fabric blog http://www.fabriclondon.com/feeds/blog fabric blog en-ca website@fabriclondon.com Copyright 2020 <![CDATA[Newsflash: We've been awarded a grant as part of Arts Council's Culture Recovery Fund ]]> http://www.fabriclondon.com/blog/view/newsflash-weve-been-awarded-a-grant-arts-council-culture-recovery-fund http://www.fabriclondon.com/blog/view/newsflash-weve-been-awarded-a-grant-arts-council-culture-recovery-fund Newsflash: We've been awarded a grant as part of Arts Council's Culture Recovery Fund

Posted on Saturday 24th October, 2020

We’re absolutely delighted to announce that we’ve been successful in our application for the Culture Recovery Fund. We’re incredibly relieved to receive this support after what has been a very tense waiting period for everyone at fabric, and would like to express our gratitude to the Arts Council England team and Department for Digital, Culture, Media and Sport for the faith they’ve shown in us. We also want to thank Music Venue Trust, NTIA and UKHospitality for their constant support throughout the pandemic.

Like so many other cultural institutions around the world, the last eight months have been some of the most challenging in our lifespan. With our doors closed and no source of income to sustain ourselves, simply paying rent and maintaining a 1,500 person venue in Central London has placed enormous pressure and financial strain on us as a business.

The Culture Recovery Fund will be a vital lifeline for us, particularly as we expect to be unable to open for regular club events for the foreseeable future. The latest developments suggest that hosting reduced activities will be our best case scenario for at least the next six months. With this in mind, part of the grant will be used to secure the survival of the venue, including covering rent, critical maintenance and introducing COVID secure infrastructure to ensure that we can bring people together safely when we reopen.

But we’ll still be active during this period of restrictions. Our grant will be used to develop a range of new initiatives, including a live stream series, expert-led tutorials, and community outreach programmes celebrating under-represented groups in our community. The past months have allowed us to reflect on all of the things we can improve as a cultural entity and we plan to implement these as soon as we begin activity. The fund will provide income for all artists, technicians and staff members involved, and we’ll share full details in the coming weeks.

We’re thrilled that a venue such as ours has been recognised alongside so many of the UK’s most prized institutions. Electronic music is culture and we are proud to have represented this scene for the last 21 years. While it’s very difficult to look to the future in the midst of so much uncertainty, we sincerely hope that our community will be able to come together and bounce back stronger.

In the meantime we’d like to thank everyone who has stuck with us, through this period and since 1999: our loyal team, our friends and peers around the world, and all of those who have written to us sharing their messages of support. We miss you all and look forward to sharing music with you again soon.


https://images.fabriclondon.com/wp-content/uploads/2020/10/clubculture1-230x170.jpg Sat, 24 Oct 2020 00:10:00 GMT
<![CDATA[A Letter: In support of Black Lives Matter]]> http://www.fabriclondon.com/blog/view/a-letter-black-lives-matter http://www.fabriclondon.com/blog/view/a-letter-black-lives-matter A Letter: In support of Black Lives Matter

Posted on Monday 8th June, 2020

Black Lives Matter.

We stand in solidarity with this cause and we know that now is the time that racism in all its forms needs to end.

All of the styles of music we have celebrated and championed within our walls have their roots in black music. Without them, there would be no fabric or electronic music scene at large. Now is an important time for us to unite and end systemic racism in all its forms.

Our current situation as a business is that our full team of staff are on furlough leave due to the Coronavirus crisis. Under government laws, they cannot conduct any work for fabric. But that hasn’t stopped us all from considering our own duty, getting involved as individuals, and reflecting on how we as a company can make the world a better and more inclusive place for all in 2020 and beyond.

Whilst we have always tried to be a diverse and inclusive company – within our team, behind the decks and on the dancefloor – we can and will do so much more. We can listen, we can learn, we can educate.

As we are closed with no clear reopening date, we’re not generating any revenue and currently face a very uncertain future. We’ve made a donation of what we can afford at this moment, and there are some additional actions we can commit to right now:

  • We will use our voice. We’re very fortunate to have an established platform and community, and we want to use it appropriately. Although our own staff are unavailable, we’re keen to support Black Lives Matter and any other relevant causes that are looking to share their message with more people – if you would like to suggest any, please get in touch with us at info@fabriclondon.com and we’ll see how we can help.

  • We will do better as a business. When we begin to operate again, we will aim to improve the diversity of our staff and freelance blog contributors and ensure that we are a more equal opportunity employer – that in all levels of the company jobs are considered for people of colour, and that their voices are heard.

  • We will look at representation across our line-ups and record labels. Whilst we’ve always endeavoured to provide a platform for artists of all backgrounds, we can commit to making sure that we improve.

  • We will use our space to educate the next generation. We’ll help promote racial equality by increasing our focus on youth projects in the local community.

We want to conclude by encouraging our community to join us in the fight to eliminate systemic racism. That could mean celebrating black artists, backing Black Lives Matter, supporting black businesses, reading up on the history of racism, making your voice heard on social media, reaching out to vulnerable friends in need, calling out prejudice, listening to black friends and colleagues, campaigning for black history to be included in school curriculums – being part of changing the narrative.

The world may feel like a troubled and divided place right now, but from the displays of hope and unity we’ve seen over the last week, we believe that recent events will be a catalyst for positive change. Now is the time to look inwards, listen and learn. We are making a pledge to continuously support black lives and we will make sure that we play our part in dismantling and overcoming racism once and for all.

#BlackLivesMatter #BLM

https://images.fabriclondon.com/wp-content/uploads/2020/06/blacklivesmatter-230x170.jpg Mon, 8 Jun 2020 00:10:00 GMT
<![CDATA[In Profile: Truly Madly represents the sound of The Pickle Factory]]> http://www.fabriclondon.com/blog/view/in-profile-truly-madly-the-sound-of-the-pickle-factory http://www.fabriclondon.com/blog/view/in-profile-truly-madly-the-sound-of-the-pickle-factory In Profile: Truly Madly represents the sound of The Pickle Factory

Posted on Saturday 4th April, 2020

This weekend, we're shining a light on a local spot we've loved since it opened: The Pickle Factory. Our city needs spaces like Pickle. Similarly to us, the team behind the club has always been dedicated to supporting the grass roots of the scene, and many of today’s most exciting rising stars cut their teeth underneath those wooden beams. The floor holds space for only 200 dancers, meaning every night feels like a house party with an extended crew of friends.

“What makes Pickle special is how personal it is. There’s a personal touch to the club, from its programming, to its painstaking acoustic design. It’s so little that you see the same faces over the course of a night. I see some of the same faces there every week. That’s also why we must stay shut during the Covid crisis, and only re-open when it’s safe to do so. It’s a troubling time for us all. But that’s why clubs like Pickle must be there when we creep out from under the rug. There’s never been more need for musical catharsis. We will be there to provide it when the time comes.” – Toby Wareham, programmer

The Pickle Factory resident Truly Madly sent us a few recent tunes from his bag that he associates with early doors at the club. Speaking of his list, he told us:

“Sometimes you walk into a club and the moment you hear the sound you realise there are certain tracks you won’t be able to play. Everything bangs at The Pickle Factory, so I’ve gone for mainly music played early on in the night – the warm-up there is not only important (as it is everywhere), but it’s also a real pleasure to play because of the system.”

Wave Particle Singularity – C8H11No2 [Drehbar]

All of WPS’s stuff is worth checking, there’s almost always enough quirk to elevate it above the myriad cookie-cutter “deep house” out there. I really like the Heisenberg's Uncertainty EP from last year, but the more recent Amygdala is also a good thing to have in the bag. I’ve played all the tracks, but C8H11No2 sounded big before DJ Sprinkles last time out. Just percolates along with that deep groove, people seem to start moving more as it tempts them in.

