Here at Example we often interview music producers, but rarely ask promoters to speak since (once-engaged) an average promoter rants forever about how nights you never went to were simply historic; whereas the shit that went wrong on the night you did attend was somehow someone else’s fault. Our Photo Editor Al Baker has met a fair few in his time but has decided that some are worthy of note, either for their genuine promotion of new music or their tireless promotion of local talent; and some seriously seminal club-nights

Following on from our recent ‘Put-Your-Music-Where-Your-Mouth-Is’ feature (Iss.27 –Ed.) next up a few words with Jim Hall from Manchester leftfield dubstep nights ‘Open Plan’ & ‘Secret Wars’...

AB: Open Plan has been going for a while. When and where did you start?

JH: Back in 2005 at Zumbar (Odd Bar now). Our idea was to have a variety of different artists, reflecting different nights happening in Manchester – hence the name. Our smoke machine went mental, so for large parts of the gig we couldn’t see anything. We’ve maintained similar standards of organization ‘til this day! Did my birthday in 2007, Dolphin headlined; Hardcore, break-core, heavy dubstep. It went well. I decided to go monthly in June (Pangaea played for 50 quid!). I focussed on dubstep because nights I’d played at were trying to do a few things that didn’t seem to be working. A few sporadic events, back rooms, but they didn’t play what I was listening to. There was a load going on at the time tune-wise, most have gone on to become genres in their own right. Back then you could play break-step, grime, garage, ultra heavy stuff in one set and people weren’t thinking much further than just enjoying themselves –that’s where we were coming from. 

AB: Many venue changes since?

JH: Yeah plenty, Manchester has a problem venue-wise. You’d be hard pushed to find anyone that disagrees. There are few adequately equipped & priced spaces. Venue managers are almost always trying to do-over nights in some way. They get away with it because they’ve got a captive market of green, ambitious young ‘uns to exploit…

Manchester plays on its past musical achievements, stifling opportunity for anything like that to happen again. The other problem that’s kept us on the move is sound complaints. MCR Council allowing flats to be built next to every venue! A venue that’s running for x amount of years should be protected from having its’ viability infringed. For us that means smaller venues that allow for new nights, new music are dwindling, which ultimately puts more power in the hands of more money-orientated promoters.

AB: What 1^st got you into the music you promote? Is there any one particular track or club night that inspired you?

JH: Manchester! I came here to study at RNCM, and dropped out. I got into experimental electronica like Autechre, Aphex Twin, meeting people, partying – ran a night called Not Music, Manchester’s 1^st break-core night. 

Rephlex (Aphex’s label) released Grime 2 in 2004, a dubstep album really. Tunes coming out around this time are some of my favourites. I liked them because they were dark but didn’t try too hard. Proper warm sound to them as well. I’d been listening to a lot of 200bpm stuff so it was my way of moving on. A lot of the old half-step stuff was amazing but the time between had drive and was very cinematic. 

Night-wise is FWD. When I went I realised that what I’d been doing for years was just going to events where artists I liked were playing and getting pissed. A room full of people genuinely feeling it is something else and is inspirational.

AB: Introduce us to your residents?

JH: At the (ard) core there’s Morris Cowan who runs MCR’s branch of Wigflex. A fantastic upcoming producer, check him out: ( http://soundcloud.com/morriscowan ). We’ve got a very talented bunch backing us –Dash Total’d, Heppstar, Magic Mash and Teutonic Kaboom. Node runs 140 Podcast ( feed://140.podOmatic.com/rss2.xml ). Our residents were a result of a call-out we did months back. Asking not just for music skill but also a level-headed approach to the other things involved with nights.

AB: Tell us about your favourite guest or proudest moment?

JH: Thing about putting someone on that you really want to see is that you don’t often get to see them play. You’re stuck on the door or doing something else similarly exciting – I’ve missed a lot! 2000f was amazing as was Niveau Zero the other week. Putting on Horsepower and Appleblim meant a lot.

Proudest moment was our 1^st birthday:  When we started I’d been travelling up from Wales every weekend on my dole to flyer; Facebook in public libraries on extremely-slow, crashing computers; Cutting out flyers by hand – you know, grind.  Most of the year was just that. To see it get to a point where we had over 500 very happy people with little traditional advertising was a ‘hell yeaaah’ moment because it had worked.

