Category: Dance

Dick And Fanny has a chat with Lauren Flax

Lauren Flax

After her first DAF gig in April 2010, New York resident LAUREN FLAX became one of Dick And Fanny favourite artists to work with. She has graced our decks several times and it’s with an immense pleasure that we are welcoming her again for our grand finale, this Saturday 4 October. Come celebrate our 5th birthday, Lauren’s birthday, and the UK release of “Pleasure Principle feat. Kim Ann Foxman” at our last ever Dick And Fanny event…

Lauren has been busy in the last few years from producing her own singles as well as working on her project CREEP with co-conspirator Lauren Dillard. The pair released their debut album, Echoes, last year, which features 14 different singers such as Sia, Andrew Wyatt of Miike Snow, Tricky, Lou Rhodes of Lamb, Alejandra De La Deheza of School of Seven Bells, Dark Sister, Holly Miranda, Alpines, Planningtorock, Nina Sky and Romy xx. Lauren has also collaborated with a slew of international talent from Fischerspooner to Sia and has remixed bands including Le Tigre, MEN, Telephate and Heartsrevolution.

Hi Lauren,

You grew up bathed in the awesome music scene of Detroit, didn’t you? Is that how you fell into this industry? What were you playing then?

I was definitely immersed in the rave / club scene at an early age in Detroit. House music was always there for me, but in the beginning I used to play Drum & Bass. After that I was really into electro like dopplereffekt, I-F, Adult., and so forth. House music took over though full time for the past 12 years or so.

Why did you decide to leave Detroit?

Well back then I just needed to function somewhere else. I decided to move to Chicago once I turned 21 to learn how to produce music with some friends of mine that had also moved there from Detroit. I could only handle a few years there though until I up and moved to New York City, which has been home ever since.

You are an internationally renowned DJ but most of us know you as a very talented producer as well. When did you start producing your own stuff?

Probably in 1999, but I don’t think I wrote anything worth while until many years later haha.

Did the release of “You’ve changed feat. Sia” mark a defining moment in your career and if so, how?

Well it was definitely my biggest release to date but I don’t think it would be where it is today if it weren’t for Sia. She’s just so wonderful and her voice is simply unmatched. I was very fortunate to work with her.

Another defining moment perhaps is the release of your album “Echoes” under CREEP INTL, which you produced with the other half of CREEP, Lauren Dillard. The album has the kind of ethereal beauty that transcends you into another world [get your copy here]. We absolutely love it. ‎Your collaborations on it work so well. How did that come about? Did you write the tracks for these specific artists or did that come afterwards?

It was all a very organic process. It just started out with us writing music and asking friends to sing on them for fun. We didn’t really think people would pay much attention. When they did, we decided to just go for a full length. The music does come first and then we just sort of conjure which vocalist should sing on it.

What was the industry’s reaction to the release of your album?

I have no idea. I don’t think it’s healthy as an artist to pay too much attention to that kind of stuff. Don’t get me wrong, sometimes I cave but it’s really best to just stay focused on your creativity.

We know how hard it can be for female artists to be respected and recognised. Was that why you decided to release “Echoes” under Creep Intl?

Honestly we only had a couple of labels we would trust to want to work with us and if they didn’t want to release it, then we would handle it ourselves and maintain complete creative control. That’s exactly what we did.

If you have any advice for the younger female musicians out there who admire your work, what would those be?

Don’t listen to anyone when they talk about male dominated blah blah. Just practice your craft, do the best you can, crave to learn more and share that knowledge. work together with others so you can grow even faster.

And of course, we can’t have this interview without mentioning your latest release, the wonderful “Pleasure Principle featuring our friend Kim Ann Foxman” [get your copy here]. We’re also beside ourselves that Dick And Fanny will be celebrating the UK release of the track. What’s the story behind that one?

It was just something fun I started a while back. I put it to the side for years until coming back to it. I ended up scrapping the entire first version and created what you hear now in about a day. I had asked Kim Ann to sing on it on the first go around years ago so I just used the vocals she had recorded before a popped them on my new version. It worked out so great, her voice is just perfect Janet.

And finally, do you have anything else up your sleeve that we can get our hands on in the near future?

More dance releases with more fun singers / rappers. You know how I just love those collaborations haha. Expect more from me on CREEP INTL very soon.

We cannot wait!!

So so looking forward to more coming from your talented self!



