With a pocket full of 12"s on Berlin’s BPitch Control and Cologne’s Kompakt, Sascha Funke is old hand hustler when it comes to dealing out spellbinding techno. Following the huge success of his 2008 full-length, ‘Mango’, inspired by the likes of Superpitcher and Tobias Thomas, (both will be joining him in catering to the Kompakt label's love for warm melodic tech-house on Saturday August 14th), it comes as no surprise that his fabric promo mix, featuring the many-sided sound patterns of Gadi Mizrahi, Chemical Brothers and Tiga hits on all the right notes and will be on fabrics playlist through out the summer and beyond. Getting us hyped to hear what other crisp productions Sascha’s going to pull from his vinyl sleeve, their upcoming night at fabric is also cause for celebration as micro-house producer Superpitcher shines the light on his second solo album launch, ‘Kilamanjaro ‘out this September. All of which reminds us once again why Kompakt is one of the most visible and well known 'dance' imprints of the last 10 years and we can't wait to lose ourselves in their heavy rotation of stunning statement techno next month.
In celebration of his apperance Sascha was kind enough to put together this mix in celebration of the occasion:
1. Tiga - Gentle Giant (Martyn´s Heaven Remix)
2. Roland Appel - Dark Soldier (Dixon Edit)3. Ame - Rrose Selavy
4. Chemical Brothers - Do It Again (Audion´s House Arrest Mix)
5. Ian Simmonds - The Esel ( Dave Aju Remix)
6. Antonelli Electric - The Source Of Design
7. Gadi Mizrahi - Oh Love
8. RAL 5015
9. Michael Mayer - Picanha Frenesi
As Mosca, Tom Reid has made some of the most interesting dubstep-not-dubstep over the course of this year. Following his inclusion on our turn of the year bass music compilation ‘Elevator Music Vol. 1’ with his ‘Gold Bricks... I See You’ he released his ‘Square One’ EP on the Night Slugs imprint around the same time, confounding the expectations of almost everyone with a passing interest in dubstep with the inclusion of the sprawling 10 minute duration of his track ‘Nike.’ Shifting patterns and phases like a soundtrack, even now it still keeps you riveted from the start to end of each listen, and it helps a lot that the ‘Club Edit’ of the track, rather than confining his production to a radio edit, merely compressed it down into a shortened burst of energy resulting in a proper stomping flourish.
Since then he’s remixed high profile artists like Four Tet and Foals, taking his unique horn heavy approach down fresh and interesting routes, providing some of the standout mixes of those singles. With a few bits forthcoming – including the spectacular hip hop paced jam ‘Tilt Shift’ on Manchester’s Fat City label – and an appearance in Room Three a week on Friday, we figured there was no better time to nab him for a chat. The Mighty Mos also went to town on a promo mix for us too featuring unreleased music from a plethora of hype producers...
So obviously we know you from your ‘Gold Bricks...’ tune from the ‘Elevator Music ‘compilation but what’s been going on for you since? You been busy with gigs and productions...?
Wow that feels like a proper time ago now, eh? Yeah I’m always busy with production, taking too much stuff on and still producing mad slow, but I’m working on that. I’ve had some really heavy dances and raves all over; I just came back from New York last month actually...
I remember speaking to Four Tet when we did the fabric Podcast with him, around the time of the release of ‘Elevator Music’ and given that he’s simply the type of encyclopaedic guy that knows EVERYTHING - I mentioned you and he was like “yeah – he’s doing a remix on my next single.” How does it feel to have these kinds of people watching you? I mean it’s obviously a massive complement... and you don’t seem like you feel pressured into anything...
Yeah Kieran’s very on it, in ways you don’t always think; he was making garage in 1999. It was cool for him to approach me as I know he works very independently, so yeah that felt good - fully. But a lot of stuff from that wider music scene, the major label stuff, it’s just A&Rs approaching you and you know they’ve just been on a few blogs and found your name, so I’ve turned some stuff down which I wasn’t feeling. To be honest I’m turning everything down right now cause I’m just working on OG stuff.
Your tunes seem to have a bastardized palette – and by that I mean that you put everything into it, like all styles and tempos and horns, like MAD horns. Why do you think that is? Do you think its a conscious thing or do you just make a tune and it comes out like that?
