It is 30 years since (FAC51)  the Haçienda first opened its’ doors on Whitworth St. West, Manchester. What a fantastic way to celebrate this anniversary, in the basement car park of the Hacienda Apartments (which now stand on the site of the former nightclub, demolished several years after they'd shut its’ doors for the last time in 1997); For just one night re-live these halcyon days of clubbing history. Pay respects to those who were involved and helped to make the world-renowned venue what it was

(-Ed. Sounds dodgy, but-) Actually it made for a pretty damn good space in which to throw a party! Only way to obtain tickets if you were a normal (-merely mortal-) punter would have been to buy tickets to one of the other (X2 & X3) events taking place at Sankeys, even then only (-of course!-) 51 pairs of tickets were given out to all 3 club-nights

A massive privilege then, to be here as event photographer, I descend a concrete slope into the underground car park, sporting those trademark black & yellow diagonal stripes on the support columns, this would be my first and my last time

Mark E. Smith from The Fall was being interviewed by the BBC. People smoked & chatted as it seemed some had not seen each other for years. Peter Hook (New Order) hosted the evening (-who else?-) with all proceeds going to music charity Nordoff Robbins. The late Tony H. Wilson (-as ever-) watched over proceedings in a larger-than-life portrait above 

A well orchestrated night, the sound-system was great, (-quite unlike the Hac then, Ed-). There were projections & event flyers displayed that seemed to go back quite some time. It was well put-together & interesting for someone like me who hasn’t lived long enough to be able to reminisce. It was here I bumped into Bez (Happy Mondays) and did a little dance with him, in aid of taking a photograph, before passing through some large industrial-looking plastic flaps hanging from the ceiling toward the dance-floor

What an awesome atmosphere, accentuated by lasers which were top class. A wide dance-floor filled with the privileged 500 lucky enough to get invited to this never-to-be-repeated event, especially as the tunes were coming thick & fast. I’ve never heard so many classics, and such a range of them, all played expertly & seamlessly together

Original Hac DJs Graeme Park & Jon DaSilva, Dave Haslam, Hewan Clarke all played, with a live P.A. from K-Klass. The final set of the night (Park) was the one that did it for me. Raised the back-of-my-neck hairs & made me dance like (I wish) I was a child of the 80’s!

It’s hard to imagine just what the original Haçienda must have been like, but a good effort was made to allow those present to re-imagine the experience. I don’t think any TV or film re-enactment, even best storyteller in the world, can quite translate what it means to really be a part of something. That’s what the people who were there seem to say when I speak to them

Hooky said that it was 'the people who made it what it was then', and that seemed a given, but what a great way also to thank the ones who could be here now to witness the reincarnation of a club-brand that is not just well-known, but quite clearly has made an impact internationally

Graeme Park was delighted to have the honour of spinning the last tune. I took a photograph of Hooky’s Haçienda watch as the last tune played and both hands were pointing north! It was a midnight finish to a truly unforgettable experience. As the event drew to a close there was a resounding shared feeling that people had partied like they were actually back in the Haç. Whatever; one thing I know for sure is that everyone there enjoyed it. I certainly won’t forget what a great night I had (once) at the Haçienda. Not for a long time to come

I'm back with my reviewing pen now. It's took a while to recover from the trauma of writing 8,000 word of bollocks about monuments, but finally I have opened up the cavernous chamber, which houses my inbox and I have begun to work through the enormous pile of promos. See below … 

Echo Park - Can't Help It - Disfigured Dubz 016

Following on from the single Fiber Optic, which was a big hit at Example. Echo Park released a full long player on Skream's Disfigured Dubz label. Hailing from Los Angeles and brought up on a diet of Motown, Funk and Disco. Echo Park or Brian Gibbs, as he's called in less formal settings, brings some flavours, which you perhaps wouldn't expect from an imprint owned by dub step oligarch Skream.  Although I'm a bit late posting on this one, it's a perfect piece for your summer. Listen to this album from end to end and I guarantee you will have bought a convertible, slipped on some loafers and invested in one of those 80's suits with huge shoulder pads. I've already moved to LA. My personal favourite still has to be the single Fibre Optic though. I'm far too in love with that tune for any one on the album to surpass it. Can't Help It is out now. 