Dick And Fanny has a chat with The Carry Nation

The Carry Nation

THE CARRY NATION are New York City’s Nita Aviance and Will Automagic. Will has produced and remixed records as part of Automagic and other monikers for many labels over the last 14 years and has produced and remixed for artists including including N’Dea Davenport, The Ones and The Ananda Project. He has played all over NYC and globally with residencies at Vandam, Ladyfag’s 11:11 and roving art-based warehouse party SPANK. Nita, having made a name for himself performing as a member of the House of Aviance in the 90s, landed behind the decks in the early 2000s with residencies at AREA10009, Mr Black and currently at the award-winning WESTGAY. In his relatively short production history, he has already logged remixes for Beyonce, the Scissor Sisters, Le1f, Automagic, & Adam Joseph.

The Carry Nation will be played at Dick And Fanny on Saturday 12 July at Dance Tunnel (London, UK) alongside DR. SLEEP and MICHELLE MANETTI. We caught up with them before they grace our decks. Have a read below…

You’ve just come back from Glastonbury. How was it for you?

Glasto was great fun this year. Bloc 9 is beyond compare and the family vibe there allows everyone to bring their A game. We heard some of the best sets this year in that field.

How did you two meet?

We were always fans of one another before we became friends. It wasn’t until we started getting booked at the same gigs that we realized a closer working relationship was undeniable.

When did you first start working together as The Carry Nation?

The Carry Nation was officially formed 3 years ago with the help of a vocal outtake from our good friend Viva, thus bringing This Bitch to life.

What’s the story behind The Carry Nation name? You don’t seem like the type of girls who bring out the hatchet when someone’s having a drink 😉

That is exactly the point. We have been known to carry on.

You have quite a few tracks and remixes under your belt as The Carry Nation. What’s coming up next?

We have a 2-part mix compilation coming out on TRIBAL this month which helps mark the relaunch of one our favorite labels. We dug deep in their vaults to find rare mixes of TRIBAL classics to compliment the labels new material. We also have some exciting remixes on the way but that’s all we can say about that for now 😉

Where are the best parties happening in NYC right now?

Well our ten hours roving warehouse parties are pretty cute, but you should also check out Westgay, 11:11, KUNST @ Verboten and the grandfather of all parties, now in its 46th year, The Loft.

And who are your favourite DJs and producers in NYC and further afield at the moment?

The list is far too vast to name just a few, but you can be pretty sure if our names are on the same bill/release we are down with that sound!

Thanks guys, we can’t wait!


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Dick And Fanny has a chat with Dr. Sleep

Dr. Sleep

San Francisco-based DR. SLEEP has been DJing and making music since 2003. She started her career spinning new wave and synth pop and returned to her roots in house and techno in 2009. She has held residencies at Public Works, 222 Hyde, Underground SF and the Deco Lounge and has guested at many of the current underground San Francisco party institutions, such as Honey Soundsystem, As You Like It, Go Bang!, Haceteria, Booty Call, Viennetta Discotheque, Odyssey, Hot Pants, Comfort and Joy, and Bearracuda, to name a few. Dr Sleep has also DJed across the US and abroad, in such places as NYC, LA, Seattle and Shanghai.

It’s summer, the sun’s out and Dick and Fanny is back for our July outing at Dance Tunnel on Saturday 12 July. This time round we welcome a double header of guests from the USA. THE CARRY NATION (NYC) and DR. SLEEP (SF) have been on our wishlist for a while and we’re excited to finally have them play at Dick and Fanny. Support comes from MICHELLE MANETTI who has graced our decks on several previous occasions.

Check out Dr. Sleep’s exclusive Dick And Fanny mix and our interview below.

Hi Dr. Sleep,

We are so happy to have you here this summer for an exclusive UK gig. It’s taken way too long to get you out here! 

So first, and also because I’m super jetlagged and so tired as I’m writing this, why Dr. Sleep? Can you tell us the story behind this?

Sorry to hear you’re jetlagged and tired, but, also, I suppose it is apropos of your first question! I wish the story of my DJ name had more twists, but, it comes from a book I was enjoying back in the day, Doctor Sleep by Madison Smartt Bell. It’s the story of a hypnotherapist who develops insomnia and gets wrapped up in all sorts of terrible business, but, on a deeper level, it explores consciousness and surreal dream/wake states, so, maybe we can apply some retroactive meaning to that and how I was subconsciously searching to find the role of the DJ in nightlife. At the time, however, it just seemed more interesting than DJ Meli$$a.