James Andrew – Billy & The Clonasaurus [Nothing But Nice Records]

Unashamedly retro-leaning EP, but enough interest and quality for it to make the cut this time round. All of the tunes are fun and I think I've played them all out at some point. Billy & The Clonasaurus is maybe most suited to being played early on.

Agony – Hybrid [Molar]

Was lucky enough to be sent a test pressing of this, and it tested out well wherever I played it. Interesting back story – it was produced it seems in almost isolation in Estonia in the early 90s. Jaanus Veerberk was only 18 years old at the time – there’s both naivety and complexity in the tracks, and all made on an Amiga 500. Hybrid is the one I’ve played most, bounces along with that fat bassline, plus a bonus acidic departure towards the end.

Kepler. – +4420 [MO-OB]

This is a bit older but I’m including it because for some reason nobody seems to be on it. I love it and have played it a lot, and used it in podcasts. All tracks from the EP are good, especially useful early on, but the Kepler. track is possibly the pick – modern, uplifting blend of breaks, dub, and some UKG/2-step influences in there too.

DJ Ronny Lite & Impala – Elmo [Galaxunity]

Not necessarily an early in the night tune this, I’ve played Elmo more towards the end of sets. Wraps you up in its warm breaks – this is also one that sounds amazing at TPF because there's a lot going on, the elements need to be separated well across the frequencies, and another example of not needing to bang it too much all the time when you've got the luxury of amazing sound. Also really nice to mix out of with a long passage of breaks.

https://images.fabriclondon.com/wp-content/uploads/2020/04/FABRIC-2020-TrulyMadly-IGS1-230x170.jpg Sat, 4 Apr 2020 00:10:00 GMT
<![CDATA[Feed Your Stereo: Jaden Thompson launches new edits series]]> http://www.fabriclondon.com/blog/view/feed-your-stereo-jaden-thompson-launches-edits-series http://www.fabriclondon.com/blog/view/feed-your-stereo-jaden-thompson-launches-edits-series Feed Your Stereo: Jaden Thompson launches new edits series

Posted on Wednesday 1st April, 2020

Jaden Thompson is releasing a new series of edits.

Out today, JT Edits Vol. 1 sees our resident exploring his usual bassline-driven house sound across two high-energy retouches. The release includes Thompson’s club-focussed interpretation of Flashing Lights, a much-loved dancefloor bomb that’s been cropping up in most of his sets recently. Thompson also takes on the house classic Testin’ Me, with further edits planned for the next edition in the series.

Listen to Flashing Lights (JT Edit) in full below.

Stream: Premiere: Jaden Thompson – Flashing Lights (JT Edit)


1. Flashing Lights (JT Edit)
2. Testin’ Me (JT Edit)

JT Edits Vol. 1 is available on digital now.
Listen to clips of both tracks and order your copy here.

https://images.fabriclondon.com/wp-content/uploads/2020/04/IMG_5579-12-230x170.jpg Wed, 1 Apr 2020 00:10:00 GMT
<![CDATA[Audio: Ed Solo shows his signature ragga D&B style]]> http://www.fabriclondon.com/blog/view/audio-ed-solo-shows-his-signature-ragga-db-style http://www.fabriclondon.com/blog/view/audio-ed-solo-shows-his-signature-ragga-db-style Audio: Ed Solo shows his signature ragga D&B style

Posted on Tuesday 31st March, 2020

Ed Solo has been at the front line of the drum & bass scene for more than 20 years. For most of that time he’s spearheaded a distinctive blend of upfront drum & bass, jungle and reggae, injecting a fun, bouncy atmosphere into what’s often described as a serious genre. While he’s been DJing and putting out records as a solo artist since he started, Solo’s career has been shaped by a couple of key close affiliates. This started back in 1998 with Represents, a gritty collaboration with Brockie that would spawn a longstanding relationship between the pair. In 2009, he then launched Jungle Cakes with Deekline, opening up the music to a new crowd through twists on reggae classics through highlight tracks like No No No (You Don’t Love Me) and Top Rankin. Solo was also active during dubstep’s explosion for the label Sludge, but with two full-lengths in partnership with Brockie and Darrison since then, drum & bass and reggae has been his primary focus. The mix he’s provided transports us back to energy-filled club nights and summer festival takeovers in the form of uplifting ragga drum & bass, mixed with new school flavours from some of the scene’s frontrunners.

Download: Ed Solo FABRICLIVE x Jungle Cakes Mix


Receptor – Avocado
Gold Dubs & Selecta J-Man – Fire Burn
Ed Solo & Deekline – Bad Boys (Ben Snow & Jappa Remix)
Aries – Herbsmoker (Benny Page Remix)
Anthony Johnson – Gunshot (Ed Solo Remix)
Ed Solo – Murderer
Sub Killaz – Murderah
Ed Solo feat. Bengal – Trigger Warning
Brockie & Ed Solo – Represent (Ed Solo Remix)
John Holt – Ali Baba (Ed Solo Remix)
Nectax & Scudd – Trouble Riddim VIP
Selecta J-Man – Big Bout Ya
Junior Reid – One Blood (Ed Solo Refix)
Vybz Kartel – Under Water (Ed Solo Refix)
General Levy – Guide & Protect (Ed Solo Remix)
Koffee – Toast (Chopstck Dubplate Refix)
S.P.Y – Step & Flow (VIP)
Ed Solo & Bengal – Distorted Roller
Dossa & Locuzzed – Dewey
Ed Solo – Super Subs
Riddim Punks feat. Exo Levi – Stranger in Town
Ed Solo feat. Gala – Champion Killa Dubplate
Ed Solo, Deekline & General Levy – Junglist
Ed Solo & Bengal – Butter Fingers
Break – Keepin’ it Raw
Manudigital & Devon Morgan – Time Bomb (Ed Solo Remix)
Dope Ammo & Taiwan MC – Babylon Falling (Ed Solo Remix)
Dave & Ansel Collins – Double Barrel (Ed Solo Remix)
Freddie McGregor – Reggae Boom (Ed Solo Remix)
T-Phonic, Sense & Yush – Good Vibes (Ed Solo Remix)
Sam Binga & Rider Shafique feat. Tiffany Malvo – Proud (Enei Remix)
Isaac Maya feat. Lady Ann – Don’t Stop The Music (Kid Mix A Lot Remix)
General Levy – Incredible (Ed Solo Dubplate)
Harry J. All Stars – Liquidator (Ed Solo Remix)
Deekline & Ed Solo feat. General Levy – Have Some Fun

Is there a theme to the mix?

Yeah, ‘good vibes’ and ‘have some fun’, because let’s face it: that’s what we all need right now. We have all lost a lot of shows; but one of the gigs that I was looking forward to the most was our Jungle Cakes night at fabric that was due to take place on 24th April. Because of the lockdown, we will be at home wishing we were rinsing it out on that soundsystem, lasers blazing and everyone dancing and having some fun.

Where did you source the records from?

Mostly my own tunes, a few from friends, some promos and others that I have bought.

You started out as an engineer before becoming a producer. What inspired you to try out making tracks? Did you think you would have a full-time music career at that point?

I’d wanted to make music since I was a teenager, and had an interest in technology. I thought sound engineering would be a good move for me. I got to work with lots of DJs, producers, artists, signers and engineers who all had their own way of approaching things, which I think helped me as an artist. I wasn’t sure it would become a full-time career, but couldn’t see myself doing anything else.

You and Brockie have been working together for almost two decades. What makes you work so well together?

We get on well as friends and have a good overlap in musical tastes, not only with D&B but other genres too. He always brings a good energy and we get on a flow creatively when we are in the studio together.

How did the idea for Jungle Cakes first come about?