AB: Last Open Plan at Jabez Clegg now though? How come?

JH: Lots of reasons. As the genre became more widely known everything changed. A bunch of nights came through doing a similar thing but more specialised. Other nights changed their line-ups to suit that crowd so it quickly changed into an atmosphere of competition. We were about energy, underground music; but the competition and what the audience came to expect made it so we couldn’t really do what we wanted. I tried coming at it from a few different angles line-up wise but that wasn’t the answer.

AB: Which brings us nicely to Secret Wars: Tell us about the concept behind it

JH: I think there are factors affecting the quality of music being put on and if you can live without them then you should. Money’s the main problem. The relationship between capacity and cost: You need a 200+ venue to be breaking even with the rising costs of acts at a competitive price. The temptation to increase your profits affects everything.

Big gigs have got their charm but it is small events where people are close together that makes it more about music than socializing. So if you keep it small, say 100 people, how much are they willing to pay for a ticket as long as they know there’s no profit (ie: they’re not being swindled)?

We let them vote on who they want to see then show them a breakdown of costs which corresponds to the ticket price and ask if that’s acceptable. The result is a great gig where everyone really wants to be there! It might seem quite convoluted to some people as well but that’s the point! Its’ not going to be everyone’s bag. All we’re doing is facilitating a gig for people that want an alternative.

AB: And the live act I caught at Secret Wars @ Soup Kitchen?

JH: Shackleton. Who was amazing. He said he enjoyed it more than Bloc Festival, which was the same weekend. His basslines just seem to get more and more ruthless, rhythms more sharp. It’s heavy stuff! Watching people respond to the smallest tweek of a drum envelope. Incredible. It was like an acid set.It’s brilliant to see where he and Appleblim have gone since they started Skull Disco. What they’ve done means a lot to people who operate on the fringes.

AB: What's up next for you, Open Plan & Secret Wars?

JH: Immediate future is more Secret Wars parties, which I’m buzzing about! Cosmin Trg (Friday 13^th May), as part of FutureEverything Festival. We’ve got some really special visual things for inside & outside the venue, which will be mint.

We run Facebook listings for MCR events called ‘Yea you like dubstep..,’ which puts all nights on an equal footing. We do a little booking and are planning releases and podcasts – the modern media shebang.

Looking at where we’ve come from, ‘Yea you like..,’ Secret Wars, Open Plan, I think there’s a sort of theme of equality and trying to be helpful. I think if you want a healthy scene it’s cooperation that needs to promoted, not headliners – the actual mechanics of how things work can be thought of and that can be effective, not just gimmicky, and it’s like now that we don’t have to worry about who to put on every month maybe we can start looking around and asking ‘what can we do to help?’

What a nice man. Manchester needs more like you. Support your scene. FutureEverything: Secret Wars @ Saki Bar >> Cosmin Trg Fri 13^th May 2011.

http://www.facebook.com/event.php?eid=183536681694679

Contrary to the name, the creator of Bimbotown should be hailed as a veritable clubbing genius. Bimbotown is basically a collection of what everybody else wishes they’d put in their own clubs. If you asked a group of ravers at various stages of a 24 hour sesh what they needed in their lives right at that moment, you’d probably find it there.

Kicking off unspeakably early for German standards – 10pm – there was already plenty afoot by the time we arrived. No sooner had we stepped into the room than we were almost run over by a wooden shack – yes, you read that right – a mini-chapel on wheels to be precise, complete with two rows of pews and a pulpit from which a captivating Leipziger led what I’m sure would have been an inspiring sermon, had he not been narrating from an old romantic novel.

The mechanics didn’t stop there. Venturing further in, we discovered half the fun of the place was avoiding various pieces of furniture being driven around the club – tables, arm chairs, beds – essential cotching equipment. Having said that, you wouldn’t want to lean too far back in one of their many suspicious chairs, as you could never quite be sure which of them were on springs, designed to send you (and inevitably, your drink) flying.

Especially enjoyable was an adventure down the back of a sofa which opened up and ate whoever was unwitting enough to put their feet up for a few minutes. Only to reappear ten minutes later on a mechanical bouncing bed – ideal for those who like to get thrown around a bit.