Yeah I hear you, I’m not sure why really. Some of my stuff starts out quite straight you know, like a straight house tune or straight grime or whatever but by the time I’ve listened to it a million times I start playing about and it turns into something else. I only try and work stuff in if I think it sounds good though because that’s thin ice still - putting stuff in for the sake of it or so you can call it a new genre. But you know what I’m really happy people are feeling the tunes and have been so supportive – I don’t think this kinda stuff happened too much in urban music before. Like I’ve got Marcus [Nasty] playing my Baltimore tunes, or house guys feeling the hip hop I’m doing, people are broadening their horizons and all that. People are on it right now.
Oh and the horns thing... I just don’t think there’s anything more righteous than a heavy brass section really. Look at ‘Tear Da Club Up’ by DJ Class, or all that old dub, or digidub for that matter. Or Rocky...
I mean I’m listening to ‘Nike’ and like, it’s all over the shop. You’ve got a real ear for build ups and I know from reading a few bits on you before that you take a lot of time working on perfecting tunes before you release, but ‘Nike’ (the full 10 minute version) must’ve taken an age to work out...?
That was 8 months. I mean I went toilet and did my eating and all that, but it was on and off, about 8 months. Far too long man! If you speak to Bok Bok he can probably show you all the different versions that tune went through. On the whole build up ting – speak to any producer and they’ll tell you that intros and build ups are the most fun to produce. You have more freedom because they’re not really what the tune is ‘about’. Like this T Williams remix I’m doing, although it’s kind of a funky banger kinda ting, it starts out with just some smoky Rhodes chords and brushed jazz drums and that.
Head over to FACT Magazine now to grab yourselves a 100% exclusive download of Heartthrob's 'Leavin'' track ahead of his appearance in the club this Saturday in Room One alongside Marco Carloa and Rhadoo.
FACT said: "Heartthrob is best known as a core member of Richie Hawtin’s globetrotting M-nus crew, but he’s a terrific artist in his own right, possessed of an uncommon ability to make minimal techno sound vital and vigorous. Fact: his track ‘Golum’, taken from 2005′s Time For Ensor EP, is one of the deadliest dancefloor rippers ever."
Bart van der Meer aka Bart B More, who hails from the Netherlands, is fast proving to be one not to ignore. Having grown up on house music, it makes sense that he’s now rapidly becoming one of the front-runners within the scene. His face-pounding remix of Drop The Lime’s ‘Sex Sax’ saw him reach number 15 in the Beatport chart and his latest dancefloor-destroyer ‘Brap’ is hot on its tail, having been released on the highly prestigious Boysnoize Records. What makes him so special is his capacity for diversity, blending together a plethora of different styles and genres into his main-room sound. His flair for originality with each new production has landed him releases on Sound Pellegrino as well as Toolroom Records, and unsurprisingly made him one of the most hotly sought after remixers.
Bart’s own record label, Secure Recordings, goes from strength to strength with each release, wielding massive support from Laidback Luke, Diplo, Erick Morillo, Armin van Buren and many more almighty dance DJs. This seemingly unstoppable juggernaut of noise touches down in Room One on August 13th but not before delivering us an exclusive mix and answering a few questions we posed to the man himself…
Are you looking forward to playing Room One next month?
Yes definitely. fabric is a legendary club, I've heard all the stories, and now I'm going to experience it myself for the first time.
What does playing at Fabric mean to you?
For me it's a recognition of what I've been doing. I know fabric is very selective in who they book, so I think I must have been doing something right. Haha!
Do you enjoy playing to English crowds?
For sure, I think Dutch people are more reserved when they go out, but the English just let it all go and party HARD, it's usually pretty crazy!
'Brap!' and 'Romane' are two of your recent original productions but are very different in style. Is it important to you that you don’t repeat yourself?
I don't think it's even that. A lot of producers stick to one style although they like different music too, and that's cool. However, I think that I should make what I feel like making and that happens to be a very wide range of music.
Where does the name, Bart 'B More' come from? It suggests a strong reference to Baltimore house?
Although I really like Baltimore house, it's not where my name comes from. My last name is van der Meer, and 'meer' means 'more' in dutch. B more stands for the drive I have to bring that bit ‘more’ with my music.
As one of the leading names in house music, where do you see the genre in 5 years time?
I honestly don't know, it has always surprised me the way house music seemed to be going, but I guess because it has become so mainstream lately I'm sure it will go underground at some point again...
How did you get into house music, what was the first record you bought?
My brothers were really into house music so I grew up listening to it. The first record I bought was Armand van Helden’s ‘Ghetto House Groove’.
Do you have any tunes that you just can't get enough of and make it into your sets every time without fail?