Deekline and I started Jungle Cakes together just over 10 years ago. We were already making breakbeat for our label Hotcakes, and it got to a point where we would always have a D&B tune on the B-side. This was back when our releases were on vinyl, so we decided to start a jungle/D&B label and called it Jungle Cakes (because we already had Hotcake, and D&B Cakes didn’t roll off the tongue as well). The name Jungle Cakes sometimes causes confusion and gets a few peoples’ backs up, because what we do is not strictly jungle or D&B. Jungle Cakes had its own sound: reggae-influenced D&B, happy fun & bass that didn’t take itself too seriously.

Where would you say the epicentre of the UK’s drum & bass scene is currently?

I think Bristol is probably the strongest, not only for D&B, but most bass-orientated music. They have loads of club nights which are always busy. Plus, a lot of producers and DJs live there.

What else are you up to through this year? Cancellations aside, do you have any release related updates you can share?

We are doing a collaboration with Trojan Records (a label from London who put out a lot of big reggae/ska tunes back in the 60s and 70s). We are releasing a series of EPs by the usual Jungle Cakes artists, and a few new exciting producers too. Hopefully the lockdown will be over in time for our showcase on The Lion’s Den stage at Boomtown with Dawn Penn and a few other Trojan artists. Also, my remix of Represent is coming out on Undiluted Records soon. I should have lots of time in the studio over the next few months, so watch this space! (That’s if the missus and the kids don’t come and take over, the littlest is particularly interested in pushing all the buttons which light up on my MatrixBrute… anything for an easier quarantine).

https://images.fabriclondon.com/wp-content/uploads/2020/03/FL-04.24-EdSolo-BLOG-230x170.jpg Tue, 31 Mar 2020 00:10:00 GMT
<![CDATA[In the Bag: Tasha shares five rowdy techno cuts]]> http://www.fabriclondon.com/blog/view/in-the-bag-tasha-shares-five-rowdy-techno-cuts http://www.fabriclondon.com/blog/view/in-the-bag-tasha-shares-five-rowdy-techno-cuts In the Bag: Tasha shares five rowdy techno cuts

Posted on Monday 30th March, 2020

For more than a decade, Tasha has been a stalwart of London’s electronic scene. Back in the late 2000s, she was consumed by drum & bass, regularly playing alongside artists like Storm and Mantra and appearing on pirate era Rinse FM. She explored the same sound (via the occasional dubstep luminary) when she launched her party Neighbourhood in 2010, which then ran on Wednesday nights at Plastic People. But in the years since then, she’s become more closely aligned with techno than moody 170BPM, something that's true of her style as a DJ, and the music she champions through Neighbourhood (now a label of its own, Neighbourhood's signees include the UK heavy hitters Randomer and Forest Drive West). Off the back of her party's 10th anniversary last month, where she spun alongside DVS1 and Freddy K, Tasha picked out a few recent cuts she's been feeling for our latest In the Bag feature. In her list, she shows us her love of contemporary techno served with the same rowdy grit as what she was playing in her formative years.

David Löhlein – Red Code [Vision Ekstase]

Raw and rowdy, and the groove is just sublime.

John Swing – Untitled [Relative]

Check the groove on this. Bad boy, that’s John Swing!

D.Dan – Escape From The Echo Chamber [Lobster Theremin]

D.Dan’s tunes are always killer, but this one I seem to be playing all the time at the moment, bomb!

David Löhlein – Red Code (VIL Remix) [Vision Ekstase]

Remix of the Red Code fave from earlier. Proper stomper, always goes off!

Surgeon – Hostages Of The Deep [Ilian Tape]

Can never go wrong with a bit of Surgeon! Broken, twisted, eerie mind melter!

Photo credit: Harley Madams

https://images.fabriclondon.com/wp-content/uploads/2020/03/Tasha-Press-By-Harley-Madams-01-230x170.jpg Mon, 30 Mar 2020 00:10:00 GMT
<![CDATA[Eyeballin’: Paris Is Burning is perfect weekend viewing]]> http://www.fabriclondon.com/blog/view/eyeballin-paris-is-burning-is-perfect-weekend-viewing http://www.fabriclondon.com/blog/view/eyeballin-paris-is-burning-is-perfect-weekend-viewing Eyeballin’: Paris Is Burning is perfect weekend viewing

Posted on Sunday 29th March, 2020

If you’re looking for something to pass the hours this Sunday, you could do worse than to check Paris Is Burning, a 1990 documentary celebrating the marginalised communities at the heart of New York’s late 80s ballroom scene. Directed by Jennie Livingston, the film won multiple awards including Sundance Film Festival’s Grand Jury Prize. Last year, Netflix released a restored version of the original picture. The 1990 version is available to stream in full via YouTube below, so you’ve no reason not to get involved.

Stream: Paris Is Burning

https://images.fabriclondon.com/wp-content/uploads/2020/03/paris-burning-1-230x170.jpg Sun, 29 Mar 2020 00:10:00 GMT
<![CDATA[In Profile: Dubtil represents the sound of Club Guesthouse]]> http://www.fabriclondon.com/blog/view/in-profile-dubtil-the-sound-of-club-guesthouse http://www.fabriclondon.com/blog/view/in-profile-dubtil-the-sound-of-club-guesthouse In Profile: Dubtil represents the sound of Club Guesthouse

Posted on Saturday 28th March, 2020

The next electronic institution we’re profiling is Club Guesthouse, a Bucharest venue that helped lay the foundations for Romania’s famously vibrant electronic landscape. The 400-capacity space has long been the bedrock of Bucharest’s tight-knit house and techno community, hosting a regular rotation of local talents and scene leaders among a small pool of international guests. The sound is as clear as it gets thanks to a Funktion-One system, and as with all of Romania’s best minimal parties, the crowd arrives ready to dance for days on end.

“We cancelled our gatherings in the early days of the crisis here in Romania, with the aim of perpetuating responsible preventive healthcare within our community. Since music is the right channel to connect at times of distress, we’ve come up with a safe clubbing approach, doing live streams with local artists every Saturday. A proper mindset can turn difficult times into a gift; needless to say how highly we’re anticipating our comeback.” – Club Guesthouse

Club Guesthouse resident Dubtil compiled a mix for us to represent the sound of the venue. Across the 2.5 hour session, the Romanian artist explores various hues of house and techno against a familiar backdrop of subdued and rolling grooves. Listen below.

Download: Dubtil fabric x Club Guesthouse Mix

https://images.fabriclondon.com/wp-content/uploads/2020/03/FABRIC-2020_Dubtil-2-1-1-230x170.jpg Sat, 28 Mar 2020 00:10:00 GMT
<![CDATA[Crate Diggin’: Mathame retrace their lost childhood memories ]]> http://www.fabriclondon.com/blog/view/crate-diggin-mathame-retrace-their-lost-childhood-memories http://www.fabriclondon.com/blog/view/crate-diggin-mathame-retrace-their-lost-childhood-memories Crate Diggin’: Mathame retrace their lost childhood memories

Posted on Thursday 26th March, 2020

Mathame is an electronic duo comprised of Italian siblings Amedeo and Matteo Giovanelli. Currently signed to Afterlife, they’re the latest stars of a dramatic, melody-affected house sound that Tale Of Us have helped popularise over the last few years. The pair grew up in northern Italy through the 90s, learning about classical and Pink Floyd through their parents’ expansive record collections. Those styles at least partly influenced their musical journey, which started in earnest with a move to the forest surrounding Mount Etna in 2013. Today they're following in the (hugely successful) footsteps of their Italian counterparts behind Afterlife, but for their Crate Diggin’ feature, they wanted to reflect on how they reached this point by retracing their lost childhood memories. They take us step-by-step through their formative years of discovery, from Pachelbel and Beethoven through to Aphex, Daft Punk, and a lot more in between.