As ever, the East German music vibe was impeccable, taking us through the night with funky tech-house to hard techno in the early hours of the morning. The dance floor was small and always moving - literally stepping aside every so often to let a party bed drive through. It was at this end of the arena that we were able to fully appreciate the superb tree-house cotching platform that had been ingeniously planted there (pun fully intended).

But what goes up must come down, and it was with absolutely no trepidation at all that we took to the rope swing with all the style and grace of a drunken George of the Jungle to shimmy our way back down to earth. This should tell you all you need to know about German health and safety – essentially, that they don’t give a shit. It’s just superb.

Across the hall lay more fun and games – a foozball table for one – where the music was provided by a band belting out some manic ska-punk. The frenzied soundtrack couldn’t have been more apt for what we were about to come face to face with: Three bath tubs, set up on levelled platforms, where our dear editor’s housemates were frolicking naked with each other in the bubbles.

As people gathered round the exhibition-like glass case to watch the bath-time antics, the excitement was reminiscent of going to see the monkey cage at the zoo – particularly when the stars of the show were replaced by some rather more buxom German girls, causing the crowd endless delight by splashing and washing each other.

Needless to say, we spent the majority of the night running around like excited kids. The whole concept of the night was so unlike anything you’d find back in the UK, further reinforcing the fact that German clubbing is just on a whole other level. Berlin may be Europe’s hub for techno, but Leipzig knows how to have fun with it.

Hotwire, from Manchester, first started producing dnb under the name Tungsten, one half of Tungsten and Morph and has had releases on Urban Takeover, Nu Directions and Formation Records. Currently producing and DJ'ing for DJ SS's Formation Records and World of DNB, this talented producer has got a very bright future ahead of him. Example decided to catch up with him.

Example : Safe Dan. First off, can you introduce yourself to the readers and give us a bit of background info about yourself?

Hotwire:  My name is Hotwire and I’m a drum and bass producer and dj based in the Glorious city of Manchester. I’ve been making music since around 94 under various guises. I come from the green and pleasant land of Shropshire originally but have been based in Manchester for about 10 years now. I went to uni in Salford and after falling in love with grimy Manc life couldn’t leave. The city caters for all my obsessions drum and bass in particular.

Example : So what initially got you into the scene?

Hotwire: My route to where I am today probably started with break dancing, graff and a love of synth based music as a nipper in the 80’s. I loved music with samples in it, I can remember being blown away by Bomb the bass whose music was riddled with amazing samples. This lead me to early House and Techno, which to me just seemed like a progression of the early hip-hop and electro sound. I had a paper round when Acid house was all over the tabloids and I can remember looking at pictures of “EVIL DRUG FUELED ACID HOUSE PARTIES” and even as a pre teen I remember thinking hell yeah here comes the revolution baby! I was too young to go to anything but I obsessed about the music and had subscription to early mixmag at my news agent..ha ha! Rave culture, Acid House, Hardcore followed by Jungle that was our Rock and Roll, our punk! I think the first raves I went to were called “Love” which were put by some local djs 1 of whom is my long time friend Glen aka dj Rivmic (formally known as EFX!).  I was only 15 but got in because they had no bar in the venue.  My ears were ringing for days and that was that, I was hooked.

 

Example: Your first release was back in 2001 when you produced as Tungsten, one half of Tungsten and Morph. How do you feel your sound has changed over the last 10 years and how would you describe your sound today?

Hotwire: My first releases were actually ravey little numbers in about 95 which I might add I still collect PRS on even now. In the 10 years since the Tungsten and Morph project my sound changed in a number of ways. I would say the main difference is that I have gone from using two emu samplers, an Atari st in an analogue setup to using a Mac with logic and very little else. I think that also in the partnership with Morph he was always more experimental and subtle in his tastes than myself so tended to reign in my inclination towards more obvious dancefloor aimed music. We made some great music a lot of which never saw the light of day but eventually went our separate ways. I think the most memorable activity we saw on our Tungsten and Morph tracks was support from John Peel who played our tracks on several occasions. God rest his soul and long live his legacy.