Stryker Matthews - Binary Shake / Batty Koda - Disfigured Dubz 018

Another release on Disfigured Dubz, which landed in my inbox a while ago, is this single by new New York based producer Stryker Matthews. This one sits nicely in with the more downtempo sounds, which have been coming up on my radar since I moved to Berlin. Elements of Garage, House, Techno and that sensitive word Bass Music make for a solid single. Despite Batty Koda  having probably my favourite track title of the year so far, my favourite has to be Binary Shake. Strikingly different to the Echo Park release, but shows that Disfigured Dubz is an imprint, which defies categorisation. Looking forward to hearing more from this guy. 

Fabric live - One Man

In the wake of the recent DJ controversy, sparked by the Canadian prosthetic-cartoon-mouse-head-wearer Deadmau5, a solid contradictory statement in the face of Zimmerman's opinion comes the Fabric mix series. Having now released over 60 compilations, mixed by some of the best DJ's around across all genres, Fabric's series has well and truly cemented it's position as one of the premier compilation series, but also as a testament to the craft that is DJing. The latest addition mixed by Londoner Oneman shows skills far in excess of simply pressing play. His passion for the music, which is his live, comes through solidly in his selection. 

Jus Wan - Mental Physics / Daemonic - Pushing Red Digi 002

We're big fans of the Pushing Red label at Example. Their last single by Until Silence, which dropped at the start of June, was on repeat for some weeks in the Example Office. Now, label boss Heath has sent us over this tremendous single.  Those sounds just make this perfect techno. Check it out and make sure you buy it.

Pennygiles, ATP and  Jaybee - Truggernanna / I Remember - Emotion 009 

An old friend of ours steps up with a beat to add to the Emotion back catalogue here. Pennygiles used to be our drum and bass editor and now he's off signing tunes willy-nilly and DJIng all over Europe. Things have gone a long way for this welshman. A man who keeps his production firmly at the soulful end of the spectrum, and always has done. 

Various Artists - The Flavours EP - True Playaz 

True Playaz most recent outing is the new EP containing various flavours. Not too in the plastic direction, which is why I've been listening to it.  The EP comes at the genre from a few different angles. Personal favourite on there has to be 'coming in stealth' just for the frog like noise.  Couple of good sweeping rollers in there though. 

PRPLX - Fabric Of Space - TEMPOLP01 PART 1 

Reminiscent of nights at Bluenoe and Speed, but with a modern touch thrown in, this long player by PRPLX has been hoovering up support from all sorts of DnB heads. Good vibes all round and it's been released on a limited edition clear vinyl, which comes with free DL codes.  Definitely one to consider loading up your shelf with. Part two is dropping in september. For more info check out the website.

The XX - Angels Bodhi Bootleg 

I was surprised when the XX announced their new material the other day. I had only that day been thinking that they had gone off the map somewhat.  But Angels was dropped, the blogosphere went into turmoil, and now there's a load of bootlegs.  This one got dropped into my inbox a couple of days ago. I like it a lot and it's a bit more music focused than the original. Check it out. . . 

DRS is an enormous man, who likes to sing and say words over and over again. He is the proud owner of several tortoises, which he says he uses to draw inspiration for his lyrics. This week sees the release of the first single from his absolutely heavyweight album on Soul:R. 

Featuring the production talents of Enei on the A.side and Lenzman on the B. side this twelve lines up two very different aspects of the DRS album. Emotive, poignant and emotional, this single takes you to the dark side of DRS and drags you out to leave you waiting for more in the bleak sunshine of Lenzman's Holding On, which also features the vocal talents of Riya and Jehst. 

Count To Ten is out now on Soul:R. 

Our friends at Utopia Music release their latest single today. One third of the confusingly named production trio that comprise Mute and Mako, Fields, demonstrates his versatility as a producer with a solo 12". 

BTC on the A side brings the darkness to the twelve inch and the AA side, as a testament to Mako's A & R skills, turns the release on it's head bringing a soulful and relaxed piece of drum and bass. 

