accept things and think, ‘That’s how it is, what can I do about it?’. I can’t change it, I can’t change anything that’s what I realised, but I can change how I feel about things and the way that I see things. I think that’s important for me to get a better outlook on things and to surround myself with people who actually support me, the original work I’ve done, the struggle that it’s been to do things the way I’ve done things, to do loops without using sample CDs, without taking the easy way out, you know.

Hmm, doing things the harder way.

Yeah, I mean I’m not gonna lie and say at some point I wasn’t tempted when I saw some of the clown DJ/producers running around out there just making what everybody else is making and being super successful and making tonnes of money doing it. Of course, I’ve contemplated making an easy track and sending it to the right label that I could get signed, because I feel like I do have that luxury where I can release where I wanna release, these days… It’s not like it was in the early stages of my career where I’d send a demo to somebody and they wouldn’t listen to it, now it’s like I’m working with labels that I wanna work with.

Yeah, taking the easy route is not always the most rewarding or satisfying in the long run..

Definitely not, but like they say ‘The grass is always greener on the other side, until you get there‘.

True. So in terms of releases, what have you got pencilled in for release over the next few months?

I’ve got two new artists; there’s a guy called Alexander Skancke, he’s from Norway and he’s 21. He’s doing Contexterrior sound, in the same frame of reference as Villalobos or early Contexterrior. I’ve got another younger kid called Sergey Trotzkopf from Siberia who’s really doing interesting sound design – it’s not really music for the masses, it’s weird and beaufitul at the same time. Those are the only new artists that I’m signing at the moment. Other than that I’ve got music coming out from Jay Tripwire, Masomenos… Soul In A Bottle is being re-released on the label Modern Soul with remixes from Wankelmut. I have a record coming out on Leftroom in October/November, a remix for Soul Clap coming out on Wolf+Lamb,
‘ve got remixes coming up for this Italian label Sonora Records.

Actually, I was pretty impressed with this guy Lorenzo Dada. Hes be
n making deep house or
deep techno, I’ve been listening to a lot of his stuff and I find it to be really musical, he’s a very talented artist. He asked me for a remix and then I checked out some of his stuff and I was like, ‘Wow, this is really quality stuff’. The vocalists he works with, the songs he writes… it’s not just standard stuff.

I’m gonna work on a new Fuckpony album, it took a while but Fuckpony really has a buzz going. I noticed in the last month, I checked one of the song’s on YouTube (I’m Burning Inside) and, in one month, the songs had over half a million plays. I uploaded it, it’s from an album that’s been out for two years so I want to do that. I want to concentrate on the Fuckpony sound, which is gonna be a bit more futuristic house and not so much looking back to the past. I’m gonna try something new with the new Fuckpony album, it’s gonna be in relation to the last one. I was really, really happy with the last one. It was a moment for me.

jay haze

So, moving on slightly. You’ve been in South America for a while now has that had much of an effect on the music you’re making? I know you’ve down-scaled your studio…

Of course, I had a dream studio, I had built a studio for eight years – it was my spaceship. I guess, when I had this epiphany.. I made the decision to stop the life I was living in a matter of two months  – I reduced an office, a studio and an apartment to two suitcases and moved to South America, not knowing anyone, not being to speak the language.. moving to Brazil first then on to Peru. It was one of those moments where I gave everything up, I guess I needed to see what it felt like. To give up everything and start from scratch. I’m lucky that I had my big studio, so I know what the sound was like, so I still have my sound – it’s just a smaller version. I have an MPC2000, a couple little analogue synths, my microphone and a tube amplifier, so I can always record… that’s another thing, I’ve been recording a lot of music again; writing songs, playing piano and singing – I don’t quite know what’s gonna happen with those but..’s good to have some variety anyway.

Yeah! I let a few people hear it and they were really interested. I let Jonny White from Art Department hear it and he was like, ‘Dude, I’ll sign this… if you finish an album of this, I’ll sign it’. It’s just totally non-dance, so it was really nice to get that type of feedback. It’s definitely hard to not have my spaceship, it was really nice to have a big studio.

