Every so often, reference is made to dance being dead, or rock being healthy. It implies that the two can't co-exist, yet the work of Andrew Weatherall proves otherwise. A cursory glance at his discography - featuring Creation, Heavenly, Factory, Rough Trade, One Little Indian, Warner, Talkin' Loud, Island, Boy's Own, Deconstruction, Warp, Rotters' Golf Club etc - undermines the cliche further. Andrew Weatherall lives his life in small print, supporting the independents, and ever ready to back the underdog.
"It's only in the last five years that I've considered myself a DJ, 'cos when I first started, I just played records. I thought of it as a job, but I never thought of it as a career. When you start thinking career, you start thinking 'game plans', and 'I've gotta be at a certain stage', and 'oh, why am I still doing this' if, you know, 'my career should be here'. Call me an underachiever. I think if you start thinking of it as a career, you start thinking you've gotta be here at a certain time, then you start taking shortcuts and start making the wrong kind of decisions. For a long time I put myself down and said it wasn't a proper job. But it is." Andrew Weatherall
fabric 19 is inspired by one of his DJ sets at fabric for which he prepared by placing any deep and sleazy house tracks he found in a separate pile. For the mix, he blended them with a few deep and hazy records, and some sleek and poppy ones. Featuring electro, acid, house, techno, schaffel, synths, and electric guitars, it provides many of his typical moments: the Egyptian Lover crashing into Sexual Harassment, for example, or the Joy Divisionesque selection of The Emperor Machine that precedes his and Keith Tenniswood's cover version of Ricardo Villalobos.