My sound today is definitely geared towards the floor but it can take any form. Under the guise Tungsten I never dj’d seriously or had the opportunity to play my own tracks in a club, I was definitely missing out. If your making dance floor music then playing your music out, through a proper sound system and seeing people react to is an essential part of the production process.  Even though I have been a producer for years I feel that in the last 12 months that with the help of my main boy Rollz I have finaly caught up with the modern production ethic and come closer to being the artist I would like to be.

 

 

Example: What was the initial reason for the eventual change from Tungsten to Hotwire?

Hotwire : I would say that changing to the name Hotwire was part of reinventing my production and refreshing my love for the music. The change of name came as I was rekindling the flame I had for Drum and bass and felt appropriate.

Example: Your productions sound very original. Is there a particular style you aim for when you sit in the studio?

Hotwire: There isn’t one particular style I aim for but I always try to gear my tracks towards something I feel would work in a rave. The groove is the most important element. Sometimes I spend a week getting that riff or hook that I can build a track round. Theres so many different ways to get people dancing in terms of  Dnb styles. Whether its stripped down to claps n hats with a slithery bass to full on wall of sound with hands in the air euphoric synths and vocals. I love it all and don’t want fall into a pigeon hole.

Example: Any tips for upcoming producers that want to make a name for themselves?

Hotwire: I am a firm believer that if you want something bad enough and you believe in what your doing that will shine through. Aim and the internet are great for getting your music to djs and Lables but get out there and give cd’s and hassle dj’s. They might not want to chat but If the big boys are doing there job properly they will listen to your music. Having a face to put  a track next time you email 1 is a good start to communication with big djs in my opinion.

Example: Who would you describe as your influences?

Hotwire: I guess I have been influenced by all the broad spectrum of music I have been into over the years from the hiphop to the Belgian techno right through to epic orchestral music.
More recently I get some great production ideas from similar electronic music forms. Often house, dubstep etc. producers use interesting new sounds or techniques that people haven’t tried in dnb yet. Zincs Crackhouse sound in particular is a fave ipod selection and rammed with wicked production methods.

Example: You have a forthcoming EP on Formation. Can you give us a bit of info on that one?

It’s a four track digital release calle ‘Revital Signs’ which has had support from Grooverider, Crissy Cris and other Dnb big boys. Its had a bit of Radio 1 airplay which is always a bonus. In particular from Annie Nightingale.  I’ve rolled out a lot of tracks since my first Hotwire release but these four chosen are definitely the cream of the crop.
1).Duckdown
2).Ultrageist
3).Satisfy you
4).Hand of god- Hotwire and Rollz

Example: Obviously, theres a lot of new sounds in the dnb scene that are getting big at the moment. What direction do you see dnb going in the future?

Hotwire: I think that it wont just be 1 direction, Theres so much more terrain we can cover with in the realm of dnb. I think the half time styles are 1 thing that particularly excite me, as in dubstep the space in the drums give the bass so much more room to move and give tracks a whole new shape.  

Example: You've been recently added to the Oh My God agency along with a whole host of big names in the scene. Does this mean we will be seeing you on a lot more line-ups in the future?

Hotwire: Joining the Oh my god agency has come at the perfect time for me. My ep is about to drop I have had some fresh Radio 1 exposure. These things should all feed of each other and yes hopefully I’ll get to unleash fire in a lot more clubs. I’m hyped on the link as it will mean I get to play at some of the wicked parties OMG are putting on in  Manchester.  I just got back from Estonia and will look forward to any further euro dj’ing excursions that come up.

Example: Any particular dates we should be putting in our diaries?

Hotwire: Oh my gods ‘Dirty weekender’ festival in August should be wicked and theres a big Formation party in Peterborough at the end of April. Watch out for my Manchester gigs at HitnRun etc.

Example: What sort of a set can we expect to hear from you?

Hotwire:My sets are a good reflection of my production style in that they encompass the best of all dnb styles. I base them around my own material but they’re laced with my favourite/future current dnb and classic bangers.

Example: Any shout outs?