So has being in South America affected the sounds you’re creating at all?

Nah, I wish there was more – the problem down here is, the people of South America don’t embrace the sound of their culture enough. In Chile they definitely embrace their Latin roots a lot more than the other countries. Living in Brazil and Peru it sometimes can be frustrating to watch these producers look to Europe and try to make European music. They don’t really try to have an identity with their music and I think that’s sad because there’s a very rich and diverse music culture spreading throughout this entire continent, but that also has a lot to do with the fact that the people who are making music in South America are kinda coming from money. So they want to be living a ‘European lifestyle’ and they don’t have much of a connection to these musical roots because the real South American music is coming from the poor, it’s coming from the slums, the Favelas. The afro-fusion, how the whole slave trade worked in South America… the people who are making the electronic dance music we hear, they’re really not from that. It’s one of the things I wish they would embrace more and it’s something I always tell them, but they have to learn for themselves. It seems like there’s not even much interest in it, I get demos from South American artists all the time, especially Brazil – it’s like when are we gonna hear some Brazilian house? Rhythmically, melodically it’s such a rich culture and we have people doing the ‘European sound’.

It’s a shame.

The other thing we have down here is what we spoke about earlier, people buying their way to become a DJ. You have clowns, where being rich isn’t enough for them. We need less of that. People who book only the acts that will heighten their own career, they’ll pay Sven Vath $40,000 just so they can tag team with him at the end for an hour. This is what’s happening in South America, which is really stunting the growth of musical education, I guess that’s one of the reasons why I was looking forward to getting out.

Looking to the future, where do your hopes and ambitions lie now because you’ve been involved in the industry for quite some time and achieved a lot.. ?

Right now I’m doing a lot more videos myself, i’m gonna work on a film, I’m doing a lot of short films. I dunno if you’ve seen the stuff I’ve posted on my YouTube channel.. black ‘n white stuff.

Wow, so have you taught yourself then?

Yeah, I’ve been teaching myself and learning as I go. I’m shooting a lot, doing the camerawork, editing so that’s another thing with the label – there’s gonna be a lot more visuals combined with the music and not necessarily music videos, I’m gonna try to use music as a media, getting stories about people out there and to show people as much of the real world as possible and having the music and the record labels are a launching point. Inviting people to record images and to get them seen and for people to pay attention to them, that’s one of my ideas is to use my music as a newspaper. People are gonna search for my music anyway, like I just told you, there’s a song that has had 500,000 plays over the last month – that’s just got a picture of me on the video.

If you can utilise having that much appeal, it’s a quite a potent form of media.

Yeah, that’s the point – to try to maximise that and use that to reach a more global audience and reach many more people and help stories get told and put a more human face to what’s going on in the world because, right now, medias that exist are desenstising people.

Do you keep up with the current ‘scene’?

Not so much because I chose a different route to go with my life, I haven’t been keeping up so much because, the more I kept up with it, the more depressed I got actually. I was really finding it hard to keep in touch with it, it’s not how I wanna feel. If I keep my distance from it, it’s easier to be happy and I’m not thinking too much all the time about all these trivial things that I would think about when I was involved in the house and techno scene you know; who’s got the biggest record, is it a rip-off of this.. when I was paying too close attention to that, my thought process itself was not what it should be, I was not reaching my potential – when I took a step back from caring about it so much I was really able to start and initiate some projects that really created change.

Exclusive Jay Haze MEOKO Podcast – Click Here 

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It constricts your brain power almost, you get lost in this tiny world that doesn’t really mean anything.