The release is a solid addition to the Utopia back catalogue and stands Fields in good stead for further solo work. With releases already slated for the end of the year on Symmetry Recs and Utopia Music, Fields is definitely a name to add to your 'keep an eye on' list. 

BTC & Elemental is out now on Utopia Music. 

Mancunian studio twiddler Dub Phizix has wapped out an enormous remix for Hospital golden boy Net SKY- why name yourself one word when you want it to be said as two?. 

Check out a snippet of it below. . .

 If I had to sum up this release in one word - which I am doing in this very sentence - I would describe this release as Unsettling.  Both sides of the latest single, on Texas based label Warm Communications, take the understanding of drum and bass to it's very limits.  Stray and Halogenix are both producers, who pride themselves on pushing boundaries somewhat, and this release certainly does just that. The release has been getting support throughout the drum and bass scene, for over twelve months, since Kasra featured it in a podcast and it is a hotly anticipated twelve, if the comments online are anything to go by - which depends on how you view the world of internet commenters.  

The Pursuit combines funky aspects of the Autonomic world, which is where Stray cut his teeth a couple of years ago, with hypnotic and - as previously mentioned - unsettling industrial samples and  scattered breaks,  to remind you you're supposed to be listening to Drum and Bass.  

Stray teams up with Halogenix for the other side. Poison takes place in an unusual setting. The 3/4 time signature completely throws you off course. In a world, where everyone is so ingrained into listening to 4/4 tunes broken down into intro, drop, breakdown, and drop, this tune completely blows your mind.  Again there's something very sinister about this track, and the 3/4 shuddering time signature only serves to make you feel more off balance. Stray is not afraid to push the boundaries of these perceptions, as mentioned in a recent interview with Organic Beats. "I've always felt that whilst it's a shame that so many people miss out on the whole world of musical possibility that lies beyond the 4/4 time signature (not to mention things such as 170bpm and the intro / drop / breakdown structure) that there is something satisfying about fitting the most interesting material you can come up with within these guidelines." 

Warm Communications, along with it's sister label, Pushing Red is solidifying it's position at the forefront of what represents drum and bass and bass music at the moment. The labels' owner Heath has showed in recent years, by way of his A and R choices, that he is completely unafraid to take risks with his signings, in order to push the boundaries of what the music represents. 

Warm 022 is out from July 16th on Vinyl and Digital. 

 [Ex]:clusive! Roses bass-player talks to [Ex]:ample about ‘The (Second) Second Coming’

With the Stone Roses 3 consecutive Heaton Park gigs already a memory & soon to become Mancunian myth [Ex]:ample Magazine caught up with our old Madchester mucker to ask his views on the whole caboodle. No, no, no, not Mani from the Stone Roses! Our mate ‘Baggy’ from the Clone Roses! Hehehehehe

“When I first heard of The Roses comeback I had mixed feelings. The 1^st Second Coming fell a bit flat didn’t it? I discount the tail end of the Second Coming performances without John Squire & Reni. Doesn’t everyone?

I wasn’t too interested in endless discussions about Ian Browns’ live-vocal capabilities either. That wasn’t concerning me, what was: How is this news going to affect my bands’ ticket sales? Will I -maybe- have to learn some new material? You see, for the last 14 years of the Stone Roses (creativity coma, silent brooding -Ed) sabbatical I’ve played the part of ‘Clone Mani’ in touring tribute The Clone Roses

This fact normally divides other Roses fans’ opinion of me, but this isn’t an article defending tribute acts. It’s a live review of Stone Roses Heaton Park performance, Saturday June 30^th. I just felt we need to be honest with each other, get it out in the open. Do you feel better? Good, then I’ll begin…”

“As soon as rumbling bass-line for ‘(I Wanna Be) Adored’ kicked in you could feel the crowds’ excitement swell. My alter-ego Mani came on all newly equipped & attired with customised bass guitar & equally impressive -my Heaton Park highlight- paisley Kaftan to match