Johann Pachelbel – Canon In D Major [Erato]

I was 10 when I learned to play it on the violin, I fell completely in love with the melody and chords. It has followed me since then into adulthood.

Daniel Powter – Bad Day [Warner Bros. Records]

Just the first track I started to sing at six years old, memorable.

2Pac – Life Goes On [Death Row]

What to say about this? At 14, it started my hip-hop period, I was completely focussed on old school stuff from the East and West Coast. My love for Tupac is just absolute.

Aphex Twin – Flim [Warp]

My first touch with electronic music. Classical piano influenced; this track was huge for me as a 16 year-old.

X Japan – Forever Love [Atlantic]

This one is very important for me. It’s one of my musical connections with my other brother Riccardo. At 12 years old I was super interested in anime, manga and Japanese games. I spent 24 hours a day with him, this is a tribute to that period of our life.

Sigur Rós ‎– Dauðalogn [Parlophone/XL]

The period when me and my family moved to the slope of the volcano Etna to live. I remember that I listened the full album 100 times coming from North Italy to Sicily with the ferry. Immense.

Daft Punk – Instant Crush [Columbia]

Nothing to say, this changed completely my point of view. One of the biggest tracks ever made.

Queen – We Are The Champions [EMI]

This track, indelible sign in my heart.

Luciano Pavarotti – Nessun Dorma (None Shall Sleep) [Decca]

My mum fell completely in love with this, I was forced to listen to it from a very young age. This gives you the power to never give up.

Aerosmith – I Don’t Want To Miss A Thing [Columbia]

It was one of the first vinyl records I bought, I don’t know why but I have a strange connection with this track. From time to time, I come back to listen in.


Simon And Garfunkel – The Boxer (The Concert in Central Park Version) [Warner Bros.]

I was three years old, and I put the vinyl on every day on the audio station.

Franco Battiato – No Time No Space [EMI]

Holiday time, when I was four years old my parents has this cassette in the car, this was the anthem of our Sardinia holidays.

Beethoven – Sonata No. 8 In C Minor, Op. 13 ("Pathétique")

I have this clear image, I was five, my mum put this record on in our home when I was sick or angry for something, and it worked – made me feel better.

Vangelis – Alpha [RCA]

My first meeting with a synthesizer. The power of the energy that this track had blew my mind. I was seven years old.

Pink Floyd – Another Brick In The Wall (Part 2) [Harvest]

Another clear image, eight years old, searching in my parents’ vinyl collection. This was one of my most consumed ever.

R.A.F. By Picotto – Bakerloo Symphony (Mediterranean Progressive) [GFB Records]

At 10 years old, electronic dance music was growing in northern Italy. This was the track that showed me electronic music had another level of energy in it.

Bodylotion AKA Neophyte – Always Hardcore [Rotterdam Records]

13 years old, a quiet student in middle school, first kisses and period of rebellion. This was a cassette illegally provided in the classroom by a friend, and it was instant love. Radical.

Bob Marley & The Wailers – Concrete Jungle [Island]

15 years old, finding epic rebellion tunes.

Mobb Deep – Shook Ones Pt. II [Loud]

16 years old, time for hip-hop love. This was simply the greatest track ever made.

Chab feat. JD Davis – Close To Me (Album Mix) [Saw]

20 years old, being introduced to clubbing with this track. Fluid Club, Bergamo. Never forget.

https://images.fabriclondon.com/wp-content/uploads/2020/03/NEW-SHOOTING-CABLE-1-230x170.jpg Thu, 26 Mar 2020 00:10:00 GMT
<![CDATA[Crate Diggin’: Our residents share their favourite albums to listen to in solitude ]]> http://www.fabriclondon.com/blog/view/crate-diggin-our-residents-share-favourite-albums-in-solitude http://www.fabriclondon.com/blog/view/crate-diggin-our-residents-share-favourite-albums-in-solitude Crate Diggin’: Our residents share their favourite albums to listen to in solitude

Posted on Tuesday 24th March, 2020

Drifting away to a favourite album in your own space is one of life’s greatest pleasures. Outside of club hours, it’s one of our favourite ways to listen to music, and in recent weeks we’ve seized the opportunity to take a pause, put on a record and switch off from the rest of the world. Our residents have also been using their time to concentrate on music, so for our latest Crate Diggin’ feature, we asked some of them to share an album they like to reach for when they want to zone out. The full list includes Afrobeat, experimental minimalism, future jazz, conscious hip-hop and more, so there should be something for everyone that needs some time to themselves.

Anna Wall

Lewis Parker – Masquerades & Silhouettes (The Ancients Series One) [Melankolic]

Stream: Lewis Parker – Eyes of Dreams

Alone time is important, but I’m also someone who thrives on being connected to people. In times of distance and isolation I tend to go inside myself, and music is so incredibly important to keep me grounded. This is an album from 1998, I find comfort in it because it was one of my favourite albums when I was younger. What Parker made is timeless; conscious, melancholic hip-hop merging dreamy escapism with reality.


Hiroshi Yoshimura – Music For Nine Post Cards [Sound Process]

Stream: Hiroshi Yoshimura – Blink

In times of solitude this is an album I always come back to. A friend and I discovered it at the same time and would listen to it in his flat with an amazing view over London. The sparse piano repetitions contrasting with the urban landscape felt totally cinematic and had a massive effect on me. Coincidentally, the album was apparently inspired by a series of window views, where for each track Yoshimura played what he saw through the window. Perhaps it is this creative process which contributes to the calm and pensive mood it transmits.


Aphex Twin – Drukqs [Warp]

Stream: Aphex Twin – Avril 14th

I love this album for its musical versatility and the inspiration it gives me. Aphex Twin packed 30 tracks of amazing production, including beautifully written music inspired by the piano but also a fleet of experimental electronic sounds. From a production standpoint, this album truly inspires me as I always hear new things in it every time I give it a spin. I often listen to this album all the way through, and I feel it really keys into the erratic behaviour of today's world.

Jacob Husley

Fela Anikulapo Kuti & Afrika 70 – Yellow Fever [Afrodisia/Decca]

Stream: Fela Anikulapo Kuti & Afrika 70 – Yellow Fever

I am a big fan of Fela Kuti, and Yellow Fever is one of my favourite albums. The music is so playful, and instantly lifts your spirit. It makes you smile without noticing, often when I play it the whole family is dancing by the end of it. Music medicine for the mind, body and soul.

Jaden Thompson

Erykah Badu – New Amerykah Part Two: Return of the Ankh [Universal Motown]

Stream: Erykah Badu – Window Seat

This album by Erykah Badu is perfect for listening to at home on a Sunday, whilst you’re relaxing or trying to switch off. It’s one of those albums that you can just put on in the background and Badu’s soft voice will get you in the mood for unwinding.

Jay Clarke

Daniel Avery & Alessandro Cortini – Illusion of Time [Phantasy Sound]

Stream: Daniel Avery & Alessandro Cortini – Enter Exit

Enter Exit is taken from the new album Illusion Of Time, a collaboration between Daniel Avery and Alessandro Cortini. I received the album on promo as it’s out at the end of this week, and have already listened to it five times since downloading, so I already know this will be on repeat daily while I’m at home. It’s simple, lush, and epic! It’s music that makes me think of the summer; a nice cold beer sat in the park watching the world go by. Something to look forward to!

Lindsey Matthews

Lauryn Hill ‎– The Miseducation Of Lauryn Hill [Ruffhouse]

Stream: Lauryn Hill – Everything Is Everything

I’ve picked The Miseducation of Lauryn Hill, which will hopefully spread a little light during this hectic time. It’s an album that touches my soul every time, I hope everyone at home can relate and continue to have positive vibes. Keep on dancing, and stay blessed.