Yeah, you get lost in this tiny world that means nothing and you always have something to write on Twitter about, you always have something to write on Facebook about but it’s all really just a show. I think a lot of people are gonna wake up at one point and realise that they’re empty and this scene… the scene itself, I love the culture. I love the culture of coming together and having these experiences where you feel like you’re one, like you get with live music – I really love that experience and I think it’s powerful, I think it’s important for people to experience that. But, at the same time, we need to look at the bigger picture and that to fully accept that for the most part this reality is futile. We can’t keep running around on aeroplanes, playing in this place and playing in that place because now all these places have their own scenes developing. Is it really necessary for me to run and hop on all these aeroplanes and play music that some DJ who’s really into it is playing? I think it needs to go to the residencies. That’s why somebody like Craig Richards… Craig is one of my heroes in the scene because he’s managed to make a career for himself in London and build that and keep going forward, that’s what I want in my career. I want to be able to play somewhere that I’m living in every week, have my people like Larry Levan did back in the day and not have to travel so much because you have to understand what that does to your head man… being in Africa one day, this place the next, this place the next, breathing in all this air, all this travel, it’s really hard on the body. And we don’t understand yet fully what are the side-effects because it’s such a new thing. There’s not many careers out there where people are flying as much, as intensely. It would be nice to be able to have a hometown thing.

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Yeah for sure.

When you see what the Wolf+Lamb guys did with the Marcy Hotel, that was the fucking bomb man! That is the way it should be [Laughs]. Zev and Gadi and all them, they did a great job man, wow. If I was ever able to do something like that, that is a dream come true. Recently I played at the Electric Pickle in Miami, and I met the owner and he was like, ‘Dude, I’ve been trying to get you to play here for years man, this place was built for people like you!’ I was like, ‘This is the shit, man!’ All wood, nice sound system, regulars, you get to play what you wanna play, musical education, it was just amazing.

Yeah man, I love the Pickle.

I would love to see that kind of thing happen more, less super clubs more real clubs.

So, what’s the plan up until the birth of your baby?

I’m playing random gigs here and there, I’m playing Santiago in Chile and Mendoza in Argentina this week. I’m gonna make myself more available for South American gigs, I haven’t been gigging so much in South America. I’m gonna do another tour in Europe in November and hopefully I’ll get a good 8 to 10 shows in a month, hopefully! So I’ll have money to fall back on when the baby is born, because we need a new apartment… there’s a lot of stress right now. Rent is really high in Lima and they require you to [pauses] it’s horrible man, it’s like jumping through hoops. It’s like jumping through hoops. I’m gonna keep struggling, keep working hard, keep doing videos, I’m gonna support my girlfriend and try to make things work out. Hopefully, with this new attitude that I have and this new outlook it will get people interested again and to pay attention.

Words by Marcus Barnes 

Dilo chats to MEOKO + Exclusive Mix

By Chats to MEOKO, Festival, Hot Off The Press, Interview & Exclusive Mix, Interviews, MEOKO Exclusive


Leaving behind his birthplace Buenos Aires to firmly establish himself in Berlin, mecca of electronic music and THE place to make it not break it in 2012, Argentinean live musician and producer Dilo is known for his exquisite audio. His productions that sound like crystalline experimental techno and house are, quite simply put, some of the most marvelous releases around, and as part of the smooth-sounding dream-cream pop band Monotax, he’s done an incredible job to get electronic music lovers into live band formats again. Regularly surfacing on various labels — may it be on his own imprint, Igloo Records, which has released material from the likes of Pinkler Ismael, From Karaoke To Stardom and himself, manifesting himself as the abstract yet fluffy Elephant Pixel –, he’s published music on Hope Central, Soma, Telegraph, Einmaleins, Trapez, LessIzMore, Esperanza, Adjunct, Minus, We Are, Dumb Unit, Clink, Unfoundsound, Leftroom, Romanphoto, amongst others. And it does not stop there. Teaming up with Los Angeles’s oddball [a]pendics.shuffle, their goofy identity Cascabel Gentz is ruff-shuffling the floors once more. 