I like to keep my DJ sets fresh, but sometimes I bring back a classic. Lately I've been playing 'white knight' by Surkin again, I love that track!
What are you mostly listening to on your mp3 player at the moment?
The Miike Snow, Kings of convenience, Phoenix and Bibio albums have been on heavy rotation lately.
What's in the pipeline with regards to your label, Secure Recordings?
There's an EP coming up I did with Nom de Strip & Little Bastard, another collaboration with Tommie Sunshine, and we’re also bringing back one of the first rave anthems to come out of Holland: 'Rubb it in' by Fierce Ruling Diva.
Having been on tour for most of the year, what has been your highlight of 2010 so far?
Playing for 40,000 ravers at EDC in Los Angeles was amazing! Definitely a highlight!
1 Two Door Cinema Club - Come Back Home (Keith & Supabeatz Remix)
2 Nom de Strip & Tom Piper – Spacid
3 Bart B More - Don't Stop The Music
4 Wafa - Ewid Disco (Drop The Lime Remix)
5 Fatboy Slim & Herve - Machines Can Do The Work (Ado 'Done Most The Work' Remix)
6 Don Diablo - Who's Your Daddy (TAI Remix)
7 Drop The Lime - Sex Sax (Bart B More Remix)
8 Drop The Lime - Sex Sax (MJ Cole Lubricated Relick)
9 Zombies For Money - Me Toca So
10 DjEdjotronic - Computer Jerk
11 Afrojack & Gregor Salto - I'll Be There
12 Canblaster - Chicken Run
13 Sandro Silva - Hands High
14 Say Wut - Go (Foamo Refix)
15 Nom De Strip – Skweekee
16 Disco Villains - Crickets (Peace Treaty Remix)
17 Afrojack - Polkadots (Oliver Twizt Remix)
18 Beataucue - Folder
19 Green Velvet - Harmageddon (Felix Cartal Remix)
20 Bart B More – Brap
21 Mr. Oizo & Gaspard Auge – Rubber
22 Carte Blanche - Gare Du Nord
LTJ Bukem’s commitment to the cause and his tireless fusion of musicality into the breakbeat heavy drum & bass scene has been heavily documented and with his regular session down here in the elongated hall of Room Two he’s been continuing that quest constantly. This month inviting SpectraSoul, the Brighton based duo whose stripped back and driving productions like ‘Alibi’ blossomed out of the over saturated scene a couple of years back and London based duo Artificial Intelligence, proves that Bukem’s ears are clearly still on the money.
Ahead of this Friday’s throwdown LTJ has passed us a 45 minute promo mix that showcases his style and prowess behind the turntables perfectly...
Catch Bukem & MC Conrad in Room Two this Friday flanked by afore mentioned SpectraSoul, A.I., Mr Joseph and Furney. Playaz return for their monthly residency in Room One and True Tiger are up top in Room Three with Mistajam and P Money on the same night.
The Irish born DJ Wool, also known as Glen Brady, is a co founder of Berlin based label We Collect Enemies, a founding member of Indie Dance duo The Glass with Dominique Keegan of Plant Records, a recognised music producer with credits like Natasha Bedingfield to his name and an Irish DMC Champion. Fresh from his work manning and mixing the new album from Tittsworth, which features appearances from Nina Sky, Spank Rock, Pitbull and Kid Sister, he's given us exclusive download privelidges to his 'The Dark Snuggler' track which you can kop in the player below.
To win tickets to Playaz this Friday, watch the clip above of DJ Hype's most recent v-log and then jump over to the KISS site to answer the question, enter your details and be in with a chance of winning...
In an attempt to give you a behind the scenes insight into the finer workings of fabric we've put together a quick photo gallery of our monthly paper flyers being printed.
The venerable RAM Records label celebrates its 18th Birthday in majestic style in Room One on the 6th August; inviting the toast of the town Chase & Status- fresh from working with the likes of Rhianna - to DJ with MC Rage alongside RAM boss man, Andy C and Soul:ution honcho Marcus Intalex. Packing out the rest of their room line up with slots from Xample & Lomax and Calyx & TeeBee, two duos whose imminent albums are set to shake the foundations of many a soundsystem upon their release and further support comes from the DC Breaks duo and the widely respected d&b hustler, Red One.
The RAM curated Room Two houses more of a mixture of genres, from the bolshy club sonics of Scratch Perverts, to the heavy drum & bass stylings of Culture Shock onto the moody halfstep of the Swamp81 signed Kryptic Minds going beyond into the realms of house, techno and more thanks to the pairing of Applepips boss man Appleblim and his militant protégé Al Tourettes.