Mark Dinimal

4hero – Creating Patterns [Talkin’ Loud]

Stream: 4hero – Another Day feat. Jill Scott

This album for me is a definite favourite when I need some time alone, I only discovered it around four years ago but was completely blown away, and since then have been a huge 4hero fan. Another Day, strangely enough, is one of those songs that can instantly bring me out of any negative situation and give me a positive outlook for the rest of the day. Jill Scott’s voice is impeccable as usual, and those drums!

https://images.fabriclondon.com/wp-content/uploads/2020/03/CrateDigging-230x170.jpg Tue, 24 Mar 2020 00:10:00 GMT
<![CDATA[Audio: Listen to DJ Tennis storming our 20th birthday]]> http://www.fabriclondon.com/blog/view/audio-listen-to-dj-tennis-storming-our-20th-birthday http://www.fabriclondon.com/blog/view/audio-listen-to-dj-tennis-storming-our-20th-birthday Audio: Listen to DJ Tennis storming our 20th birthday

Posted on Monday 23rd March, 2020

Now feels like as good a time as any to pull a special treat out from our vaults. Set recordings from the club are usually off-limits, so whenever we do get to relive a memorable night through the archives, we’re always stoked to share it with you, our community of followers. Our latest one is a 90-minute excerpt of DJ Tennis at our 20th birthday, which fits with what would’ve been his return to our space this weekend. Recorded in between Anna Wall and Seth Troxler in Room One, here the Life And Death artist plays a stormer, moving from vibey house heaters to pure acid mayhem and back again with an inimitably fearless streak.

Stream: DJ Tennis Recorded Live at fabric 20th Birthday 19/10/2019

https://images.fabriclondon.com/wp-content/uploads/2020/03/48942845637_e251b12f53_o-1-230x170.jpg Mon, 23 Mar 2020 00:10:00 GMT
<![CDATA[In Profile: Domenic represents the sound of Sub Club]]> http://www.fabriclondon.com/blog/view/in-profile-domenic-represents-the-sound-of-sub-club http://www.fabriclondon.com/blog/view/in-profile-domenic-represents-the-sound-of-sub-club In Profile: Domenic represents the sound of Sub Club

Posted on Saturday 21st March, 2020

In response to the global crisis currently affecting all of us, every weekend we’ll be profiling some of our favourite clubs around the world on a day their dancefloor should be full. Our first entry is Glasgow’s most famous and longest running electronic music venue, Sub Club. Known affectionately as “Subbie” by its regulars, the 400-capacity space is one of the world’s premier nightclubs. Since its opening in 1987, it’s transcended being just another venue to become a beloved cornerstone of the culture, one that's as famous for its distinctive low ceiling as it is its wild, intensely charged atmosphere. Every DJ leaves the place with a story of their own, but they all say more or less the same thing: go to the Subbie if you want a proper party.

“For most people there is something bizarre about an empty nightclub. For those of us used to working in clubs, seeing the space empty with no noise and harsh lighting is quite normal, and it actually evokes its own atmosphere. Today, walking into the empty Sub Club felt odd – quite eerie actually. Perhaps it was knowing that this was not a normal empty! We’ll be back better than ever in a couple of months I’m sure, but for now this is the sign of something profound happening to society. Stay safe and look after each other.” – Mike Grieve, Managing Director

Domenic, who’s been a Sub Club resident alongside Harri since 1994, prepared a three-hour mix for us to represent the sound of the club. Listen below.

Download: Domenic fabric x Sub Club Mix

https://images.fabriclondon.com/wp-content/uploads/2020/03/FABRIC-2020_April-DominicSubClub-BLOG-230x170.jpg Sat, 21 Mar 2020 00:10:00 GMT
<![CDATA[In the Bag: Cloonee shares his latest house finds]]> http://www.fabriclondon.com/blog/view/in-the-bag-cloonee-shares-his-latest-house-finds http://www.fabriclondon.com/blog/view/in-the-bag-cloonee-shares-his-latest-house-finds In the Bag: Cloonee shares his latest house finds

Posted on Friday 20th March, 2020

Like many of his devoted followers, we first discovered Cloonee through Separated, a floor-focussed tech house bomb that sent YouTube’s algorithm wild, immediately landing him wider exposure. Since then he’s channelled a similar vibe on labels like Solid Grooves Raw and Repopulate Mars, and with regular gigs outside of his Sheffield hometown, he’s found a place at the forefront of the UK’s modern house movement. This weekend he was due to play with us at Forms, so off the back of a quick tour of Australia and New Zealand, he showed us some of the latest cuts that have shone brightest in his sets, Soundcloud digging tips included.

Chris Gialanze – Dare To Feel Good (Chris Gialanze Gorillaz Edit) [Unreleased]

I literally played this track in every set on my Australia tour over the last few weeks. The original is so iconic and this edit does it justice – it's super stripped back, hits really hard and then the sample is the cherry on top! It's a great set opener for me and has been getting the same reaction on the other side of the world as back in the UK, so you know it does the trick!

jxck. – Black Jackin’ [Unreleased]

This tune was an instant reminder of the style of Kettama's Raw Cuts, however it had certain elements that differed, which instantly caught my attention. The reason I love this record is because it is perfect for bringing a different sound into my sets at peak time. If the crowd has been listening to five or so hours of tech house, and a DJ can bring in a record that mixes in perfectly but catches everyone by surprise, that's going to be a magical moment in the night! I couldn't tell you anything about the artist that made it, I stumbled upon it on Soundcloud one day, but I am now keeping my eye closely on him!

David Berrie – Inhibition [Play It, Say It]

So David Berrie is a guy I've followed for a while now. He's from New York and has been in the scene for a fair few years, releasing on Hot Creations, Hottrax, Cuttin' Headz and has collaborating with Jamie Jones so that tells you all you need to know! Inhibition is his latest release on Seth Troxler’s imprint. It's a really dark but funky record with a lot of groove, which is David's signature style. For me this record is a go-to as it works at any point in the night! Check out David's back catalogue if you haven't already!

Brandy – Baby (Artmann Edit) [Unreleased]

My favourite way to discover new music is on Soundcloud. That's purely due to the freedom for people to upload whatever they want, because of that you can find a load of wicked smaller artists putting out edits and tracks that might not get released. How I found this record was by going on bigger artists’ “following” section, finding smaller artists, looking on their “likes” and basically going down a rabbit hole and saving my favourite records. From the off it's pretty clear Artmann is from Amsterdam, the style they have going on over there at the moment is so sick! This is basically a super super groovy edit of a classic Brandy record, and for me it’s perfect for the end of a night to keep the energy going!

Yungness & Jaminn – What To Do [Desolat]

Finally, a record on Loco Dice’s imprint, Desolat. I've been following this label for as long as I can remember, it really is a staple for quality house music and this record is no exception! The artists on the track are French and have had several releases on Cuff, again a label I've followed for years! The track has a really in-your-face rave style synth which almost acts as a siren in the break. Honestly, as soon as that synth hits, the atmosphere in the club changes, and every single time the reaction is crazy! A go-to peak time record for me, has never failed.

https://images.fabriclondon.com/wp-content/uploads/2020/03/FL-2020-Cloonee2-230x170.jpg Fri, 20 Mar 2020 00:10:00 GMT
<![CDATA[Feed Your Stereo: Calibre, Katie Gately, Larry Heard and more feature in our home listening playlist]]> http://www.fabriclondon.com/blog/view/feed-your-stereo-calibre-katie-gately-larry-heard-and-more-feature-in-our-home-listening-playlist http://www.fabriclondon.com/blog/view/feed-your-stereo-calibre-katie-gately-larry-heard-and-more-feature-in-our-home-listening-playlist Feed Your Stereo: Calibre, Katie Gately, Larry Heard and more feature in our home listening playlist

Posted on Thursday 19th March, 2020

We just put together our latest Spotify playlist.