He locked-in superbly with Reni, playing quite simply some of the catchiest, not over-complicated basslines in Indie music history. Blasting out their own sublime (‘Shoot You Down’) psychedelic (‘Waterfall’) 60’s pop (‘Mersey Paradise’, ‘Sally Cinnamon’) with all the relaxed swagger of a band who still believe wholeheartedly in what they’re about

"I don’t have any huge issues with bands reforming. It’s their material, their b®and & their potential earnings. Saying that, much as I don’t take offence to comebacks, or bands playing until they’re old & grey, -I mean, you wouldn’t ask a plumber to retire at 27 just so he can stay forever young in your memory-, I’m also aware that the original spark isn’t always there

John Squire’s bluesy-edged style of playing fleshed familiar tracks out nicely without spoiling the vibe, adding extra little jams along the way with Reni for good measure. Reni -how important this man is to the sound of this band cannot be underestimated- kept everyone dancing with his trademark fills & lolloping grooves

As for Mr. Ian Brown,  yes, I’m sure if you trawl YouTube you’ll hear him waver in & out of tune, but who cares? He stands on stage, love him or loathe him, one of the most important front-men in UK music history. And he didn’t disappoint

From where I was stood the whole band were on top form. Nearly a quarter of a million people must agree with me as that’s how many of us descended onto Heaton Park over the weekend!

"Into the last third of their set, and they saved the heavy-weight hitters for the end, ‘Made of Stone’, ‘This Is the One’, ‘She Bangs the Drums’ (probably my favourite to play live, a real crowd-pleaser), then ‘I Am the Resurrection’ sent the crowd into rapture as every person sang along word for word

I’d almost forgotten why I’ve been playing these songs for so long & why so many people have come to watch my little tribute band over the years! There is a magic to the Stone Roses and their music that not many other UK bands have got close to since they called it a day in the mid-90’s. That magic was displayed to full effect in Heaton Park in front of 75,000 happily mesmerized people."

(Respectfully, R.I.P. Chris Brahney).

DADCHESTER 2012! MAD, BAD & SAD(chester)

A few years ago now I watched in horror as several long-deceased Pop acts from the 1980’s got back together suddenly (“for the fans”) & went out on the road again in a series of package tours. ABC; Culture Club; Adam Ant; Rik Astley; Level 42; Bananarama; Kajagoogoo; Tony Hadley; T’Pau & Kim Wilde. Cringing each time I saw them on the telly or in newspapers. Faded pop-stars, wearing girdles & hats to hide their paunches & baldness, clinging onto the fame train for all they were worth, for one last ride. Nostalgia was back in business

TV talking-head shows ‘I ‘heart’ the 80’s (60’s, 70’s & 90’s)’ soon appeared, D-list commentators providing sound-bites for a collection of well-worn archive clips. It was cheap programming both in terms of production & cultural currency; disappointing

A whole potent decade full of fashion, music & politics boiled down to mute impotent images, the '60’s: the Beatles, the mini-skirt & the Pill. The 1970’s: Beige & brown, Bay City Rollers, multi-coloured tank-tops, Spangles; Punk, with its safety-pins & spitting. 1980’s: Ozone-killer hairspray, ‘Frankie Says’ t-shirts, skinheads, yuppies & shoulder-pads. The 1990’s: Mancunian accents & haircuts, flared jeans & scared journalists; warehouse raves, Vicks Vapour Rub & glow-sticks; One long idiot-gurn until the turn of a new century

This is not ‘What Actually Happened’. This is a forgetful, sexless, legless, stereotyped, sanitised, blind version of events re-parcelled & repackaged (ultimately for retail) for repetition by these same faces, who weren’t there then but are here now to tell you about it

At the time (my local boozer) we remarked how we couldn’t possibly imagine our musical heroes from the hedonistic & ephemeral ‘Madchester’ period doing something similar. Imagine that? We laughed because we simply couldn’t

Fast-forward to 18 Oct 2011. Seminal indie band The Stone Roses announce the impossible come-back gig is on: they are getting back together for a series of lucrative summer festival dates beginning with 3 consecutive nights at Heaton Park. The original line-up of Happy Mondays soon follow suit