To stand hand in hand with this announcement we've been passed an excerpt of DC Breaks' Live set from this year's Glastonbury festival that was originally broadcast on Annie Nightingale's BBC Radio 1 show:
ROOM ONE: RAM 18TH BIRTHDAY...
Andy C, Chase & Status (DJ Set) & MC Rage, Marcus Intalex, Xample & Lomax, Calyx & TeeBee, DC Breaks, Red One
MCs: GQ, IC3, FATS
Vibes. Thats what the summer brings; and we welcome them with open arms and an enamoured sense of gusto round these parts. Here's a mix from Mackaveli that just about sums it up perfectly.
1. Seuil & DOP – Glory Hole w/ MC Creed intro
2. Jamtech Foundation – Too Fast (Julio Bashmore Remix)
3. Mlle Caro, Franck Garcia – Dead Souls (Radio Slave Long Distance Kiss Mix)
4. Gongon – Cactus Banger
5. Round Table Knights – Calypso
6. Gel Abril – Spells of Yoruba
7. Hot City – Another Girl
8. DJ Deeon – Work This M.F
9. Cassie – Me & U (Brenmar Remix)
10. Gongon – I Could Be There
11. Active Mindz – Hobsons Choice (Dub Mix)
12. Deetah – Relax (Bump & Flex Remix)
13. Colours – Hold On (SE22 Remix)
14. Blazin’ Squad feat Elephant Man – Standard Flow (DnD Vocal Remix)
15. DJ EZ – Just Turn It Up
Here's our first Kill Em All radio show in conjunction with the nice chaps at Mixcloud. It's a selection of new bands and club music that represent our Kill Em All nights as well as music from artists that have influenced and informed them. Plus some ramblings from us...
Enjoy...
Kill Em All returns to fabric on Friday 3rd September for special versus event. More info imminently...
For those not in the know Olanskii is the resident DJ and the brains behind the Sunkissed empire in Oslo, who'll be stopping by to take over Room Three this Saturday. Over the years his commitment to club music has made him one of Norway’s top promoters. Influenced as much by his twelve years living in London, as by Oslo’s irreverent and leftist approach to dance music, he has built Sunkissed up to become one of Scandinavia's most renowned and forward thinking club nights.
To celebrate the occasion Olanskii has put together this extra special mix just for the occasion entitled ‘The Long Way Home’ and its purpose is exactly that: we strongly recommend you shoot it through to your ipod, attend the disco this weekend and get this in the cans for your cab ride/bus/train/walk home. Whichever way you travel, its the perfect soundtrack...
Joining the WIGGLE barons, Terry Francis, Nathan Coles and Eddie Richards, in Room Two this Saturday is Todd Bodine, described as a musical child par excellence of Germany’s capital of electronic music, Berlin. Reportedly as inspired by the atmosphere in his native city post the fall of the Berlin Wall as by his regular sets at the somewhat legendary techno heritage site, the Tresor Club, Bodine acts as A&R for the Highgrade Records label, an imprint that this year celebrates its 10th year in the record releasing business having encapsulated their tenure on the ‘Ten Years of Highgrade’ compilation recently.
Todd kindly passed us a recording of a recent live set for you’re listening pleasure, a unique opportunity to experience the groove and sound he’ll be pulsing through the Room Two cavern this Saturday night.
Ahead of the Nature or Nurture Room Three takeover on Saturday 31st July, curated by The Pushamann and featuring our very own resident Terry Francis, the crew have kindly given us a slew of great mixes to whet your appetites to mark the N.o.N party's continual run of slamming parties in some of East London's most intimate venues.
Featuring 3 mixes from The Pushamann, Gamal Kabar and Vian, all of whom are playing next Saturday alongside the aforementioned Mr. Francis, we’re overjoyed to be able to present a bonanza of music done the Nature or Nurture way.
James Teej ft. dOP – Greenback (Original Mix) [Rekids]
Scott Langley – Moving One (Echofusions Deeper Funk Remix) [Endemic Digital]
Ekkohaus ft. Caroline – First Time (Original Mix) [Brut!]