This time the format’s slightly different – every track has been handpicked for soothing home-based hearts and minds. Like our regular office playlists, there are no genre restrictions, and we think everything in there is pure gold. Calibre on a balmy tip, Katie Gately’s latest, King Larry Heard and more – you’ll find it all below.

https://images.fabriclondon.com/wp-content/uploads/2020/03/SPOTIFY___MARCH______4-230x170.jpg Thu, 19 Mar 2020 00:10:00 GMT
<![CDATA[Audio: Hear Krystal Klear dropping peak-time house slammers]]> http://www.fabriclondon.com/blog/view/audio-hear-krystal-klear-dropping-peak-time-house-slammers http://www.fabriclondon.com/blog/view/audio-hear-krystal-klear-dropping-peak-time-house-slammers Audio: Hear Krystal Klear dropping peak-time house slammers

Posted on Wednesday 18th March, 2020

Back in the autumn of 2018, Krystal Klear burst onto the global electronic music scene with the inescapable nu-disco smasher Neutron Dance. An instant summer anthem, it was the kind of universally-loved tune that can help an artist land a flurry of bookings around the world. This was the case with Krystal Klear, but he was quietly honing his sound long before he was known outside of his Dublin hometown. Following early releases on labels like Eglo and Rinse, he set up Cold Tonic, an outlet he used to put out his own records alongside a swathe of promising talents on the rise. Today he’s since found a home at Running Back, the German house imprint run by Gerd Janson. There, he’s honed his own style of euphoric, undeniably catchy house, something that can be heard on the forthcoming One Night in Pbar, his ode to the Berlin institution that kicks off our mix below. He packs out the rest of the mix with contemporary house pumpers designed for peak-time dancefloors.

Download: Krystal Klear fabric Promo Mix

What have you been up to recently?

I’ve been spending a lot of my spare time in the studio in between travelling with shows. It's been hectic, but a lot of fun. Tough to keep my head screwed on a times, but I’m really excited about what I am making musically and some of the dates between Panorama Bar and Life & Death have just been fantastic.

Where did you find the inspiration for this mix?

I usually overthink and over conceptualise mixes, which is fine, but it often makes the experience less fun for me. So, I decided to do a peak hour mix. As if you walked into the club maybe an hour or two into a set of mine. After the warmers and straight into the floor-fillers that I am really loving and playing at the moment. I also decided to keep my tracklist options minimal by choosing 10 records and 10 digital files to choose from in the recording process. Less is more, and I’m really happy with the result as it's not something I usually do!

How do you tend to prepare for a mix session compared to a club set?

As I was saying, it usually revolves around a theme. On this occasion, I went for a club mix which isn't EXACTLY what everyone puts on at home but again, it’s something I rarely do, and I wanted to expose that side of me to those who may not have seen me play. Usually involves going through a lot of my vinyl collection and then digi stuff to see what might work together. It’s generally a case of finding four or five tracks I 100% want to include and then finding stuff to coordinate around them... after that, it’s just torturing yourself with the recording!

What was your first experience of fabric, and what does the club mean to you?

My first time in fabric was with Joy O many many years ago. I had an incredible time. Joy and his then girlfriend Bon convinced me to stay down in London for a weekend after I was down for meetings, it didn't take much convincing as I am a rubber arm when it comes to a good time. We ended up staying until maybe 8am on the Sunday and it was an incredible night. fabric is an institution, and when myself and my HOYA HOYA family solidified our residency there, it really meant a lot and still is something I am super proud to have done.

You’ve swiftly become a key part of Running Back, how has signing to the label helped you develop as an artist?

It was my dream to sign to Running Back since I properly got involved in this music thing back in 2011/2012, so since then I have just been flying sky high. Ultimately it’s pushed me to try and expand what I am doing with every record. Gerd [Janson], [Matthew] Styles and I see eye-to-eye on a lot of the music I make, so that certainly makes me feel like I am on the right track as they are both musical encyclopaedias. Janson is a mentor to me, and this is something I am so so fortunate to have. He's taught me so much about music in ways that I don't even think he is aware, but without a doubt, I feel at home at Running Back and they are my family. For that, I am extremely grateful.

You exploded onto the scene with the hit, Neutron Dance, however you’ve been steadily moving away from that sound, with your upcoming Cyclia Two release moving in a very different direction. What has led to this progression?

I’ll be forever grateful for the success of Neutron Dance, but I feel with certain success it can sometimes put you in a “box” in terms of what your sound is. Neutron came out like a bang but actually some of the tracks on Cyclia were made long before, it just so happened that it came out when it did. Progression as an artist, I feel, is super important and I try not to look back too much on my music because it stops you from going forward... this is ironic because a lot of my music is retro-inspired! But for me, I just make music daily and always try to push my bracket a little bit every time. I don't see Cyclia as a huge shift in direction but more an exposé into another area of music I like to make because it's not all “da-doo-do-doo-doo-doo-doo”.

What does the rest of 2020 hold in store for you?

As I type this, Coronavirus is the big issue, so normally I would say “touring”, but seeing as that COULD be put on hold, I reckon I will be spending a lot more time making music, which, truthfully, suits me just fine. Working on music with my brother Kodi Najm. Finishing some production for some pop artists. Two interesting remixes that I’m excited to finish, and I’m also sitting on a sneaky something for Running Back which I'm stupidly excited for, but for now, I have to keep that under my hat...

https://images.fabriclondon.com/wp-content/uploads/2020/03/FABRIC-03.28-KrystalKlear-BLOG-230x170.jpg Wed, 18 Mar 2020 00:10:00 GMT
<![CDATA[Newsflash: We're temporarily closing the club due to the global Coronavirus outbreak]]> http://www.fabriclondon.com/blog/view/newsflash-were-temporarily-closing-the-club-due-to-the-global-coronavirus-outbreak http://www.fabriclondon.com/blog/view/newsflash-were-temporarily-closing-the-club-due-to-the-global-coronavirus-outbreak Newsflash: We're temporarily closing the club due to the global Coronavirus outbreak

Posted on Monday 16th March, 2020

In light of current world events, we’re temporarily closing the club as a health and safety precaution.

Over the last few weeks we’ve been following the UK government's advice on dealing with the COVID-19 outbreak. Based on the latest advice given by the government earlier on this afternoon, we’ve decided that pausing our club schedule is essential. While we’re saddened by the whole situation, we believe that this is the right thing to do at this moment in time.

Like many other industries, the entire electronic music ecosystem is facing a hugely challenging period as a result of this crisis. We want to send our thoughts out to every artist, agent and promoter facing event cancellations, and thank everyone we work with for their ongoing support and cooperation.

We’re also thinking of the other clubs, music venues and their teams around the world that are currently on standstill. Though the circumstances were different last time around, we’ve been in a similar position before and will pull through this together.

Our community is one of our biggest strengths, and once the overall outlook improves, our collective energy will make us more united. Through difficult times such as this, music will always be an incredibly powerful force – even if it can’t be enjoyed from the dancefloor.

We’re looking into rescheduling as many of our upcoming dates as possible, and will be offering refunds for all of our cancelled in-house events. These will be processed automatically by our ticketing partner Resident Advisor – there is no need to get in touch with us directly.