Hotwire: Shouts to Rollz, Critical impact ,SS and all at Formation camp. Shouts to all my fam at www.noteshop.co.uk
Shouts to DRS and Strats and all Broken English fam. Shouts to Davie and everyone at OMG. Shouts To Rich and Al at HitnRun(Mondays converted to Fridays on the regs!!).Shouts to Bionics, Morph, Rivmic and all the Rural junglists from back in the shire. Shouts to my Soldiers Rowney and Propz at G13 Mansions. Paley, George, Sappo, Tonn and all other Manc Junglists I haven’t mentioned.

Example: And finally, marmite, love it or hate it?

Hotwire: With me it’s not as simple as love or hate. I like Twiglets a marmite based snack but don’t eat Marmite. So where does that fall? Maybe I should give that yeasty brown cac another chance.

SOUNDCLOUD
TWITTER

komaton - dehunt EP DAME MUSIC

Dame-Music is proud to unveil the proper debut release from Austrian duo Komaton (Tomá Ivanov and Sebastien Lehner), the Dehunt EP. A varied EP with a tight selection of grooves. smokey electronic atmospheres and a solid backbone of rhythm.

danza macabra - mirror crack'd ep DANZA MACABRE RECORDS

For Danza Macabra’s 4th solo release, they present the Mirror Crack'd EP. powerful, smooth techy beats for the dancefloor

Joy O  - HF 207

Since the release of his debut “Hyph Mngo” that swept the global dance music world in 2009, British producer Peter O’Grady makes his return on Hotflush Recordings as Joy O. These two productions take a more straightforward approach, toeing along the lines of classic house music, infused with this talented producer’s own signature style, weaving rolling acidic basslines and uplifting melodies

Secret Cinema - Minerals - Gem Records

sublime varied album with an impressive amount of tracks. Beautifully created and mesmerizing the whole way through. CD1 is 'Night on Earth' which is geared more towards the club, whereas CD2 is a journey of beat-less soundscapes. highly recommended

 Ricardo Villalobos | Los Updates | Anthony Collins - Joli Chat EP - Nice Cat Records

Nice Cat brings two beautifully strange dance cuts: A deep and earthy trip sculpted by Ricardo Villalobos, Los Updates and Anthony Collins. collectable item this one for sure.

Prosumer - Panorama Bar 03  - Ostgut Ton, DE.

Consistent and well put together mix by Prosumer. On the mighty Ostgut Ton label the infamous Panorama Bar's mix series is making way with the 3rd installment. this is injected with a real funk and groove, a thoroughly enjoyable mix.

Mark E  - Stone Breaker - Spectral Sound

It’s a record of pace and determination, full of classic house touchstones and steady, almost
militant tempos, a reminder that electronic dance music is supposed to be forceful, if not altogether mean. Not once does it break its step or err from its course. Well set and steady album

Peter Van Hoesen & Donato Dozzy with Lucy remix - 61 Center Returning Vol. 4 - Time To Express

Big techno tracks from a true Master, no description needed! Essential 12"

They live - Cancel Standard

Absolutely stunning Debut LP on Exit Records by They Live.  The album is very much intended to be listened to in the order it has been presented, as a whole
body of music meant to capture your senses and lead you across a soundscape of atmospheres, textures, differing tempos and a variety of percussion elements.A full workout with the machines using all hardware to compile the journey. in and out of many elements and sonics, a very unique artistic take on electronica

With people STILL talking about February's roadblock event, Hospital Record's all conquering super club brand Hospitality is set to return to the city of Leeds on May the 6th. As we've come to expect they've laid on yet another colossal line up covering a broad spectrum of what's hot in the electronic music scene right now. Act's on the night include Andy C + Dynamite Mc, London Elektricity, Joker, Photek, Netsky, Flux Pavillion and many more. Look out for local rising star Chunky returning on hosting duties after pretty much tearing the roof off the last event alongside Pearson Sound. Given Hospitality’s reputation for high production values and sell out shows, this event is unlikely to break that trend.

As an added bonus this is one of the dates chosen to host the official launch party for 'Yikes!' the 5th full studio LP from Hospital co-founder and figurehead Tony Colman aka London Elektricity. Tony will be joined on stage by long time partner-in-crime MC Wrec and recent studio collaborator Elsa Esmarelda and will undoubtedly be airing a few new and classic tracks from his enviable back catalogue.