Kelvin K – Ancestral Moon (Original Mix) [Strickly Rhythm]
Larry Heard - Déjà vu (Musaria Mix) [Innervisions]
Kabale und Liebe ft. The Fog – Since You Look In To My Eyes (Original mix) [Remote Area Records]
Marco Corona – Matalo (Gius Remix) [Krone Records]
Jonny White ft. My Favourite Robot – Desensitize (Phonogenic Remix) [Strickly Rhythm]
Ethyl & Flori – Malmoe (Original Mix) [Quintessentials]
Franck Roger – Love Call (Dyed Soundorom Keeps Calling Remix) [Real Tones Records]
Vincenzo – The Way of Thinking (Original Mix) [Dessous Recordings]
Lusine – Two Dots (Pezzner remix) [Ghostly International]
Matt Brown – Sauvente [Einmaleins Musik]
dOP – Stock Option [Circus Company]
Kabale Und Liebe – Una Y Nada [100% Pure]
Shonky – Carnage [Freak N Chic]
Oxia – Sun Step [8Bit]
Rodriguez Jr – Kids of Hula [Leena Music]
Peter Kruder – Law of Return [Innervisions]
Gorge, Dubnitzky – Smile In My [Brise Records]
Boris Horel – How Do I Look Like [Eklo]
Ellen Allien – Lover [Bpitch Control]
Ellen Allien & Apparat – Jet (Ben Klock remix) [Bpitch Control]
Lets face it, festivals are better when they take place in the sun - as I'm sure anyone who attended this year's Glastonbury festival can attest to - and this September the London based Stop Making Sense crew are hot tailing it all the way to Croatia to program 3 days and nights of 'Musical Anarchy By The Sea.' Teaming up with crews and collectives like Need2Soul, Deviation, Secret Sundaze, Allez Allez, Optimo, FACT, The CAMP and so many more they've put together a line up that demands more than a fleeting glance.
Check their website for more information but with live performances from The Very Best, Django Django, Nathan Fake and WBeeza and DJ sets across the entire spectrum of music from Detroit legends (Carl Craig, Juan Atkins) to London's underground (Benji B and his Deviation family, Secretsundaze residents James Priestley and Gilles Smith) and beyond (Radioclit, Toy Selectah) the line up certainly has breadth. And thats before you even consider the festivals location...
"The site is a pine shaded complex jutting out into the blue Mediterranean: an open air mainstage for cutting edge live music under the stars, a tiki bar-fuelled alfresco dancefloor lapped by the waves, and an incredible 70s designed and lovingly restored nightclub to lose yourself in til dawn. Not forgetting the outrageous twice daily boat parties…
The village of Petrčane is refreshingly devoid of big hotels developments, chain restaurants, and shopping malls. Instead, it is small and friendly, wrapped around a small bay with stunning views both out to sea and inland towards the rugged Dalmatian mountain range.
Only 20 minutes from the airport of Zadar (serviced by Ryan Air from London, Edinburgh, Dublin, Brussels, Olso, Stockholm, Dusseldorf and Frankfurt) and 90 minutes from the airport of Split (Easyjet flies there from London, Bristol, Paris, Amsterdam and Berlin) this is truly a unique and special place to enjoy, explore, relax and go wild in."
In celebration of their ideas we've kindly been offered the opportunity to give some lucky blog readers the chance to scoop tickets to the festival (though sadly flights and accomodation are not included in the prize). To be in with a shot email us the answer to the below question:
Where does the Stop Making Sense name originate from?
The competition closes on Friday 13th August. Please ensure you are able to make the festival before entering.
Reminder: the prize does not include travel and accomodation.
First finding his feet behind the drum kit of a punk band, Stupids, renowned drum & bass producer Tom Withers – probably better known as Klute – has always had somewhat of an individual outlook on his music. Along with the vibrancy and texture of his own d&b productions, his label, Commercial Suicide, is home to the work of people like Amit and SKC, producers who push boundaries within their chosen tempo(s). Never one to pull any punches his fascination for the intensity of thrash music and his keen ear for the weird and warped, has been encapsulated on his numerous releases to date, but with his new album, ‘Music For Prophet’ set to see a release at the end of this month and a slot lined up in Room Two this Friday we caught up with him to shoot the shit on his music and stuff…
He went the extra yard and compiled a Top 10 of his favourite punk albums too.
So, the new album’s nearly out. Care to give the low-down on it?
Well, it’s not quite out just yet, but almost. There’s a big chain of events involved with an album release, sometimes there are some weak links and things get delayed, nothing too serious this time, so we’re now going ahead with 26th July 2010. It’s a great album if I may say so myself, perhaps think of it as my ‘Exile on Main Street.’
This is now your sixth album to date; do you ever find yourself running out of ideas? How do you keep inspired?