In 2009, Dilo released his first album called “Waheira” on his own label Igloo-Rec. Its title song pushed all the way into Beatport’s Top 10 and hit the De-Bug Magazine chart at number 2. This massive debut was followed up by a double release with remixes by Mark Henning, Agaric, Kate Simko, Someone Else, From Karaoke To Stardom, Elon, and many more. Now, three years down the road, he is about to give birth to his second longplayer, “Ethereal”, a true love child born in the hazy gap in between the floor and outer space. For those in the know, it is clear that his move to Berlin has played an important role in Dilo adjusting his outlook on music, life, and the industry in particular, working even harder to make himself heard. Recently playing at Barcelona’s edition of the ultra-established minimalist Mutek festival, he is now regularly accompanying his live acts with his own vocals, which he also lent to Fritz & Lang. Playing an important role in his current productions, his gentle voice is giving his often clinical and microscopic sound an earthen tone and feel, whilst paying tribute to his everlasting love to the Beatles and their colossal harmonics. 

 His Latin American roots gently shimmer through the cool and often grey Berlin summer vibes, making his MEOKO podcast offering the perfect soundtrack for this summer as well as offering a taste of what it means to be Dilo these days.

                                                                        MEOKO Podcast dilo podcast

Hey Dilo, great to catch up with you again… tell me about the mix first..

I wanted to express my momentary situation, music-wise….what I’ve been listening and playing lately and which things are influencing me. I also wanted to express what it’s like to live the Berlin summer with its random weather and constant rains.

Where and what are you playing recently, what is being something you consciously dig?

Recently, I’ve been playing a lot in Berlin and Hamburg, as well as the Mutek Festival in Barcelona, in Switzerland, at the Black in Odessa (Ukraine) and I’m excited about what’s next: My Igloo Night at Chalet, the new club by the former Bar25 crew, Azora Festival in Hungary, and then my USA tour in September and South America in November.

How on earth was Mutek? Did you play as Elephant Pixel or Dilo?

I played as Dilo and did vocals live. I played tracks by Dilo, Monotax and Cascabel Gentz, my project with [a]pendics.shuffle. 

It’s been a very good year for you, no?

So far so good…though you cant really relax. It’s work you do pretty much every day and you have to keep it up.

How does this challenge feel for you? Is this what you yearned for when you left Argentina for good?

I try not to think too much about the “challenge” itself. It’s true tho that moving here permanently was a clear challenge in the fact that now I have to play for the whole year and not just for four or five months. I’m glad that so far it’s going well! Truth is that bookings have been going well for the last eight years so I could have moved here before, I just didn’t want to do it. Now I’m sure about it.

So now, playing live has become a mayor focus?

No, I still work hard on the label and on making music. I’ve been working for nearly three years on my new album, “Ethereal”. I also have been doing lots of collaborations with friends in Berlin. I did stuff with my old friend and collaborator Nicolas Stofenmacher and his new project Fritz & Lang, as well as new songs with [a]pendics.shuffle, Justin Nabbs, Pipo Vitch, Shadi Megallaa, just to mention a few. I don’t know when it will come out as I don’t have a label bugging me about this, it will be done when it’s done and it will be on my label Igloo. It will be a double album delivery. Let’s say it’s double but it will be released in two parts. I love my label Igloo and it’s the label that most sounds like me so at the end it’s natural to be released on my own imprint. If this release will generate interest of other labels, that’s welcome too.


So… how does ethereal feel?

It feels like a lot of work. And it feels like tripping sometimes. In any case… better you tell me how it sounds! On each part of the album are around ten tracks which will be showing all my different faces, but everything will be signed as “Dilo”. So you get to hear Monotax, Elephant Pixel, Cascabel Gentz all together somehow.

How will they finally find together, what will be their faces? Will they all become one?

Basically expect dance floor tracks but not just that, let’s make it a double bet by adding some “songs” and electronic elements like IDM and ambient to it. A bit like how started off with my first album “Waheira”. The artwork was done by a wonderful artist i discovered when i was playing in Sao Paulo, Brazil. His name is Antonio Failache.

Do you like owls?

I love nature and animals, I seem to have something with birds. Owls, penguins, albatrosses.

Last question of this interview before we’re off into the mix. Who is the night owl talking like a journalist in a taxi… at the beginning?