Example caught up with the man of the hour to discuss the new record, personal choices and of course Hospitality

Example: For those that don't know, what inspired the title of your new LP?

London Elek: I was working on the title track, and of course at the time it had no title. I was playing around with two vocal samples that sing 'I'm too high' and 'feels so good' - being naive I didn't clock the class A references and instead I was visualising this person standing on top of a sky scraper in the wind feeling totally exhilarated - and scared, and the word that came to mind was "Yikes!" 

Example: Please tell us a little about the record. Has your writing /  recording process changed much for this project?

London Elek: I found myself using loads of guitar and piano - which as it happens were the two instruments I studied as a child, I took grades in both, and have neglected them for years. I think i have a much more cohesive sound to this album than my other albums, it's far less dependent on samples as I have played everything myself. Writing was a joy because I was able to co write 6 songs with Elsa Esmeralda. She's a great song writer and we really went in deep in the writing process. Hopefully each song properly stands up regardless of being d&b or not. 

Example : What are you most proud of musically on Yikes!

London Elek: In terms of song writing it's "Fault Lines"; in terms of harmony and melody it's "The Plan that Cannot Fail".

Example: In recent weeks your self and Lincoln 'High Contrast' Barrett have been quite active in raising awareness about worthy causes whether the recent tragedies in the pacific area or the work of the Safe Foundation. Do you think musicians have a responsibility in this arena?

London Elek: It's a personal choice, not an incumbent responsibility. It does seem a waste to not use your soapbox for a positive reason, but you have to be careful not to preach or you end up pissing everyone off. 

Example: Due to illness you were forced to cancel a number of shows earlier in the year, how does it feel to be back in action in time for the approaching Hospitality dates?

London Elek: Feels great. I love DJing and I hope I show it when i'm doing it! It's hard to cancel shows, I hate doing it, and I'm stoked to have a great run of shows in front of me. 

Example: What do you think makes the Hospitality events such a success?

London Elek : I think it's our approach from the top down that marks us out; we're accessible to all, we do our utmost to create events that are a huge amount of fun, have very high production standards and we like everyone to be involved, not just turning up on the night, but involved in talking about the events on line, sharing pics and video, taking part through www.hopitalitydnb.com

Example: What does the future hold for London Elektricity?

London Elek: Haha love that question! This year is me touring lots spreading the word about "Yikes!" and also when I can I will be in the studio starting to lay the plans for the next project I start working on. 

Example: What you do if it all ended tomorrow?

London Elek: Take the train to Lyon, then spend 3 months hiking to Santiago de Compostella in Western Spain on the old pilgrimage trail. Not for religious reasons, simply because I love walking and that's one the best walks in the world.  

Example: Any closing words for LE/Hospital fans?

London Elek: You've blown me away with your support so thanks so much for that.

Hospitality arrives in Leeds on May 6th at the O2 tickets available from the usual sources.

Yikes! is available now from http://shop.hospitalrecords.com/product/NHS186/ and http://itunes.apple.com/gb/album/yikes/id430349432

The Vujanic Interview

In the past week, the views of Vujanic’s Eastern European parody of Waka Flocka Flame’s Hard in da Paint have more than trebled since being picked up by BBK’s JME. The parody of the US Rap track, Bricka Bricka has dominated Facebook and Twitter and brought us to the attention of the comedy of The Vujanic. With the video expected to go viral in the next few weeks, we thought it would be a good idea to catch up with the creator in an exclusive interview before all the urban magazines try and get their claws in.

Example: Tell us a little about yourself...

Vujanic: I am a mentally challenged human that loves to not take stuff seriously. I enjoy cheese toasties and I consider myself talented at procrastinating. Dancing along to urban music is one of my favourite pastimes. I live for international football competitions.I have a strong love for mixed raced girls at the moment. They are my kryptonite. Eurovision is cool.

Example: How did the idea for the Bricka Bricka parody come about?

Vujanic: I'm currently on a year out seeing as I failed to get in to University last year. I have therefore had lots of time on my hands. I enjoy comedy and always wanted to give the whole parody thing a go myself and felt this was the perfect period to do so.