How long have you been living in San Francisco? Is that where you started DJing?

I moved to San Francisco from Minneapolis in 2001, and, yes, that’s where I started DJing. When I first moved, I would go out dancing to house music, looking for community, and, never actually found it at that time (this story gets more uplifting). I eventually met a great collaborator in my friend, Campbell, and I remember the first time she brought me to her studio, my mouth fell open because she had 10,000 records spilling from her shelves, and a wall of vintage synths. I knew I had found my person and actually couldn’t believe there was another queer who was as obsessed with records and music as I was. I had already been hoarding music, playing instruments, and writing about music for magazines, but, after meeting her, she pushed me to DJ and we started making ambient music and soundtracks under the name Paperboats, using field recordings, processed guitars and her amazing synth collection.

You are doing lots of stuff with the Honey Soundsystem boys, how did that come about?

I think the first actual contact occurred when I was set up with Honey co-founder, P-Play/Jackie House, for a gig at a DIY space in SF called The Big Gay Warehouse in 2010. I had just moved back to SF from Minneapolis, but, in my two years away I went through a total music reset and re-educated myself on all the music I used to listen to in the 90s and early 2000’s, as I knew I wanted to focus on house and techno. I was in school in Minneapolis at the time, so in lieu of doing my work, I would spend 8 hours a day listening to music and also learning to properly mix records in the privacy of my own apartment (thank me later). In this music research, I started looking at what was happening back in SF, and it was then I discovered Honey Soundsystem. I knew immediately I had to be a part of what they were doing when I moved back, so, when the opportunity presented itself to do the gig with P-Play, I said yes right away. The funny thing about that gig was, of course, I had practiced all of those hours learning to mix on records and this gig ended up being on Pioneer CDJ 200’s. There is probably a lesson in there somewhere, the least of which was P-Play’s advice to me after we played: “Fake it ’til you make it, girllllll.” After that, I started going to the Honey parties regularly, and, eventually met all the residents and they started to book me for events and guest spots. I consider them all dear friends at this point and I think I share the general sentiment of San Francisco and the greater music and queer scenes, we are lucky to have them and to be able to experience all they bring to the table.

Where can we catch you play these days?

I have a weekly mix show on Intergalactic FM‘s Channel 6 every Sunday at 6 pm CET. Given the rich history of IFM and that Hague scene, I feel very lucky to be able to broadcast from there. Aside from that, I am taking a breather from throwing parties and focusing on production, the record label, and traveling to new cities to play and draw inspiration.

You launched a label, Jacktone, how did that come about and what have you released so far on it?

Having a label was a lifelong dream, so, to finally make it happen felt very satisfying for all of us (I started the label with two good friends, Dabecy and Exillon). Thus far, we’ve released a 12″ by Exillon and a 23-track double-cassette compilation. We have our next 3 releases lined up and the first of those is a 12″ by an Oakland producer you’ll be hearing a lot more about this year, Worker/Parasite, with remixes by an amazing techno duo, Funerals, and myself. After that release, we have a vinyl compilation featuring some favorite producers from SF and Pittsburgh, and, finally in the Fall we’ll be launching a 7″ series, which we’re reserving for non-dancefloor releases. There is more exciting stuff, but, I’ll stop there.

You recently released a remix of Stereogamous and Shaun J. Wright’s track Sweat. When did you start producing and what can we expect from you in the near future?

Prior to the Sweat remix, I didn’t have any material released, so, when I was contacted by Paul (of Stereogamous), I was pretty over the moon about it. I’d also just spent a weekend raving in the desert with Jonny (the other half of Stereogamous), so, I was doubly excited to work with them. The deadline forced me to work out any kinks that had prevented me from finishing tracks in the past, and, when it was over, not only did I feel good about the track, but, it felt like a huge weight off my shoulders from a creativity-block perspective.

From that point on, I’ve been spending as time as I can in the studio, working on my own stuff and collaborating. Jackie House/P-Play and I gave away a track using source material from the recent Patrick Cowley School Daze release on Dark Entries/HNYTrax, which you can scoop up on XLR8R. I have a house track on a recent comp by W. Jeremy and Christy Love’s Get Up Recordings, as well as some squelchy analog under the moniker Headgear, which is a collab between Worker/Parasite and I on a great cassette label out of Austin, TX called Obsolete Future. I also contributed a techno track to my label’s recent compilation. Besides the forthcoming remix mentioned above for the Worker/Parasite Jacktone 12″, I have a darkwave track with synth guru, Bezier that will be out on Dark Entries before the end of 2014. I’m working on tracks for another local label I’m really excited about, as well as starting material for a debut EP. Headgear is also working toward a live PA, which is a fun challenge, as I haven’t played out on machines since Paperboats toured in 2006.