We’d already seen Bez (2005) surprisingly win ‘Celebrity Big Brother’ and amazingly Shaun Ryder almost-win ‘I’m A Celebrity... Get Me Out Of Here’ (2010), but now all acid-tongued back-biting & old recriminations were being buried for promise of a bulging bank balance. We’d also seen (New Order / Joy Division) Peter Hook with his outfit The Light murder twin sacred pillars of his former bands recorded history (‘Unknown Pleasures’ & ‘Closer’) in his newly-opened club the Factory (FAC251), formerly Factory Records offices, as well as publication of his Hacienda book ‘How Not To Run A Nightclub’ (2009) and his misguided attempted re-invention as a Rave DJ. Oh dear

Check out the sleeve notes to excellent Virgin compilation ‘Hacienda Classics’ (2006) TRI-CD pack ‘mixed’ by Hooky but in truth compiled by a real unsung Manc hero Phil Beckett (‘2-For-Joy’, Rock’n’Roll Bar, Bop Local)

30-year anniversary of the opening of Factory Records flagship venue The Hacienda then spawned 3 separate club nights, one of which ‘actually takes place inside the Hacienda’, though this turned out to be a one-night-only rave in the underground car-park of the Hacienda Apartments. DJ Graeme Park and K-Klass, who’ve been booked consistently for Old Skool club nights since their 90’s heyday, alongside (-ahem-) DJ Peter Crook (copyright) now take a Hacienda tour up & down the country. And so the unstoppable, omnivorous & insatiable nostalgia behemoth thunders on 

In the run-up to these much-anticipated returns I went out to see Clone Roses live. I watched a very professional tribute act run through a set of Roses tunes that half the audience can’t have heard first time around and, as was to be expected, there were plenty of 30-something fellahs in the beery throng reliving the summery soundtrack of their youth. Many even had their lovely wives in tow. 

They most probably met, fell in love & got wed to these same Madchester anthems

About halfway through the gig the hairs on the back of my neck began to bristle (always a sign of something special): I had forgotten how strong the Roses song-writing was! ‘Sugar Spun Sister’, ‘Shoot You Down’. By the time of instantly-recognisable, bubbling-under bass-line beginning ‘I Am the Resurrection’ I was singing at the top of my lungs

I fled the boozy mess apparent once the house-lights came up & hotfooted across town instead to where Just Skank resident Compa was opening a new vinyl-only club-night with V.I.V.E.K. as guest DJ. The place was almost empty. New music & ideas are much harder to flog to the public it seems

A week later I went to see my former heroes Happy Mondays, supported by Inspiral Carpets (re-grouped around their original singer), ‘musical differences’ put aside for profit, a chance to revisit former gory glories. Lioness Rowetta prowls the stage. Bez comes on (& off) to huge cheers. The Mondays live are magnificent; but it’s an almost-safe celebration of their formerly chaotic creation

There were several after-parties in clubs which promised a steady diet of indie nostalgia. I couldn’t think of anything less interesting and headed down to Selective Hearing to hear the sound of (-Akkord, Reflec & Versa-) the future instead

So I won’t be going to see the Roses this time around. I didn’t go to Spike Island 20 years ago for the same reasons. A venue chosen with large numbers in mind, for capacity & merchandise, for quantity over quality. Tickets are too over-priced & the music will be too underwhelming. Bad weather or wind direction might ruin the day. Fake tickets or drunken muppets could easily do the same

More than that though, events are much easier to recall & retell, to reflect upon, than often-difficult, half-remembered youth as it was lived. These are the kind of events that people attend so that they can look back later & say ‘I Was There’. I bought the t-shirt, a programme, a gram of coke, a Reni hat. F**k that. I was there in a tightly-packed Hacienda audience when Ian Brown announced their majestic fourth single ‘Made Of Stone’, in 1989 still brand new.

I Was There then, so don’t feel (as Noel wrote & Liam sang) the need to ‘Be Here Now’. Especially since ‘now’ already looks much more like it did ‘then’ than ever before. Rave On my lovelies, xXx

(Respectfully, R.I.P. Chris Brahney).