Life story over, I was listening to Hard in Da Paint by Wacka Flaka Flame one day and seeing as I am Eastern European and my Dad is a typical builder himself, it just all fell in to place, I wrote some lyrics that night and Bricka was born.

Example: Some people have said it could be regarded as racist towards Eastern Europeans, what do you say to that?

Vujanic: LOL. Bricka is basically a comedic take on my own life, so if you can be racist to yourself then so be it. BRICKA BRICKA MUAFUGAH!!
With obvious allusions to Hip Hop and Grime in your parodies, what music do you like listening to yourself?

Big fan of the deceased genre that is FUNKY HOUSE! Grime, Hip Hop, Rap, Dancehall. As long as it gets my head nodding, I will listen.
What do you want to achieve with your videos? Do you see a future in comedy or are you just having jokes with your mates?

I want people to be entertained! But on a personal note I hope my videos gain more recognition and I reach a bigger audience. I would definitely love to end up in the entertainment business. Wherever the wind takes me really!

Example: Bricka Bricka was picked up by BBK's JME, doubling the views on Youtube in a day. How do you feel about all this new found hype?

Vujanic: SWAGGGG! JME is one of the guys in the UK music scene that I have utmost respect for. I've listened to his Mike Lowery freestyle more than I have seen loft conversions, so for him to love the video, I was honoured! Getting on to World Start Hip Hop topped it all off though ... The little buzz was good but it's all about the continuity :)

Example: How do you go about making your videos?

Vujanic: Well my fist video was of a lower production value and a bit "meh" when I look back at it now. My mother then filmed the second and third, which some people may find bemusing when looking at the content of the videos. I then edited these myself, pretty much learning as I went on from some free software. As for Bricka though, it was filmed by a friend of mine who has all the relevant equipment and editing kit. I'd like to take this moment to thank Edd, also look up his clothing label Victate. So from now on I will be doing a lot of my work with him.

Example: You've also done a wasteman remix of Pow 2011 called Poor 2011. How is the production on the video coming along?

Vujanic: Well it got filmed a while back by another friend, shout out to Rasheed from Link Up, and it has been with the editor who sent me the first draft yesterday! So I'm quite excited to just get it out there, as this was the project that has been a priority for a while, so if it gets any sort of reaction that Bricka did, I will be very satisfied.

Example: What's next for the Vujanic?

Vujanic: World domination, but before that, Poor 2011 will be out within the next week or so.

Example: Anything else you'd like to add?

Vujanic: Hit me up on Twitter @TheVujanic if you have any ideas or queries. I’m always up for new projects.  Subscribe to the YouTube if you like what you see.

 Stay Based. Be positive. Live Life!

My surname is pronounced "W00-YAH-NICH", just so you don't confuse it for a certain female body organ.






Joanna Ranson

Flip Mino HD Review.

So this is Example Magazine's first ever product review and we chose a sick gadget to start off our product reviewing career with. Oh and we're not going to do one of those really long in depth specification reviews where a guy films his Kettle and then compares it to a different camera and then breaks down how many pixels per millimetre there is and how this might affect the image quality if you film on wednesdays.

All I know is we got sent a Flip Mino HD camcorder for two weeks and it was sick. It comes in a small box and all you get in the box is the camera. That's all you need. There is no batteries because they're built in and there's no charger because you charge it off your laptop.  You'd think that would mean you'd need a USB cable? But no, you don't even need a USB cable because there is a USB plug built into the Flip which flips out when you need it. Maybe thats where it got the name from. Hmm.

The Flip mino HD is a similar size to your Ipod Nano and it films in full 720p hi definition just like that. It takes 2 seconds to turn on and just one press of the big red record button and you're away filming your life in full HD quality.  Priced at around £100, depending on which version you get the Flip is a snip compared to other cameras especially when you take into account how hi quality it is.  It even works pretty well in clubs.

When you've finished you're filming you just plug it in and drag your videos off onto your desktop ready to be uploaded to the internet or whatever you're going to do with them. If you've not seen one or had a go of one you want to sort yourself out. Make sure you capture your summer in FULL HD. 

Stay locked to see our Video Diary filmed exclusively on Flip HD cameras in February and come back in the summer to see our Festival Diarys which will also be filmed on Flip HD's

For more info check the website ...