That’s a piece of an interview executed many years ago by a radio station from Munich – recorded at Aula Magna, Seph’s and Pablo Denegri’s studio in Buenos Aires.

Dilo on Facebook

Words by Katrin Richter

Basti Grub Jungle House Mantra Style

By Chats to MEOKO, Hot Off The Press, Interviews, MEOKO Exclusive

basti grub meditaive jungle no click

MEOKO chats to Basti Grub of Desolat fame about his new album “Primavera” released on his own imprint Hoehenregler this month. Basti Grub loves to dabble with out-of-boundary sounds, styles and rhythms, rare track titles and surprising combinations, making the exotic sound domestic and the domestic cool. His forthright, joyful attempts to take the seriousness out of the contemporary music scene doesn’t stop him from sounding seriously solid, creating multifaceted tracks that do not seek to be fashionable but rather reflect deep playfulness and sincere personal pursuit of expression in a contemporary manner. Celebrating the exuberance of sound from different parts of the planet, he combines what catches his ear – the freaky afterhour conversation about pizza in one of his tracks being a full-grown example and weaves everything into a quirky yet calming stream of perception. The full-grown musician is led by passion and personal taste: Swing, reggae and an aching desire to be able to speak and understand Spanish are some of the keys to decipher Basti´s music.The producer found recognition for his releases on his own imprint Höhenregler as well as hot beds like Desolat, Cocoon, Movida, Suara Records, Compost, International Freakshow, Style Rockets, Dame Music, as well as upheaving the scene with his first album “Dschungelorchester”. With “Primavera”, Basti Grub stirs up the outdoor/ afternoon club fauna in love with eclecticism and novelty sound once more. MEOKO chatted to this talented artist from the Frankfurt country side in various late night sessions via Skype.

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Hola buenas noches. Hope you are great and happy to receive the feedback from our MEOKO music department saying they really love your mix?

Heeey hallo, glad you like it! Really! I also really enjoyed making it. I do and did not have any other objective making it than enjoying the music, and I hope it´s as enjoyable for other. It´s always the same with me, if I like it, I play it, without giving it a thought. 

This is also your “doctrine” when making music… you are very intuitive. So what are the feelings that drive you through music?

Yes I am, it just spills out of me, it´s like a fountain, all kinds of feelings, it depends which music it is I am listening to, making or playing. I am inspired by all kinds of African music, bongos, and Jazz, I also play the piano and other instruments, so I am really open towards any kind of artistic expression.

Which set-up do you use?

For the mix, I simply used Ableton. In my Studio, I mainly work with Logic and Ableton, but of course I also have different synths, drumcomputers, modulars, and instruments. When I play live, I use a drumcomputer (electron) and a controller (apc40) as well as a keyboard and my mac. And when I play in open airs, I have a friend accompanying me, playing live violin.

Did you use many of your own tracks in the mix?

I hardly use my material when I make podcasts that are posted online, which is down to the fact that many of my tracks will never be released. I make songs that are only for my use. But people nowadays do not have problems with taking parts of other peoples productions to play them themselves, no matter how low the quality. And I sincerely believe that a live set should be exclusive so people get to listen to something completely new every time they come out and listen. If I only play what I release, it makes more sense to book a DJ who plays my stuff.

Basti Grub mixes MEOKO 020 

basti podcast

Are you a harsh self critic?

Yes. I am into self-scrutinizing and tend to criticise my music very harshly. In my opinion, all artists should be doing this, as this would be lowering the amount of below-standard music output washing the shores of Beatport. It´s very depressing to hear the charts and want to believe that that´s what the people want. I know people pay to be charted. I, at some stage, was willing to do everything for fame, so I called them up saying I had an Christmas present in an envelope ready to be posted to them if they would be willing to consider my output. No, just joking. I didn´t. But, it´s quite painful and deglorifying for an upcoming, rather unknown artist to see how the mechanism works and pay your way into publicity via advertising etc. It takes the magic out of music and makes this business seem scumful. Nevertheless, I am really pushing my album right now because I really want to know what people think about it. I really want to know what it takes.

