Making RA’s mix of the day on Saturday, if you haven’t checked it out..you need to!
Berlin based techno legend Mike Dehnert has put together a very special exclusive mix for our Dimensions Festival 2013 mix series. Comprised of previously unheard Dehnert material and available for a limited time only, enjoy it while it lasts!
Having established his Fachwerk label as a go-to imprint for heavyweight but funky techno, Berlin abased Mike Dehnert has begun stretched his legs in recent times. Two full length albums have seen him explore everything from stripped techno to acid, deep and dirty house and beguiling sound design in production form, whilst his DJ sets explore similar territory in the club. Respected by serious heads and peers alike, the rawness and realness of Dehnert’s sound is what has rightfully propelled him to the top of the techno tree.
With Record Store Day just around the corner we caught up with a few of our favourite outlets to get their opinion on the effect this celebrated day has on vinyl sales.
As you should all know Record Store Day (20th April) is very nearly upon us, a window of opportunity to not only seek out treasured rarities, but also celebrate the wider independent community.
Naturally as nerdy lovers of great music we here at Dimensions feel it necessary to underline our unerring enthusiasm for, and total commitment to, vinyl. A large proportion of the artists playing at our festival in September, both those homegrown and internationally-sourced, are ardent analogue aficionados; although by no means snobby or philistine, we have a strong desire to do something a bit different and show our appreciation for those who lug bags of records around the world every weekend.
Similarly, it’s only right to make sure those stocking and distributing wax – and whose passion guides the shaping of our collective taste – get cut some slack too. We are partnered with shops around the globe – OYE in Berlin, Rubadub in Glasgow, Well Rounded in Brighton (fronted by the don Donga) – as well as some closer to our London home, such as the inimitable Phonica Records, and we will be inviting them all out to Croatia. Phonica itself is nestled deep in the heart of Soho, an area globally lauded for its strong concentration of record store heavyweights. Though numbers of physical outlets have declined in tandem with physical sales over the past decade, there still remains an impressive contingent of varied stores, so it made sense to
spend a few hours speaking to those behind the scenes – or front of house – in the calm before Saturday’s storm and gauge their reactions to Record Store Day 2013.
A novel first for the sixth edition of Record Store Day is the installation of a stage on Berwick Street – aka the Golden Mile of Vinyl – that will play host to a number of indie rock doyens such as Steve Mason and Wire, with the aim to create a “mini-festival” atmosphere that will lure punters onto a road that houses The Music & Video Exchange, Sister Ray and Reckless Records and keep them engaged throughout the day. Just around the corner on Broadwick Street sits Sounds of the Universe, a much-fêted hub for a broadly inclusive array of worldly eclecticism, who will have an outside soundsystem up and running as well. But do all the extras actually detract from the shops themselves, creating something of a spectacle? “It’s a tricky one”, ponders Nicole McKenzie, Sounds of the Universe’s effulgent proprietor, who states that while the increased level of support is encouraging, it can also become slightly overwhelming. “Then again,” she grins, “record shops don’t get any shine throughout the whole year so I don’t think it’s too bad a thing.”
Simon Rigg, founder of Phonica, displays a similar level of initial scepticism, musing that “what could be wrong with it is that it doesn’t become special anymore.” Phonica has played host to the likes of Ghostpoet, Ashley Beedle, Subb-an and Egyptian Lover in the past couple of years, drawing seriously large crowds to Poland Street – something that isn’t lost on Rigg, who appreciates the enthusiasm and energy generated by the event. “As well as normal customers, plenty of people who we never see come down to buy records and support the shop”, something he cites as crucial to keep Phonica’s independent label financially afloat. “It would be nice if it happened a little bit more often, but the fact that they do come down is a great thing.” The staff at Black Market Soho, located adjacent to Phonica, can’t help but agree: “It draws attention to it in a good way throughout the year. If you consistently buy records, it’s part of your lifestyle to go to record shops anyway – we don’t need to draw attention to them.” But as vinyl buying has turned into more of a “collectors market”, they appreciate RSD’s organisers “constantly talking about pinpointing record shops around the world, throughout the year.”
