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D9: You’ve been DJing/making music for a while, you’ve built up some successful nights and got a nice little label. What made you want to risk your savings, not to mention sanity, and put on a festival?

BLOC: Because festivals are excellent. We went to Exit festival in Serbia (it’s wicked – do it) and realised there wasn’t anything in the UK that ran all night properly and catered for underground dance music. Now there is. Plus, we were unemployed and needed a something to do.

D9: You’ve been to Dedbeat and obviously been inspired by what they’ve achieved, how are you going to set Bloc apart from what’s been done before?

BLOC: In a word, TECHNO. In a few words, we attended every dedbeat and thoroughly enjoyed every moment of it. Since dedbeat, music has changed a little our lineup reflects this and also how much we particularly like underground dance music in all its forms.

D9: What’s happened to the London electro scene?

BLOC: Well, people still go out dancing. I guess it’s just diversified and got mixed up with all this minimal and dubstep and all that jazz. It’s good news, electro was getting well boring.

D9: Are you worried about going for a mostly electro/electronic focused lineup? Were you tempted to book more dubstep to get the kids down with it?

BLOC: We found it so tempting that we succumbed and booked Digital Mystikz, Loefah, Plastician, MRK1+Virus and Vex’d.

D9: Has being based outside London affected what you do?

BLOC: Yes. It’s the best possible thing for us because we’re totally removed from all the hype that surrounds clubs and music in London. Also, it means we’re just as keen to attract people from other cities – particularly the north of England, the scene’s much bigger there.

D9: Who are you most looking forward to seeing?

BLOC: CJ fucking Bolland, not that we’ll get to see any of it.

D9: Who was the most difficult act to book

BLOC: Ed Chamberlain.

D9: Do you think you’ll make any money from it?

BLOC: That would be nice. Any money is a bonus. A welcome bonus.

D9: Have you got any tips for surviving the festival?

BLOC: Wear a helmet, shin pads, flippers, and armbands. Don’t talk to strangers, carry a personal attack alarm and affix stabilizers firmly to the rear of your bike. Be safe, be on the scene and know your enemy. Attack is the best form of defence and to claim you were drunk at the time is no defence whatsoever, as any judge will tell you. Most importantly try not to be kidnapped and taken to a prisoner of war camp. If in doubt, bring a beekeepers outfit for the whole weekend just to be on the safe side.

D9: What have you been listing to and playing out lately?

BLOC: At the moment I’m listening to ‘Bridge Over troubled water’ by Simon and Garfunkel. I think it’s so nice how those guys managed to patch things up. Drop that badboy at any party and I guarantee you will be asked to leave. Mental shit. Also, we’ve been listening to The Police and Klaus Nomi.

D9: What’s coming up on Baselogic records?

BLOC: Ed Chamberlain: Fixxy EP2 on Jan 15 07. It’s not rubbish, honest.

D9: Finally, list 10 good things about Norfolk!

BLOC:

1. Our Caravan/office
2. Abbot Ale
3. Outdoor raves
4. Christmas (Jesus is from Norwich)
5. The food, particularly the pheasant
6. Drink driving
7. The hunt
8. The sea
9. The BLOC weekend
10. Horatio Nelson

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Paul Blackford - 1992

The first track sets the standard and pace of things to come – the dramatically titled ‘Fist Of The North Star’ is certainly one for the dancefloor. If you’ve seen Paul play out recently you will instantly recognise this – it is Radioactive Man/RGC style electrobassbreaks – stripped down, dirty and uncompromising. Vintage Blackford.

‘Dub Conspiracy’ is the nod to the old skool that the EP’s title alludes to. The next track ‘Simple Things’ starts off understated and hooks you in with interesting changes based around a single loop. ‘Hijack’ responds with more energy, bouncing basslines and sirens with Paul’s special recipe to bring it bang up to date.

‘Microcosm’ sees a change in direction with a much richer analogue sound and a lovely staccato beat roll. The old skool sensibilities of the previous tracks are replaced with precision electronics not dissimilar to the darker Lowfish/Solvent/Suction Recs output.

The 1992 EP is a progession from the 1991 EP, rather than being a continuation of the same theme. The old skool references are still there but so are other more intricate and varied influences.

Paul has released a lot of stuff on Net Labels recently (Audio Aubergine andElectrotoxic) and much of it is free to download. Check out www.paulblackford.com for latest releases, news and MP3s.

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Neil Landstrumm’s fantastic live set.

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SNOG - Real Estate Man

The 6th official release on the Birmingham based [k]racktroni[k] imprint sees Volum, SAEFF, Australian duo Ubin and label co-owner Sir Real reworking a track from David Thrussell’s Snog project…

It kicks off with the “original Ubin remix [edit]” an energetic electro pop number with a funk driven slapped-bass line and an arpegiated vocal hook that’ll stay in your head for days. An intricately crafted break down punctuates the track before taking you to the finale.

The Volum remix is a slightly darker affair. Heavy on the re-edits, a glitched up IDM electro track with a brooding filtered bassline and the vocal sample barely recognisable from the original.

Sir Real’s “Persuasive Techniques Remix” starts with a theatrical build up, then drops nicely into an electro break with filtered slap bass sounds and digital stabs aplenty. The treatment to the slap bass gives it squelchy aquatic feel while still retaining the funk of the original before being backed up by a chunky 4 bar bass line. The vocal line has also had the treatment with the edits and I reckon this track will be causing some damage over variety of dance floors due to the variety of it’s elements…

The Super Awesome Electro Friends Forever version is similar in approach to the Volum mix. Slickly produced (as you’d expect with something that Justin Maxwell has a hand in) the track starts with an off kilter electro beat, which later develops into twisted 2-step, with subtly unnerving pads to produce an anxious an claustrophobic atmosphere possibly akin to being stuck in the lift at the Black Lodge.

Overall a solid and versatile EP with 4 surprisingly unique tracks for a “remix EP”.

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