Call Super (fabric 92)
Camden Town, London. Grew up in Archway.
FAMILY & CHILDHOOD:
My house was a squat that had been found through ACME, the artists tenancy association. The battle around this environment gave me a political awareness fairly young. My Dad taught Fine Art at a university and played the clarinet. He had long had a strong connection to the British traditional jazz scene and its roots in New Orleans. I was encouraged to play instruments very young, I think my guitar was bought when I was 4 or 5, but I didn’t have anything to play recorded music on until I was 10 or so. Most of my childhood was just spent playing music myself.
The first music I chose to listen to was stuff I found out about through friends and then magazines, which I was obsessed with, everything from NME, to The Face, Jockey Slut, Muzik, anything that was about music and youth culture. I discovered dance music around 13 and initially like really hard and fast stuff. The first clubs I got into were things like Raindance and Dreamscapes at The Drome. Gradually I was schooled at clubs like Turnmills and The End. Later on fabric too of course.
After moving to Berlin in 2009 I had a record that Hardwax distributed some copies of. My friend TJ who makes music as Objekt moved at the same time and in those days we kind of pushed each other on in certain ways. By 2012 he had had a couple of records out when he connected Rob Booth to me. The first Houndstooth release was the result of that.
"For the listener, I simply wanted the music to take you out to sea so we could watch the weather together. This isn’t about getting beat upside the head, this is us dreaming in the dawn."
LABELS & PRODUCTION:
Houndstooth of course. I’m known as Ondo Fudd on The Trilogy Tapes. I now have a great relationship with Dekmantel and have also done a record for Nous. The first CS release was actually on a friends label, Five Easy Pieces.
I first went to fabric some time in the 00s. I really can’t remember much. It was definitely the first place I saw Villalobos play, maybe around 2004 or so and that was a big deal. Robert Hood too, back when he played with vinyl and a 909. I’ll never forget the ‘Expect the Unexpected’ tour that Jeff Mills and Laurent Garnier did that was on a Thursday in the club. It was the day Joey Ramone died and they played a whole load of Ramones tracks, Mills cutting them all up together. It was one of the most Techno things I’ve ever seen because he was making these familiar punk tunes sound futuristic.
The fabric mix series has played an influential role in my learning of my craft. Without doubt as influential to me as the club itself. The discs recorded by Ellen Allien, Craig Richards, Robert Hood, James Murphy and Pat Mahoney all taught me quite distinct things about track selection and pacing that I think about to this day. The John Peel one became a elegy to him that I still remember him by as much as his radio shows that I used to listen to.
Because of this I wanted my mix to do a few things. Primarily I wanted it to be highly personal, a snap of my way of mixing records. Because my own technique has been influenced by other discs in the series, I had to capture the way I sometimes play in a club. Due to these tracks having hit me so hard, some for many years, I wanted to do them justice in their sequencing. But what does that all matter? For the listener, I simply wanted the music to take you out to sea so we could watch the weather together. This isn’t about getting beat upside the head, this is us dreaming in the dawn.
No idea, I’m just grateful for the present!
fabric 92: Call Super is out now.
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Photos: Jimmy Mould