Matt Walsh has made a solid name for himself on the London scene emerging as a talented resident for the likes of Bugged Out! and Tiga’s imprint Turbo as well as the new ‘High Horse’ night at T-Bar with mates Casper C and Skull Juice. Production projects with Hypercolour boss Alex Jones and with Steve Cook as Clouded Vision are forging the beginning of a promising and wide-ranging sound with remixes already for the likes of The Proxy, Brodinski and Cari Lekebusch. With temperatures soaring this week Matt’s mix is perfect for those long summer evenings, or as he says "this mix is pretty typical of what you might expect from the latter portion of a warm up set, when the dance floor has filled, and the energy goes up a notch."
The track list includes new Audion material and his new remix of Peaches with Alex Jones giving a nice taster of what to expect at this Friday’s Bugged Out! takeover of room one. We chat to him about his musical roots, inspirations and current projects.
How did you get into Djing and who were your biggest inspirations when you started?
I always bought records, but only had one turntable until I lived with three djs at university. One played trance, one prog house and one hard house. I hated all their music and started mixing mine on their decks. I have followed Andrew Weatherall since I bought Screamadelica in the early 90s. Him and David Holmes were the first DJs I loved because they seemed to be the only ones who werent boring and linear to me. They got me into more 4/4 music when I was a britpop kid and I started out playing soul, funk and disco, old acid house records in bars and then a club night in my home town in Essex in 2002. Electroclash was born and I had fallen in love with it straight away.
You seem to have embraced twitter along with a great number of other DJs. What excites you more today – new technology or new music?
Until 3 or so years ago I was computer illiterate. I think I was one of the last people I know to get a myspace and only got a facebook at the start of this year. I was late on using CDs as well and only quite recently have started to leave vinyl at home. Twitter is the main thing I use now as its simple and works really well in a kind of chinese whispers kind of way. Soundcloud is also a great new tool.
If I had the choice of course its new music. There are new genres being written by the second it seems and a lot of new and exciting things everywhere.
You’ve prepared a promo mix for your upcoming set at the Bugged Out takeover at this Friday’s fabriclive - could you tell us a little more about it?
I prepared it to sound like the last hour of an early set, when the floor is full. I also took into consideration the Friday sound at fabric. I think the sound I play sometimes fits into Fridays and some Saturdays, pretty much where Bugged Out does too. It starts very deep and kind of disco with some acidic elements and builds to pretty banging after an hour, then makes its way back down again just in time for the next act to take over. (Dusty Kid on Friday).
What does London and the club scene here mean to you?
Its the only place in the world where you see and hear things first. Trends in sounds and fashions all start here. I moved to London 4 years ago and still love the buzz of the city and I live right in the middle of it too. People say its pretentious but you are spoilt for choice and there is something to do every night bu it has been amazing for me and without moving here I wouldn't have got to where I am now.
What does warming up require in your opinion?
I could talk for ages about this, I think some people really dont care, some want to just arrive at a club and go mad and others would rather wait and enjoy the build up. I think with a club that is open til 6 or 7am there is not really any need for people to dance before 11:30. I have played in clubs where massive tunes are played by residents at 10pm and the floor is exhausted before the main guest puts a record on. I have played the first slot a quite a few times now and always try to be patient and not get carried away. The first and last slots can be the hardest to play, but I enjoy both and its the time of the night where you can be more experimental. For a DJ that likes a lot of different music its great to play at different times of the night.
What, for you, is the appeal of collaborating in the studio and what are you currently working on?
Its been the easiest way for me to learn. I am a DJ and spend 2 or 3 hours a day looking for new music and listening to what fits together with eachother. If I would have made the choice to produce alone I think my DJing wouldn't have taken off as well as it has. There is a lot of pressure on DJs to produce a lot of music now and its something I have learnt a lot about in the last 2 years. With Steve in Clouded Vision I have been making early evening disco sounds, with vintage equipment I have been buying, with Alex Jones, late night house and techno. As Matt Walsh alone eventually I want to make something that is more peak time, I have a lot of things I have worked on but dont want to put my name to alone yet and sometimes if you make something that associates you with a 'scene' you can get stuck somewhere you may not want to be.
Release wise I have the Peaches Remix with Alex and more remixes for Williams on Turbo Recordings and one for Wax:On's new label (who I am in Ibiza with now writing this!). Clouded Vision will have 2 vinyl only white label EPs over the summer, with remixes from friends Photonz, 40 Thieves, Astronomer, The Nialist and ZNTN. We also have some remixes finished and upcoming for Johnny Dynell, We Have Band and King Roc.
At the moment I am working with Alex on a techno sounding EP and some edits as CV to go out on whites also. They will all go up on Soundcloud as soon as they are done.