How, then, does the wider picture look? As the guys at Black Market point out, “there were between 25 and 30 record shops in this area within a couple of miles in the late 90s, and there’s about six of us now.” All the column inches dedicated to the ‘demise of record shops’ – something that irks Nicole, who reckons exaggerating “makes for a better story” – would suggest that the remaining cluster benefit from it all. Not so, argue BM’s staff. “If a record shop disappears, you don’t get busier – it gets a lot quieter because that group of people would no longer come to this part of town;” or as Nicole succinctly puts it, “if you go to Brick Lane to get some silk, you don’t go there for one shop, you visit a few! We kind of all need each other to stay alive, I believe anyway.” She’s not alone, as this seems to be the overarching theme that emerges after speaking to everyone, that co-operation and “feeding off one another” makes the difference. Simon mentions that Phonica has always maintained “great relationships with Sister Ray and Rough Trade,” as well as the aforementioned two that I visit. It dawns on me that this may prove to be the defining legacy of Record Store Day – a method of publicising on a wide scale that spirit of interdependence that keeps the momentum of business going and has contributed to the marked upturn in vinyl sales in the new decade.
In a similar vein to the festival that we run, opening and running a record shop in 2013 may not be the most cast-iron business move but it is a labour of love, born of a specific interest, and pushed forward by shared pride in promoting interesting, forward-thinking music made by people as passionate as those that consume it. That is why you should make sure to dedicate some time tomorrow to going out and supporting your local record shop.
We’ll leave the final word to Simon:
“As long as we’re here, and all the other shops are here in Soho and throughout London and the country at large, then there’s still a healthy industry.”
Let’s keep it that way.
Many thanks to Simon, Nicole and the staff of Blackmarket for taking the time to speak to us!
New for 2013, Dimensions Festival is thrilled to be partnering with CDR (Create, Divine, Release) to create an exciting new project, giving people the opportunity to produce an original track.
New for 2013, Dimensions Festival is thrilled to be partnering with CDR (Create, Divine, Release) to create an exciting new project, giving people the opportunity to produce an original track; their unique contribution to Dimension Sounds – The Soundtrack to Dimensions Festival 2013.
An evolving multi-platform music project passionate about creating opportunities to share the process of music production, CDR is the perfect partner for Dimensions Festival, with a communal love of deep electronic music and a shared ethos of
supporting emerging talent.
For this CDR Dimension Sounds project, the brief is to create a track focusing on an envisaged experience from a key point during the festival’s day or night programme. From late night energetic efforts to early morning ambience and all the tempos in between, the standout tracks will seamlessly encapsulate a flavor of the festival.
Open to all established producers, the top 14 tracks will feature on the Dimension Sounds album to be released in partnership with Bleep, whilst the winner of the best track will receive two complimentary tickets to Dimensions 2013 and a live/DJ slot at the CDR Boat Party during the festival.
During the course of the project notable highlights will be featured on our website.
Entries have to be submitted by Sunday August 4th at Midnight GMT and the track listings will be announced on Monday August 12th.
For more information and specific requirements please head to the CDR website
Next up on our Dimensions Festival 2013 mix series… Alex Coulton, our man on the ground, Gabriel Szatan, caught up with Alex ahead of his set at Dimensions 2013…
Next up on our Dimensions Festival 2013 mix series… Alex Coulton
Alex Coulton does not mess about. Born and raised in Manchester, the young producer delves into the darker, heavier sides of house and techno to offer an alternative take to dance music. Alex released his first record in 2010 on the respected and enigmatic Frozen Border imprint Horizontal Ground. His second release arrived on his own Syndrome Z label, which he co-runs with UK techno duo Snare (aka 19.26.1.18.5), while his debut ‘Representations’ EP dropped on Glasgow’s brand new, up-and-coming label All Caps in late 2011, with early support coming from the likes of Gilles Peterson, Benji B, Ben Klock, Ben UFO, Blawan, Peverelist, and many more.
Our man on the ground, Gabriel Szatan, caught up with Alex ahead of his set at Dimensions 2013…
Gabriel Szatan:One thing that impresses everyone is how young you are – you’re 20, right?
Alex Coulton: Yeah, that’s right.
GS:So when you put out your first records two or three years ago, did you run into any problems getting into the clubs that you were being booked at?
AC:Nah, not really. Most of my first experiences partying were at illegal raves,because there’s quite a large rave scene in Manchester – or there was, a couple years back. So that’s how I got started. Also going to dodgy clubs in Manchester that didn’t really bother if you were sixteen years old!