To say that I never find making music difficult would be a lie and would indicate that I am a machine rather than a human musician. Ebbs and flows are part of nature so; yes sometimes inspiration feels like it’s gone for good. I think you'll find that it’s every creative’s worst nightmare. You just have to keep going to break through the brick wall, and then it comes flooding back.
A lot of people, including us, are very intrigued about the reforming of your punk band The Stupids. What anchored you in to getting back behind the drums?
For a few years now I’ve secretly fantasized about recording a hardcore/punk EP for fun. Coincidentally the original guitarist for the band got in contact and we started to play again. The chemistry was there and eventually we decided to record a new album and do some shows. It’s been great and we’re soooo much better than we ever were. Drumming and singing at the same time and talking to the crowd in between the songs is such a different experience to DJing, I love it. It makes we want to grab the mic during a DJ set and start abusing the crowd in between tunes. They’d love it!
So how has ‘The Kid’s Don’t Like It’ been doing?
It's been doing really well, I think people are blown away that we actually managed to reform and make a better album than ever.
Do the years of being immersed in drum & bass ever seep into your work with The Stupids?
Yes, I think so definitely. My drumming is much more "funky" if you can imagine that in the punk.
There’s a lot more movement in d&b than in punk rock, the crowds always dance whereas with rock they often just stand at the front and nod their heads. Back in the day it was the complete opposite. Stage diving; crowd surfing; the lot. How things have changed…
How do you find balancing tours with both The Stupids and yourself as Klute?
Well, last year it was tough, but great fun. This year so far I’ve had to set aside time to finish off the Klute album project and take it on the road. We'll be back for some more Stupids next year. I’m desperate to make another record.
Where are you going, tour-wise, with each name?
Klute will be going everywhere this year – in the last two months I’ve already been to Australia, New Zealand, Prague, Mexico, Budapest and Berlin. After that’s calmed down a little, The Stupids will finally get back out to Europe to tour extensively and also Japan.
And how does the atmosphere of a rock venue fare with that of a club?
As I said before, quite often rock crowds are a bit inert. That’s certainly not true all the time but I still find d&b crowds a lot more expressive and less self conscious. Who’d have thought!?
In a past interview you stated that it is a of part human nature to sub categorise; with genres being merged and submerged across the board, do you feel people, as a whole, have become more open to diversity in music throughout the years?
Yes I do think people have diversified in recent years, but I’m not entirely sure how much they are absorbing. From what I can see, people have lower attention spans in the advent of more choice and as a result they are exposed to more.
We've got an opportunity for a talented Web Designer/Developer, with a creative flare to work on varied and exciting projects within one of the UK’s premier nightclubs and record label. The candidate will have proven experience of creative design within a web based environment, great knowledge of managing and maintaining websites, understanding social networking sites and email campaigns utilising new and emerging technologies.
The candidate must be:
-Friendly, passionate, hard working
-Have a passion for music
-Able to identify problems with / maintain / modify / improve current methods of operating
-Have a huge amount of initiative, enthusiasm and a first class creative flair!
Skills required:
-Experienced web design/development skills
-Design skills as well as the ability to work faithfully with other people's designs.
-Advanced PHP, HTML, XTML and CSS (A MUST)
-Ability to prioritise and work to deadlines
-Proactive individual with the ability to work on their own as well as part of a team
-Good interpersonal skills, good time keeping and project development skills
-Project Planning/ Solution/ Testing
-Object oriented PHP5 and CodeIgniter or MVC framework with transferable skills such as CakePHP or Zend.
-Payments system APIs using PHP with SOAP.
-Strong CSS and HTML with a track record of delivering pixel perfect tableless layouts fromPSDs.
-Experience working with Ecommerce solutions.
-Good JavaScript and JQuery or transferrable skills such as Prototype or Moo.
-Basic Linux server skills, restarting services via SSH, creating Virtual Hosts, installing SLL certificates and working with IP Tables.
-Basic understanding of MySQL servers including writing SQL queries. GIT or similar source code management such as SVN or CVS.
Desirable:
-Flash.
-HTML emails.
-Word press.
-SEO awareness.
-Frontend optimisation techniques.
-Experience working with micro formats and APIs such as Google Maps, RSS.
-Expression Engine
Salary: Commensurate on experience and applicant, private healthcare and other benefits.
Start Dates: Immediate
Please send CV, URL examples of work, and a suitable covering letter explaining why you are the best candidate to: info (at) fabriclondon (dot) com