Did you rework your tracks a lot, and how long did it take to make your album Altogether,? 

it was a very long process. Not making the tracks themselves, but the process of filtering out what I wanted to be included in this longplayer. It´s been three years since I released my first album, and since then I have been making a total of four or five complete albums. Nevertheless, they did not appeal to me in the order they were created so I ripped them apart and rebundled what I had. And I made a few new tracks specially to make it feel complete. In total there are nine tracks as there did not fit any more on a CD, but I will also release a tenth track as a digital bonus.

You worked with Andres Zarzuela and Daria once more who add to th especial vibe of the album with their songs and voices… how did this come about and what does their support mean to you?

For me it´s so important. Andres is a super friend of mine and we work together for quite some time now. I really think he has a beautiful voice and I really enjoy it making music with him, even if it does not result in a track. With Daria I have another project going which has nothing to do with the club environment, we so enjoy working together. Same goes to quite a few artists, I sincerely enjoy working and cooperating and I end up learning and giving so much, I do not want to have it any other way.

The album is released on your own imprint, Hoehenregler. What´s happening on this label, what can we expect in the near future?

There will be quite a few really interesting releases, right now my album, then some EPs by Felipe Venegas, Larry Peters and myself. Then I am planning to do a remix album, most remixes are already finished, they come from Butch, Martin Buttrich, Felipe Venegas, Tube&Berger and a few other surprise guests. I am also planning to do a remix contest! Keep your eyes peeled.


Thanks you and big thanks again for the great MEOKO podcast.

Basti Grub on Facebook

Basti Grub website 

Words by Katrin Richter  

Tiefschwarz chat to MEOKO

By Hot Off The Press, Interviews, MEOKO Exclusive, MEOKO Presents

Tiefschwarz no click


Thanks very much for answering a few questions for us today. It must be amazing to have grown up together and now work so closely with each other on a day to day basis? Did you both always want to be DJ’s and producers, or did one of you spur on the other?

We were both very interested in music, Basti was playing drums in bands and he actually studied it so he was already into beats, and myself I was opening a club which subsequently brought us together as DJs.

Your parents must be proud to see what you’ve achieved now, was there a time when they thought you were wasting your life away djing and going to parties all the time, or did they support you from the start?

They always supported us right from the start. My father actually spent a lot of time at our clubs and our parties. He even worked with us sometime! We saw him almost as a lucky charm for us when he was around.

2004 was an important year for you with your remixes of Spektrum’s ‘Kinda New’ and Phonique’s ‘The Red Dress’ which both had a huge impact on the scene. Thinking back, was there a particular time or event which marked the turning point in your career, or when you realised how successful Tiefschwarz would become?

Well you just named it! These two remixes were certainly a turning point for us and we’re still very proud of them.

Over the years your sound has had many influences from deep house to electro and minimal but always has a firm grounding in quality house and techno. How do you think the sound is developing, do you think there’s going to be a ‘next big thing’ like we’ve seen in the past with electro house, minimal and disco?

Well right now, it seems like it will continue in that direction that several niches of electronic dance music can co-exist together successfully for which we are extremely grateful. This also means there’s a lot of crossover potential between different strands which is always very interesting.

Your label, Souvenir Music, is going from strength to strength. Have you got any upcoming releases which we should all listen out for?

We’re about to release our second compilation called In The City Vol. 2 which is a selection of newer artists who are making their first label appearance. Also, we will release two new singles in the coming months, we have something new from Re.You and also Marco Freivogel of Exercise One.

And besides Souvenir, have you got anything lined up for Tiefschwarz on any other labels?

 We’re working on an exclusive track for Watergate’s ten year anniversary compilation. And our remix of Terranova’s ‘Boogie For The Dollar’ is about to come out on Kompakt.

When you started out, you were throwing your own parties and running club nights. Is this something you see yourself doing again…or was that always just the platform for you to perform?

I would never go back into running a club but we do special one-off Souvenir events all the time. When I do have free time I’d rather spend quality DAYtime!