What are your influences?

That’s a tough one, of course, but, I think my obsession with IDM and trip hop in those formative years still informs a lot of what I do now, as I’m still drawn to records that are a bit left field, dark and not necessarily straight 4 the floor. To put it succinctly, I think my friend said it best: “sad shit you can dance to.” I also love lush dreamy textures, so I probably have shoegaze to thank for that. As far as segueing to dance music and thinking about the role of a DJ, the early DJ-Kicks series had a great impact on me. The Andrea Parker CD, specifically, I can still remember the moment I first heard her transition from It’s No Good by Depeche Mode to Dr. Octagon’s Earth People. I’d never heard anybody mix genres like that, but, maybe even more importantly she included Gescom, Man Parrish, Gil Scott Heron, Afrika Bambataa, Model 500, Dopplereffekt, Drexciya – everybody! That album opened up a whole new world for me.

What’s next on your agenda?


After I play your party, I head to Berlin for several days to get my Berghain fix, then am flying back through NYC to play Scissor Sundays. After that, it will be back to work mode and getting the 3 Jacktone releases to press and hitting the studio.

Thank you for having me at Dick and Fanny, I can’t wait to play.

Dr. Sleep is playing Dick And Fanny on Saturday 12 July at Dance Tunnel.


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Dick And Fanny has a chat with La Gosse

La GosseWe’re having a post-Christmas / Pre-NYE bash at Dalston Superstore on Sunday 29 December and we are delighted to have La Gosse play for us. La Gosse will be joined on the night by DAVE KENDRICK, MICHELLE MANETTI and DAVID OH. DAF’s own Duchess of Pork and Sandra Le will also give you an earful.

Your DJ name is La Gosse, which means “child”, right? How did that come about?

Yes it is! I always looked younger than my real age and act like a child, sometimes!

You started your musical career in France, how different is the dance music scene there from here?

Well, actually, I started my career in London nine years ago. In France I could say that I was only practicing. The London scene was more popular and eclectic than in France. France was very relaxed and more into electro than anything else.

What is your musical “parcours” and what made you move to the UK?

I was into music from a very young age… French Kiss – Lil Louis was my 1st 45 rpm record when I was 12!

I started to practice on decks in 2001, since then I never stopped. I came for one week holiday in London and I was hooked and then decided to move here. I worked in a pub and I was trying to find gigs at the same time. It is tough when you don’t know anyone. For a couple of years I couldn’t find many gigs and I missed DJing a lot… I actually thought of going back home. My friend came to see me at the pub and showed me and article in “One week to live” magazine. It was a competition for Test lounge @ Egg 2007. I was like “yea wicked, but do you really think this is real? they probably know already who is going to win!”… But I got selected and round after round I won. Eventually I received the winner’s prize from Test Lounge, which was a residency @ EGG’s breakfast club. I was so happy… From then on I got to play very often in lots of different clubs and I became resident at my favourite night in London, Retox @ Sosho… I miss it!

You are deep into producing now, as well as DJing, what are the flavours of your productions?

Deep house underground beats. Sexy and groovy… With my brother we call it “S.S.S” Sexy, Solid and Serious lol.

You have also set up a record label with your brother; can you tell us more about this project?

Yes, my brother came to join me in London in 2001 and we started to produce together under an aka called Siblings. Together we worked for 8 months to produce 7 tracks, which were meant to form an album project called *Martine records. It turned out that none of the labels we really liked and sent the tracks to were getting back to us. So we thought, why not have our own label instead of giving away tracks to smaller, random labels. Martine records was born. So far we have had 9 releases, 3 have been charted and played by Luciano, Carola and John Digweed, and we have remixes by Hanfry Martinez, Just be and Nils Hess.

*The name Martine records is a tribute to our mum, it’s her name.

What are your plans for 2014?

More releases and hopefully a little bit more exposure. We run a night called TIME every Wednesday @ Union club, Vauxhall. It’s been going on for 3 months and it has been great from the start. TIME is a mid-week party with real house heads. A more mature crowd. The atmosphere you experience is proper at TIME. It starts at 1am and we finish well into Thursday mornings… sometimes 10am!