GS: As you star continues to rise, how do you approach keeping momentum going? Are you conscious about limiting yourself at all, with gigs especially?
AC: Well on the gig front I like to play as much as possible; I’m quite open to playing wherever. But I do think it’s important to have control over the tracks you actually release.
GS: Yeah, you haven’t kept yourself aligned to a certain label, releasing over a number instead – was that always going to be the plan?
AC: [long pause] There wasn’t really a plan, if I’m being honest. I just went with the flow, I guess. People approached me and if I liked the sound of the label’s offer, I’d go ahead with it.
GS: One of the labels you’ve released with this year is Hypercolour, where you put out the ‘Adventures in 4×4’, but you’ve expressed a fondness for William Basinksi before – do you ever see yourself exploring more experimental territory?
AC: Yeah actually. I have another project in the works that explores my creative side, mainly focusing on the melodic elements of the music. It’s basically a project that isn’t limited by the constraints of dance music; it’s me expressing myself, not to please other people as much as for myself. I’m not going to say any name right now as it’s still in the works, but you’ll probably be seeing something in the near future.
GS: You vary your musical output a lot. Do you feel as if you’ve found your own sound yet? Are you even consciously looking for you?
AC:I do like to think I have a particular sound as a producer, which draws influence from techno and dubstep. I’m trying to capture the vibe and feeling of early dubstep tracks but in the 120-130 BPM range instead of 140. So it’s bass-focused but slowed down a bit, so it can be mixed with techno. I have released some tracks which don’t really adhere to that, such as the A side on the Hypercolour release, but that track was more of an experiment really.
GS:There seems to be a lot of restraint in your production, so does that carry over when you’re DJing as well, or do you go in harder when playing live?
AC:I like to hold back on my tracks and not put too many elements in there. I am a DJ as well and I think it’s important that your track mixes well with other tunes. I guess you could say my tracks are quite tool-y in parts, and that’s because they’re meant to be played in sets. I guess that’s a reason that some of them are quite stripped back.
GS: There have been a few notable remixes of your work recently – Tessela, Kevin McPhee, Beneath – but there have been relatively few instances where you’ve reworked other people’s music, as far as I can tell. Any reason behind this?
AC:Well, I have been approached for remixes, but I’m very picky about what I put out. I haven’t had any offers where the tunes have really grabbed me, so that’s probably the reason why.
GS: What can you tell us about the mix you’ve made for us? It’s quite spaced out in places, a bit techy, and there’s a great bit where you put Oni Ayhun into For Real, which was really nice to slow it down into obscure 90s R’n’B – what was your thought process about that bit in particular?
AC: [laughs] Yeah, yeah! Personally I don’t listen to that many mixes in my spare time. So I tried to make a mix that would keep me interested when listening at home; I didn’t want to make a mix where you just take what a DJ plays in a club. I think a lot of mixes do that, so I tried to make something that stays interesting and also takes the listener on a journey: it starts with this really mellow house tune by Sven Weisemann, and then it gets quite hard in the middle, quite like what I’d do in a club, depending on the crowd. There are tracks on there that I’m interested in across the whole spectrum. The track by For Real– [You Don’t Know Nothing] – is a really fun one that I’ve been trying to incorporate into a DJ set for a while. I was very pleased by the blend I did with that. I thought some of the old grime heads might like it as well, because Dizzee or maybe Slimzee used to play that at the start of their sets.
GS: Are there any unreleased cuts in the mix that we might be more familiar with by the time Dimensions rolls around?
AC: Yes, there are. One of the tunes is called Pointe-Noire, which is a city in the Congo, which has a lot of bongos in it! [laughs] It’s the one before Pev’s ‘Aztec Chant’. That’s coming on a label – I won’t say which label – very soon; I’m very pleased with that one too, got some good feedback so far. There’s another tune from me called ‘Distant Resonance’, which is the track before the Oni Ayhun, which is one of my more melodic techno moments. I can’t remember, there might be some more dubs in there too.
GS: Cool, thanks man. Finally, what else do you have in store – apart from those two releases – in the five months before you hit our shores?
AC: As I say, I have another 12” coming very soon. But I think after that one I’m going to let things settle a bit, spend some time in the studio until I have a few more tracks I’m really pleased with. So yeah, there’s one release coming under Alex Coulton and there’s another project that I’m working on, which should be out later this year – the melodic experimental thing – and then that’s it for the moment, release-wise.