We’ll share more updates as we have them via our website and social channels, in the meantime we hope that everyone stays safe and positive through this turbulent time.


https://images.fabriclondon.com/wp-content/uploads/2020/03/fabric-closed-website-230x170.jpg Mon, 16 Mar 2020 00:10:00 GMT
<![CDATA[Audio: Christian AB & Quest channel their dark elegance]]> http://www.fabriclondon.com/blog/view/audio-christian-ab-quest-channel-dark-elegance http://www.fabriclondon.com/blog/view/audio-christian-ab-quest-channel-dark-elegance Audio: Christian AB & Quest channel their dark elegance

Posted on Tuesday 10th March, 2020

Christian AB (AKA Christian Browne) and Quest (AKA Marco Maranza) first met, appropriately, digging through the crates at The Record Loft in Berlin in 2014. Back then Browne was still living in London, regularly playing at parties like Art Of Dark and with us at WetYourSelf! The capital has also been key to Maranza’s journey: soon after moving over from Italy he landed a gig behind the counter at the respected East End record shop Vinyl Pimp, in turn opening him up to a new wealth of record-shaped gems. Both artists have since found a place at the heart of a vinyl-obsessed community led by selectors like Francesco Del Garda and Binh, where a steadfast dedication to unearthing forgotten house, techno, electro and UK garage cuts forms the core sound. It’s a scene that tends to avoid the spotlight in favour of letting the music speak for itself, though whenever a mix such as this surfaces, it usually attracts the attention of hordes of ID hunters. Recently Browne and Maranza have been playing together regularly in clubs all over Europe, but their mix for us is their first recorded set. Compiled ahead of joining Del Garda and Slow Life at Picnic’s 8th birthday, the heady session channels what they describe as a “dark elegance”, with those London years spent dancing in Room One firmly in mind.

Download: Christian AB & Quest fabric x Picnic 8th Birthday Promo Mix

What have you been up to recently?

We’ve both had pretty busy schedules as of recent, travelling a lot. It’s amazing to have the opportunity to play records all over the world, we’ve met lots of cool people on the way and made a ton of new friends – we are very grateful!

Is there a theme to the mix?

We selected a few records that gave us that Room One feeling. A feeling that we have both experienced as ravers.

How do you approach a podcast together compared to your back-to-backs – is there much communication in advance?

Yes definitely. As everyone knows, recording a podcast is very different to playing in a club – it’s kind of like your calling card so it needs to be on point. We tend to make different piles of records in our apartment that go well with each other, however it does get a bit out of control and most of the time the living room is mayhem!

How did you first meet and get to know each other?

We met around six years ago whilst digging at The Record Loft in Berlin. A mutual friend of ours, Rama, introduced us to one another, we have remained close ever since. Music connecting people!

Why do you think your styles work well together?

Same same but different – our styles complement one another, it’s a kind of dark elegance… when we play together we tend to cover a lot of ground.

Where do you spend most of your time digging for records nowadays?

In the shops, warehouses, on the toilet, in the airport – anywhere and everywhere we can basically… maybe we will turn up at your house with a turntable soon, you never know.

Vinyl has been a topic of debate recently, with the recent Apollo Masters pressing plant fire, and complaints of the environmental damage caused by pressing records. How do you think the vinyl landscape and market will look in the years ahead?

That is a very tough question to answer… only time will tell. There are a lot of records being pressed these days yes, but with the help of e-marketplaces such as Discogs, vinyl is somewhat recycled – always finding a new home… we’re sure there will be some kind of new way to press records in the future, just recently we saw a video of some dude who made a dubplate out of plastic from the ocean. There is hope.

What are you up to through the rest of 2020?

Lots of exciting things to come – most importantly, new music! Gigs and tours in some of our favourite parts of the world with new places on the horizon… thank you fabric for this opportunity. PEACE.

https://images.fabriclondon.com/wp-content/uploads/2020/03/quest-christian-final-230x170.jpg Tue, 10 Mar 2020 00:10:00 GMT
<![CDATA[Audio: Oden & Fatzo guide us through their celestial live set]]> http://www.fabriclondon.com/blog/view/audio-oden-fatzo-guide-us-through-their-celestial-live-set http://www.fabriclondon.com/blog/view/audio-oden-fatzo-guide-us-through-their-celestial-live-set Audio: Oden & Fatzo guide us through their celestial live set

Posted on Monday 9th March, 2020

Oden & Fatzo first played live together in Paris towards the end of 2017. Prior to that the two duos were already entrenched in the French capital’s house scene – Oden as part of Electronic Feeling, and Fatzo with the Latence System crew – but until that point it was rare that their paths would cross. Since then they’ve put out a string of cuts that loosely fall somewhere between tech house, breaks and acid, tied together with a crisp, modern shine. It’s a fast-paced twist on tried-and-tested styles that artists like Sweely have helped popularise recently, but with a busy calendar taking in key clubs around Europe, it's likely this crew will soon be following a similar trajectory. This Sunday they debut with us for Frame’s Journey to Planet 9, and on their mix, they show how their live sets typically go down. Taking in celestial house bangers, wriggly acid bits and the odd hip house snippet at 133BPM, this is a trip into Oden & Fatzo’s futurist world.

Download: Oden & Fatzo Sundays at fabric x A Journey to Planet 9 Promo Mix

https://images.fabriclondon.com/wp-content/uploads/2020/03/SUN-Oden-Fatzo-BLOG-230x170.jpg Mon, 9 Mar 2020 00:10:00 GMT
<![CDATA[Crate Diggin’: Five rare Adam F cuts we think you should hear ]]> http://www.fabriclondon.com/blog/view/crate-diggin-five-rare-adam-f-cuts-we-think-you-should-hear http://www.fabriclondon.com/blog/view/crate-diggin-five-rare-adam-f-cuts-we-think-you-should-hear Crate Diggin’: Five rare Adam F cuts we think you should hear

Posted on Monday 9th March, 2020

Adam Fenton is responsible for some of the greatest drum & bass records of all time. From the soulful depth of Circles to the icy menace of Metropolis, his versatility and technical handiwork earned him a place among the genre’s giants in the mid-90s. After serving up a series of aces throughout that decade, he maintained a relentless work rate that included dropping hip-hop with LL Cool J and founding Breakbeat Kaos, the label he runs with DJ Fresh. His contribution to the culture extends beyond his discography, too: in 2001 he co-founded the Dogs on Acid forum in partnership with Fresh and Grooverider, establishing a platform that would become a vital bedrock of the drum & bass scene. Today he still spends his time playing to packed-out nightclubs and putting out the occasional tune via labels like Infrared, with his next club appearance locked in for Dance Concept’s 20th anniversary celebrations in Room One this Friday. Ahead of welcoming him, we dusted off some of the lesser heard cuts in his back catalogue that still stand up alongside his ubiquitous anthems.

Fenturion – Mother Ship [Force Ten]

You can practically smell the smoke filling the air of a sweaty warehouse rave when you listen to Mother Ship. This breakbeat hardcore outing, released under the alias Fenturion, lit up parties like Rage when it dropped in 1993, foreshadowing the jungle sound Fenton and his peers would master in the years that followed. While the breakdown has all the climactic intensity of jungle’s most memorable moments, the fierce drums bear all the same hallmarks as some of Fenton’s most seminal tunes.

Adam F – Prophet of God [Deep Jungle]

While Adam F became renowned for his melodic sensibility, he’s always been equally adept at crafting percussion, as he shows in spades on this relentlessly tense darkside jungle cut from 1994. The pads are little more than wisps of vapour, which means the drums are left to come to the fore. Filtered congas snake between splinters of chopped Amens and that ghostly howling, creating a limber groove that’s sure to addle minds on the floor.

Adam F – Burning Deep [Section 5]

Adam F’s musicianship coalesces neatly with futuristic sound design on Burning Deep, released on Section 5 in 1995. Washed out synths and ripples of loose lounge piano dissipate into a barrage of pitched 808s, stuttering diva vocals and a deep bassline that wouldn’t feel out of place on a speed garage cut.