We also have a new after hours project called Le Crazy starting in February at Rena, next door to Fabric in Farringdon. That will be every Saturday morning from 5am. Also our very latest release is out on Martine recs. 09 and it’s called “6:00AM”. It’s a dancefloor inspired deep underground track that the crowds seem to love! You can check it out on our soundcloud page. So 2014 is looking busy already!!

We look forward to it!


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Dick And Fanny has a chat with DJ Tiago


Hailing from Lisbon in Portugal where he is a weekly resident at Club Lux, Tiago has a laid back intensity that is reflected in the expansive and inquisitive nature of his sets. Raised on good music in his home, turned on to drumming by his older brother, he came to Dj’ing via live music. He has been at it for close to twenty years, and in the last decade added production work to his resume. Check his production and remix work on labels like DFA, ESP Institute, Golf Channel, Leng, etc. He his involved in a great variety of projects and working distinguish formats such as techno, house, chill out, dub, leftfield rock and disco.

We are so excited to have Tiago flying in to London for an exclusive set at Dick And Fanny’s 4th Birthday at Dance Tunnel. Tiago will be joined by Dactylo (Flash Cocotte, Paris), Colby B (NYC) and Pep Sanchez (London).

Hi Tiago, tell us a little bit about yourself.

Hi, my name’s Tiago, I’m a DJ and musician from Portugal. I love to travel, love the wind…

You have been a resident at Lux in Lisbon for quite some time. How did you get started as a DJ there?

I was invited just before the club opened. I was DJing at this other club called Captain Kirk and they asked me to leave and be a resident there. This was back in 1998. I’ve been DJing a weekly night there since then.

What else can you tell us about Lisbon’s nightlife? Any secret tips?

It’s amazing, and the best part is that there are no secrets, it’s open to everyone and very easy to find a good time I think.

Has the Euro crisis had any impact on nightlife in Portugal and Lisbon?

Sure did, still does, and will be doing for quite a while unfortunately. The recession is a motherfucker. But we still dance.

You have remixed a fair bit, which one of your remixes is your favourite? And do you have any remixes lined up at the moment?

No favourite… honestly. Each and every one of them has been so much fun working on. And yes, remixes for Hidden Fees are coming out soon so stay tuned, and a remix for Mock & Toof just came out.

You also release your own productions under different names. Can you tell us a bit about the differences between your various monikers?

Maybe the biggest difference is that they were all made in different time spans but all part of the same body and soul so…The thing I like the most is that part of the process that is finishing something and then giving it names. I wanted to do different stuff for different labels and thought it would be fun to give it different names too.

What can the Dick and Fanny crowd expect from your set?

A fun time 😉

And lastly, what are your three top tracks of the moment?

Just one this morning, Popol Vuh – ‘Why do I still sleep?’.

We surely won’t feel sleepy tonight when you make us sweat on the dancefloor!


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Dick And Fanny has a chat with David Oh

David Oh

DAVID OH has his fingers in various pies including residencies at Another Night, which is also run by our friend and previous DAFer Rod Thomas (Bright Light Bright Light), Songs of Praise and R&She and guest spots at Dirtbox, Beast, Popstarz and Bristol Pride. We are super chuffed that David will be playing for us on Saturday 16 February at Shacklewells Arms.

When did you first start DJing?
Well I’d started the usual way of DJing at some friends’ house parties, and by annoying my housemates in various bedrooms of mine over the years. One of my friends then started a pop night called Love Machine, and asked me to play at that. I became resident and the night started doing well, hosting launch parties for Nicola Roberts and the like. Through that I got asked to play at more nights, like Popstarz, and it gained steam from there.

You run a few club nights across town, tell us a bit more about them.
I help to run three nights at the moment. Songs of Praise at East Bloc is just about to go monthly, after being every other month for a year and a half and having some insanely fun and packed parties. So I’m really excited about that. At Vogue Fabrics I run Another Night, a 90s night with the fellow fabulous Welsher Rod Thomas (Bright Light Bright Light), which is always ridiculously fun, and R&She with Neil Prince and QBoy. This is packing out Vogue Fabrics every time it’s on too, so I’m really happy!

What are your favourite tracks you currently play over and over again?
It really depends on what night I’m playing at, as my sets can vary so much. One track that I keep playing across most of the nights, in its original or remixed form is ‘Losing You – Solange’. Such a perfect track. On Saturday you’re bound to be hearing the Andy Butler remix of ‘Into The Groove’ at some point, as well as plenty of Bubba and T. Williams, my favourite producers right now.