You have an extremely busy gig schedule performing all over Europe and the rest of the world. Is there one country or venue in particular that you always love to visit and perform?

Besides Africa, I’ve pretty much been every relevant country in the world but I’ve never stayed very long in Thailand other than Bangkok. So would love to spend a bit more time there and also in Vietnam.

And is there a country you’ve never played but would really like to? (hint hint readers)

I played all other South America except for Colombia so that’d be a good one to happen!

Now then, imagine this scenario…You’re playing at an after party and the wild fan who has been grinning from ear to ear during your set approaches you with a knife and crazed look on their face. Security are suddenly nowhere to be seen and the situation is looking ominous. What do you do?

I’d like to say I’d kick his ass, but like in reality like anybody, I’d be irritated.


By: Nick Maleedy


Click for event details: Tiefschwarz next at Select*Elect presents a Resolute Night – London Venue tba 

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MEOKO chats to Spilt Milk’s Tred Benedict + Win Tickets!

By Chats to MEOKO, Festival, Hot Off The Press, Interviews, MEOKO Exclusive

spilt milk article

After their sensational season opening last weekend that was the talk of the town, Spilt Milk return with a Monday afternoon Jubilee Weekend Special. Headlining is the marvellous Dinky, famed for her djing skills and her strong productions on labels as prolific as Cocoon, Crosstown Rebels, Ostgut Ton and Visionquest.

Also on board are locals Canary Fontaine vs Zippy who always entertain with their blend of deep, tech and minimal house. Resident DJ and Spilt Milk promoter Tred Benedict will, as always, be on hand to make sure as much milk is spilt as possible…

With the promise of a special surprise guest (who can’t be mentioned due to other commitments that weekend) the anticipation is brewing to melting point.

Oh, and the weather forecast….SUNNY!

Tred Benedict managed to squeeze in a quick 5 minute chat with us into his busy schedule ahead of this weekends party…


Many thanks for your time today. Spilt Milk is really going from strength to strength. There were lots of people disappointed to see it leave the Papermill Terrace last summer, the scene of so many adventures, but your opening party last week at the new space
in Hackney Wick was spectacular! We love the name and artwork. How did the party start?

I originally started the party 3 years ago with a friend of mine Charles who I worked with for 2 years, but he has since moved to Australia. I still remember picking the name of the party; we discussed and deliberated all the way up to the night before we had to go live with the event, we had it down to 3 options 1) Uno Mas, 2) Wash, Rinse, Repeat 3) Spilt Milk. It’s kind of funny now to look back at those names and think what was I smoking to even think that they were even in the running Safe to say we came to our senses and Spilt Milk was born and I’ve never looked back!

Were you concerned when you found out that Papermill was no more?

The first time I came across The Papermill I had to have a double take as I must have walked past it 1000 times, but from the moment I stood on that terrace I knew that the space was very special. I was extremely lucky to hit it off with the manager Malcolm who was willing to take a chance on me and let me cause havoc there on Saturday afternoons People took a real shine to The Papermill and everyone has their own special memories of it, so yes, it was a big concern at first not being able to continue there after 2 fantastic seasons. I think my biggest concern was if Spilt Milk would even continue due to the lack of outdoor spaces available in London, but I’m a firm believer of “everything happens for a reason” and after months of searching, myself and Weston (who I now run the event with) found this new space.

Have you found a new permanent home now, or are you planning on moving it around?

It was our opening party last week and it was a big test to find out what people would think to our new venue after being so fond of our previous home. Now located outside of Shoreditch, in Hackney Wick, I can reveal that everyone absolutely loved the new venue as the setup is perfect for what we want to do there, also the new inclusion of 4 Funktion One stacks (which were never allowed to have previously at The Papermill) has gone down very well. I’m very pleased to announce that this location is now going to be our permanent home which we have fittingly decided to call “The Dairy”. However, the most important thing for me is that the venue is totally exclusive to Spilt Milk which makes any event that little bit special if you have that luxury and now we can keep on adding and building to it over the coming summer.