Adam F – Mother Earth [Metalheadz]

Released as a B-side to Metropolis and later put on Fenton’s Colours LP, Mother Earth saw Fenton experimenting outside of his usual sound palette. A dubbed-out downtempo jam dripping in a jazzy saxophone, it might be the most euphoric cut in his collection. Free from the demands of the dancefloor, Fenton applies a maximalist approach to sound design: balmy synths, whispered background vocals and the sax riff form a dreamy soundscape that makes most sense through a pair of headphones, watching the world go by.

J Majik & Adam F – Metrosound [Kaos]

It’s usually a cardinal sin to retouch any stone-cold classic, but when J Majik is on remix duties, it’s hard to argue with the end result. The jungle legend went all in on Fenton’s most enduring anthem, bringing a snarling Reese bass and heavily compressed breaks befitting of the angular sound of early 2000s tech step.

https://images.fabriclondon.com/wp-content/uploads/2020/03/AdamF-230x170.jpg Mon, 9 Mar 2020 00:10:00 GMT
<![CDATA[Audio: Juno Records share a recording of Sonja Moonear in Room One for International Women’s Day]]> http://www.fabriclondon.com/blog/view/audio-juno-records-share-a-recording-of-sonja-moonear-in-room-one-for-international-womens-day http://www.fabriclondon.com/blog/view/audio-juno-records-share-a-recording-of-sonja-moonear-in-room-one-for-international-womens-day Audio: Juno Records share a recording of Sonja Moonear in Room One for International Women’s Day

Posted on Sunday 8th March, 2020

Today is International Women’s Day, and for this year’s celebrations, we’ve teamed up with Juno Records to share a rare set recording from the club. In the driving seat is Sonja Moonear, the Swiss selector who shares close ties with Perlon. Like all of the A-leaguers affiliated with the German imprint, Moonear specialises in a reductionist, occasionally hypnotic style of house and techno, which has naturally meant she’s also become a friend of ours over the years. In between regular gigs at places like Weetamix in Geneva and Panorama Bar in Berlin, she’s been a Farringdon mainstay for as long as we can remember (her next date, by the way, is one to look out for – she’ll be going back-to-back with Craig Richards at FRRC). The set we’ve unlocked, recorded last autumn in between Junki Inoue and Rhadoo, finds Moonear in a sweet spot, gliding between subdued and trippy club cuts with her trademark nimble finesse.

Stream: Sonja Moonear’s International Women’s Day mix for Juno Records x fabric

Photo credit: Enrico Policardo

https://images.fabriclondon.com/wp-content/uploads/2020/03/R043406-1-1-230x170.jpg Sun, 8 Mar 2020 00:10:00 GMT
<![CDATA[Newsflash: We reflect on International Women's Day]]> http://www.fabriclondon.com/blog/view/newsflash-we-reflect-on-international-womens-day http://www.fabriclondon.com/blog/view/newsflash-we-reflect-on-international-womens-day Newsflash: We reflect on International Women's Day

Posted on Sunday 8th March, 2020

Happy International Women’s Day from the Farringdon family. In case you missed our updates, throughout this week we’ve been profiling some of the talented women who keep the disco running every weekend. To mark the occasion, we thought it would be a good idea to hear what International Women’s Day means to them, and what it’s like being a woman working in the music industry in 2020. It's been an opportunity for us to highlight the progress that’s been made in our industry over the last few years, as well as the work that still needs to be done. Together, we hope that by showing our ongoing support for the women who make us who we are, we’ll come closer to equality in our society. As we reflect on today, we gathered some of our team’s thoughts below. With them, we are immeasurably stronger.

Anastasia Mina – Operations

“I think it’s amazing that we have a day to celebrate women! It’s a shame we haven't come further and that we still have to shine a light on equality between men and women. However, as women we have all been inspired in the same way to be who we want to be. I have been very lucky in the teams I have been a part of, and I have always been pushed to be the best version of myself possible. I have so many influential female figures in my life who have taught me that it’s important to straighten each others’ crowns, and this has meant a lot to me over the years. This day is a good reminder for all of us to remember the women who have inspired us. It’s definitely important to remember how far we’ve come, however just wait and see how far we can go when we are all united and equal. I LOVE BEING A WOMAN. A woman can still be a lighting designer, a woman can still be a sound engineer, a woman can still be a tour manager, she can still be a mother and have a career. She can still be herself and offer innovative ideas to her teams. We can all be anything and everything we dream of. We are all here for music!”

Diana Foster – Logistics Manager

“Having worked in the industry for a couple of years now, I believe in the positive impact that IWD seems to have on various levels and people. I see it more as an opportunity to raise awareness, support and empower each other more. If we can use it as a tool in order to have more voices heard or educate people, I’m well up for it! I trust in community building and it is very motivating to see friends and acquaintances smashing it and living to their full potential; creating groups, networks and putting on events that empower women. We need to see more women at the forefront encouraging other women to do whatever they want to do. I think it will become increasingly apparent how a male-dominated industry can change through women being placed in positions of power.”

Judy Griffith – Promotions Manager

“It’s great to have a day like International Women’s Day where we can shine a light on gender equality whilst celebrating womens’ achievements and progress in the world, but I hope that sooner rather than later we are in a place where we don’t have to shout about it – it will just be the norm. I’ve been lucky that for most of my time in the music industry I’ve been trusted, and my voice has been heard and respected, but it wasn’t always like that, and I have had more than my fair share of disrespect, disparity, racism and sexism. In 2020 things are definitely changing, we have finally created an environment where women look out for women, and personal stories – good and bad – are shared with confidence. There is collaboration between us, and women (and men) are starting to call out bad practice. There is a general confidence in the air – women feel safer as there is more of a supportive climate, and it makes all the difference when you know someone has your back. We used to have a tendency to hide in the shadows and just get on with it, but now we see the importance of being visible and speaking up for ourselves. We have to show the next generation that we are here, and that you can achieve pretty much anything with hard work regardless of gender or culture. We still have a long way to go – apparently over 100 years before gender equality can actually be achieved but certainly for now the tide is turning at a more accelerated rate. And that in itself is very inspiring. fabric knows better than anyone that change can happen with collective activism, and if we take action together we can help all women achieve their ambitions.”

Kate Malcolm – Product Manager & fabricfirst Secretary

“I feel ambivalent towards International Women's Day. It makes me feel appreciated, angry, sad, helpless and connected all at the same time. We shouldn’t need it, it shouldn’t be there, it feels like a gift and a burden all at once. But whilst women have the visibility on this particular day, it’s a chance to open eyes to the unique trials we face. For me, when women are perceived beyond the traditional boundaries, the ability to improve our world will soar. The music industry is a slice of society, so the things that need attention out there need fixing here too. It is still white male dominated, but there are loads of people within it wanting it to change – and it will. Everyone – including women in this industry – has a responsibility to extend out to a hand out to invite and support a more diverse range of people within it.”

Mantra – FABRICLIVE Resident

“IWD is always quite conflicting for me, as organisations can use it to promote women for one day whilst doing very little the rest of the year. Having said that, it’s an opportunity to highlight incredible women past and present, and can be used as a tool to promote gender parity and equality. I have a village of women raising me personally and professionally whom I adore. From sisters, cousins, friends and mentors, the women in my life prop me up on a daily basis. There is a huge amount of solidarity between women in drum & bass, and since we started @eq50dnb last year I have seen that solidarity grow. We all need to keep pushing on to make sure the music we love is inclusive and represents all regardless of gender, race or sexual orientation. With a little bit of effort from everyone, collectively we can make an already thriving industry better for all. Forward ever, backwards never!”

Niki Nemett – Operations Manager

“For me, International Women’s Day is about solidarity and support between and for women. Being a woman working in music in 2020 is not perfect, but I prefer to focus on the positive aspects as opposed to the negative.”

https://images.fabriclondon.com/wp-content/uploads/2020/03/iwd-cover-11-230x170.jpg Sun, 8 Mar 2020 00:10:00 GMT