And can you shed some light on your Madonna obsession? Are you gonna play any Madge
for us this weekend (please)?
Oh I manage to wangle Madonna into almost every set I ever play, even if it’s a banging techno one! So there’ll be Madge on Saturday for sure.

I could write a book on my Madonna obsession, so I won’t bore you with the details. Some of my earliest memories involve Madonna, and I still think that she’s one of the bravest people in music, who changed the way things work and still does things her own way. I’ve got no time for the current Madonna bashing trend!

Oh yes! We do love Madge too for sure. Thanks David!


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Dick And Fanny has a chat with The Lovely Jonjo

Jonjo by Sharp Shock

You can easily recognise The Lovely Jonjo when you see him. With his blonde curls and his sweet smile, he looks like an angel, simple as that. But what makes him even more recognisable is his talent in making people go crazy on the dance floor in the wee hours of the morning as we’ve experienced to our delight at Dick And Fanny. Jonjo has been in the music scene for many years now, throwing parties himself, including the infamous Hot Boy Dancing Spot with whom we’ve teamed up for our pre-NYE event at the Dalston Superstore back in December 2012. We’ve now invited Jonjo to play some tunes for us again at our event on Saturday 16 February and we took this opportunity to have a little catch up to see what’s new with him these days.

Hi Jonjo. How are you?

Yeah really good, I had a very chilled January but 2013 has jumped into gear now with your party coming up, I have work during London Fashion Week and also DJed at the Kraftwerk after party… so super excited.

Yeah, a busy start of the year indeed! You’ve been DJing for a while now, how did you start out and where?

Well, about 10 years ago I was managing and buying for a Japanese label, Super Lovers, and used to blow all my wages on music. I was really bored of retail and started to play at a few friends’ parties. Richard and Lili, who now own The George and Dragon used to come into my shop and said they were opening the pub and were looking for DJs. I jumped at the chance and started the now legendary (and very messy) Sunday there.

There really wasn’t much of the Shoreditch scene going on then so it really was quite special. I then later went on to do warm up for Erol Alkan at Trash on Mondays and the rest is history so to speak, ha.

Yep, we do remember those Sundays at The George, they were quite something! You then started the very popular Hot Boy Dancing Spot clubnight, what was your original idea for the club and did that live up to your expectations?

In my teens I was obsessed with Popstarz when it used to be in a warehouse in Angel called Paradise (this is going back to 1995 eeek). It was a real relief for me to fit into a crowd that was about music (indie then) and not the shiny mainstream Soho thing. Oh and snogging other cute indie boys on the dancefloor. There was always lots of kissing there.

Before I started HBDS I was playing over in Berlin a few times and loved how the parties were all about cute boys into music but kind of just hanging out in jeans and tees. HOT. So I tried to do the same here, think it does what it says on the tin, ha!

The boys will be happy to know that! So… on the music front of the night, what inspires your sets? If you had to give a musical flavour to the stuff you play, what would it be?

Well my mum and dad were punks and I started playing indie so I do like to keep it a little mixed up even though I play mainly electronic these days. I love to chuck in a little post punk and disco with techno bangers. We love the last silly hour at HBDS for maybe a bit of NIN or Marylin Manson? Whatever.

Besides being super active on the DJ and promoting side of things, do you also produce your own stuff?

I work with an engineer on all the Fashion show stuff I do but I’ve just gone back to school to teach myself and hopefully original Jonjo tunes are coming up soon.

Well, we’ll be sure to stay tuned for that. Looking back at 2012, what will you remember the most?

Playing the opening party of The Tanks at The Tate was a massive highlight as was playing in New York a few times and the Dalston Superstore and Durrr Boat parties in Crotia were too much fun.

Oh yeah you played at our friends’ Mandy Graves and Jools Palmer’s party The Bassment in New York and played with them at Dick And Fanny too, what a night it was!

So what are your plans for 2013?

I have a few new nights up my sleeve and think Ibiza and Glastonbury are also on the cards. Also we will be taking HBDS to the Venice Biennale once again this year in a sleazy disco.x.x.x

Awesome, thanks Jonjo, DAFers can’t wait to shake it on Saturday!


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The Lovely Jonjo mix

The lovely Jonjo Mix Durrr room 2, Fabric 22nd June 2012 by Jonjojury on Mixcloud