The Great Lonnie Liston Smith is one of contemporary music’s most versatile musicians.
The Great Lonnie Liston Smith is one of contemporary music’s most versatile musicians. In a career that spans some 40 years, he has been heard in a variety of context as a featured sideman for some of Jazz music’s most illustrious leaders before stepping out to reveal his own original concepts as a bandleader in the mid 70’s. He is a keyboardist of the first rank and has influenced a generation of young players that have acknowledged his rhythmic urgency (swing), harmonic acumen and composing skills.
We can’t wait to welcome him to the fort for a very special set- buy your festival tickets now;
We’ve added over 70 new names to the line-up for this summer.
We’ve added over 70 new names to the line-up for this summer, including electronic auteurs Mount Kimbie, tastemaker extraordinaire Gilles Peterson, acoustic techno purveyors Brandt Brauer Frick, garage stalwart Zed Bias, Hyperdub’s King Midas Sound.
Volunteering applications are now open, plus info on our MST scheme, and local tickets on sale.
As of today Volunteer Applications for Dimensions 2013 are officially open!
As well as getting a free ticket and four days free camping, volunteering is a great way to make new friends, have a laugh and really get into the Dimensions vibe.
We have something for everyone whether you’re opening minds with amazing art, spreading the love while you’re litter picking, or just looking fresh in a high-vis! Each and every volunteer contributes to the success of the festival, so why not get involved?
Volunteers are required to work 3 shifts in exchange for*:
£135 / 500 kn refundable deposit (+bf)
1 x Food token per shift
4 x Nights free camping
To make your application process as smooth as possible, we have a great new volunteer registration system in place that will make it quicker and easier than ever to sign up.
*please note that this package may vary slightly for non-standard roles such as Site Crew and Decor – see application system for more details.
Join the MST Scheme
Looking for live event experience? Interested in the operations of international music festivals?
We will be looking to recruit enthusiastic, ambitious and hard working individuals to join our 2013 Management Support Team scheme.
The ‘MST’ scheme offers the chance to build upon live event skills and knowledge within a team of experienced event professionals. MST roles will involve assisting managers within areas such as Volunteer, Traffic and Campsite Management.
We provide MSTs with return transport to Croatia and accommodation for the duration of their placement between August 25th – September 11th 2013 (dates tbc – some roles may require pre-event availability). Applications will be opening Spring 2013.
To register your interest for more information once confirmed, please email recruitment@dimensionsfestival.com with a CV and covering letter.
Local Tickets on Sale
Tickets for residents of Croatia, Bosnia & Herzegovina, Kosovo, Macedonia, Slovenia, Serbia and Montenegro are now available at a reduced rate, with early birds starting at just 660kn.
These tickets are only valid with a corresponding passport or I.D card; entry will be refused if supporting documents are not provided.
Listen to MCDE playlist, plus accommodation information and our CDR partnership announced.
Ahead of his in-store appearance at Phonica Records and his set at the Dimensions Festival London launch MCDE has curated an exclusive playlists for for us!
We are seriously excited to announce that Dimensions Festival will be partnering with CDR for this years festival.
CDR is one of the most highly respected music sharing projects in operation today with bases in London, Berlin and Copenhagen to name but a few.
We will be on a joint mission to unearth the best new producers from around the world to be showcased at this years festival. We will release the full details of our new music project very soon but we were too excited to hold back until then!
Producers and DJs hold tight, this is a project you will want to be a part of!
Accommodation on sale Monday
Our new and improved accommodation system will be going live on Monday, at 1pm (UTC).
You will be able to book on-site camping & hostels rooms, plus off-site accommodation made up of rooms, apartments and villas in the surrounding villages.All accommodation options require full-payment on booking, and are non-refundable.
Sunshine Bus customers need to book from Wednesday 4 September up to Tuesday 10 September (6 nights).
**New for 2013**
You can now add additional nights to your booking up until a few weeks before the festival simply by logging back in, selecting your new dates and completing the payment process.
Cycling for Ted
A dear friend of the festivals, one of our production guru’s, is raising money for some urgent medical treatment for their young baby.
We’re supporting them by sponsoring the father on a cycle ride. If any of you would be so kind as to support them as well it would be most appreciated;