You’ve booked the legendary Dinky for the next event which is pretty exciting. Is there one artist in particular you would LOVE to book but can’t get your hands on at the moment?

Dinky has been a Spilt Milk target for a while now so we are very pleased to have her involved as she is an amazing all round artist. In terms of an artist I would like to see at Spilt Milk I don’t think that I could pin it down to just one but unfortunately this season London has become an extremely hard place to confirm the big headliner bookings due to all the exclusivities now attached to every festival in town, but I think this will only raise the bar with more intelligent bookings-our lineups are looking strong for this season so I’m happy, but I would have to say that Solomun seems to be a hard man to pin down this year but hey, you never know If you book them Wayne……………….. they will come !

You’ve been dj’ing and putting on parties for a while now. The last year has been particularly successful as your recent gigs at Fabric and Cocoon have proved. Have you got any
exciting gigs lined up over the summer months?

Outside of Spilt Milk there are a few things on the horizon but there is one I’m very excited about being involved with, it’s an amazing intimate festival called “Meadows in the Mountains” which takes place in Bulgaria and has some of the most surreal back drops I’ve seen. Some of the images from this place will stay with me forever, for example, last year on the Sunday morning Djing at the top of a valley while the sun rises over a mountain but at the same time being above the clouds, that was pretty breath taking and sticks out in my mind. I highly recommend you check it out as it grows each year.

meadows in the mountains festivals

Have you got a favourite Spilt Milk memory?

I believe everyone has theirs but I think mine would be from the first season where we had Layo & Bushwacka! play a 4 hour set, which was a huge booking for us and really put us on the map. They finished up with “Love Story” and the vibe at that moment was so electric and captured exactly what Spilt Milk is about with everyone being together and so friendly and all on the level, having such a good time and since then we have gone on to achieve this at every party. Capturing and recreating that vibe is such a hard thing with any event but after seeing last weeks opening party you could see that very special atmosphere has followed us to The Dairy and long will it continue…

spilt milk pic

Tred, imagine this scenario…someone offers you £50,000 to be resident DJ at the local kindergarten, do you take them up on the offer and what tunes do you download to play for the kids?

Ok so firstly I’m legally in a school with children and 50 grand cash ? I just wanted to clear that up before we continued as that could come across a bit weird. Ok well I’m picturing lots of free Milk which is a good start. I’m thinking these kids deserve better than a coupe of downloaded tracks so it’s got to be the back catalogue of BlackLace on vinyl I have so many good memories as a child rocking out to all those tunes so I would probably ease them in with abit of “Push Pineapple Shake The Tree” followed up with the ‘Okee Cokey” and then a big finish on “Superman”, the bassline in that tune is still so strong and then party bags and cake for all as nobody leaves this rave empty handed !

Haha, what a very thoughtful response Tred. Thanks very much for your time, see you on Monday afternoon!

To be in with a chance of winning two tickets to Spilt Milk, simply comment below telling us who you would like to see play at Spilt Milk…winners to be announced on Saturday afternoon. Good luck!

Words by Nick Maleedy

WIN tickets to “We Like You” Feat. Maxi Jazz (Faithless) PLUS a game of Bowling

By Competitions, Hot Off The Press, MEOKO Exclusive

Pushing top quality music for the past six years, London based ‘We Like You’ host a rather special and one off event on the 28th April at Russell Sqaure’s Bloomsbury Bowling Lanes. None other than Faithless’s Maxi Jazz will headline with his debut 2012 performance of his MC DJ Set. One of the UK’s most exciting new acts, Kings Of The City’ whose twelve date 02 Academy Tour see’s them supporting Maverick Sabre are also on the bill next to Beats In Abundance, Beatwell and Novice of Genius!

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Held at a unique venue with an exciting and rare line up, this event promises to showcase something truly different from the norm. MEOKO are offering 2 x tickets to ‘We Like You with Maxi Jazz’ in an exclusive competition! To get your mitts on these tickets and a free game of bowling to boot, simply email us at with ‘We Like You’ as the subject header.