SanJay has been a fleeting fixture on scenes, from Medway to Calcutta, for nearly a decade – holding residencies at Rebel Rebel and Dalston Superstore. In 2012 he started his vinyl-club night Drop the Needle which has held popular parties across numerous East London nightlife spots.
When we met many years ago we used to go to gigs a lot together. Are you still an avid gig goer? Any all-time favourite gigs springing to mind?
Aw yes. I remember our first gig together was Le Tigre at The Astoria in 2002. I stage invaded during ‘Deceptacon’ and stole one of Kathleen Hanna’s plectrums. I think I still have it.
I would definitely say I was still an avid gig goer but I’m now a lot more selective about what I go and see. The price of gigs has more than doubled or even trebled since I was a teenager!
My most memorable gigs have been seeing Bjork headline at Glastonbury, PJ Harvey at the Royal Festival Hall, Beastie Boys on the ‘Hello Nasty’ tour, Hole back in 1999, and Michael Jackson – I think he pretty much tops it.
You run vinyl-only night Drop the Needle at various venues. What made you decide on putting on a night that focuses on playing vinyl?
Well, I’ve always admired DJs that have really collected – and dug deep for the records they play out. It takes people to a different level when you really hear a DJ play a carefully collected and well-curated set. I think Theo Parrish said that it takes at least 10 years of collecting records before you really have something worth sharing with people.
A lot of the best records are only found on vinyl and it’s fun to spend hours digging for them, whether it be old Balearic disco gems, pitched down forgotten B sides, or a new hand stamped techno or house track.
There is a shortage of turntables in bars these days, do you think the vinyl revival will encourage bars to invest in those again?
I think venues need to keep up with whatever the DJs are playing with. I also think it says a lot about a venue if they take care of their equipment and still have turntables. A lot of people I know only play digital because there are so many venues with either really battered, or non-existent, decks – I have been burnt by this many times in the past. But that is really how I learnt. It taught me to be really prepared and get to know my equipment better.
Venues are now having more requests from DJs who are playing vinyl again, and because Technics don’t make turntables anymore, they are having to invest in refurbishing old ones. It does seem to be a lot better now than say three years ago. I’m also lucky as DTN holds a residency at Dalston Superstore, where they really look after their turntables.
What’s your opinion on time-coded vinyl?
I’ve never actually played off Serato or Traktor Scratch. I have had another DJ unplug me by accident trying to sort out his Serato whilst I was in the middle of playing, so it tends to annoy me. I’m not anti-digital but I believe if you have the original record you should play it.
What are you favourite places in London to buy vinyl?
I love Kristina records in Dalston, It is such a well-curated and super friendly shop, I also think the video and tape exchanges in Soho are great. I have found a lot of my favourite second hand records there.
I stopped buying records online now, as they all seemed to be going missing in the post. I think we have a few vinyl-loving Postman Pats in Hackney!
The statement on your Tumblr page is very well written, engaging and interesting. Have you ever thought about writing a music column/article/book?
I’ve never really thought about it. I really wanted to write that piece for Record Store Day to share my experience of buying music and why I loved record shops so much. To be honest, didn’t think people would read it so it’s very nice to be complimented.
What are your current and all time favourite tracks?
I have so many, but off the top of my head I would say: Al Green – ‘Love and Happiness’, Matthew Jonson – ‘Typerope’, DNTEL- ‘The Dream of Evan and Chan (Superpitcher Remix)’, Doobie Brothers- ‘What a Fool Believes’ and Fleetwood Mac- ‘I Know I’m Not Wrong’.
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Los Angeles-based DJ, producer, composer and friend Kim Anh broke through as an international DJ in 2006 playing major nightclubs in Paris, London and Berlin. Kim Anh has been the 5-year resident DJ for the critically acclaimed nightclub event Booby Trap!, a disco infused party based in NYC and Los Angeles. We are so pleased that Kim Anh will be playing for DICK AND FANNY’s summer outing on Saturday 20th July at its new permanent home Dance Tunnel. Check out the awesome mix Kim Anh prepared exclusively for us and our interview of her below the mix.
Hi Kim Anh, you’ve been a regular contributor of Dick And Fanny and we are so grateful about that! What have you been working on lately?
The feeling is mutual! I’m really excited to be back.
I’ve been focusing more on production lately. I share part of my time writing and producing with my bandmate for our project Saint Le Roq. This year we released our first EP with a music video for our first single “Other I”.
We have some new remixes and original material that involves collaborations with vocalists and other artists that we are super excited to announce soon. Much of the other time is spent working on my own solo projects. Last year I co-produced a remix for Sam Sparro’s song “Happiness”. The single went to platinum status and hit #1 in Belgium and on the German Dance charts. It was the first time I’d been involved with a project that received that much attention so it was very exciting.
Living in Los Angeles, I’ve also been involved in film scoring and licensing as part of my work.
Tell us, I mean for the unlucky ones who don’t know you yet, how did you start out DJing?
I’ve always had a great interest in music and was involved in music for much of my childhood. I started clubbing at a very young age during the mid 90s and fell in love with so much of the soulful house of the early 90s and late 80s. Growing up on the east coast, I really idolized the DJ’s I was seeing at the clubs during that time: Sasha, Rabbit In the Moon, Keoki, 808 State. New York City Limelight was everything. I had a neighbor at University who would always practice dj’ing and I could hear him practicing through the wall. I finally got the courage to ask him to show me how to do it. It was 1998. I started out mainly playing downtempo, acid jazz, chicago house and drum and bass.
What are your musical influences?
Goodness, so many. Give me a big diva vocal hook and I’m living! I love everything from minimal tech house to a good old fashion funk/soul/rnb tune. Ask anyone, I’m always singing Chaka Khan, Teddy Pendergrass and Gap Band around the house. It really all ties into my obsession with Paradise Garage era dance music. IDM played a huge role in my interest in electronic music and producing electronic music. But if you came over on any given night, you might hear Chet Baker, Cannonball Adderley or even Diamanda Galás playing on the record player.
When did you decide to produce music yourself?
In the early 2000s I was performing one (wo)man shows quite often. Much of my paid work during University came from playing music in local venues. I acquired my first drum machine and production software from a very good friend. I was experimenting with MPCs and sampling. When I finished school I got the most and mundane professional job, but from the money I made I was able to build a makeshift studio area in my room. I started sending my original work to my friends in Los Angeles and New York. It led me to working full time in music and living in Los Angeles.
Is that when you started Saint Le Roq? Can you tell us a bit more about it?
Saint Le Roq started partly by accident and partly after working with Anna (DJ Anon) throwing Booby Trap!, a party we’ve been hosting since 2008. I was asked to score a scene for a movie that was starring Forest Whitaker. The scene involved Forest searching for a call girl in an underground trans nightclub in East Los Angeles — basically the perfect scene. I asked Anna, who is a long time producer, if she would like to score the scene with me. After a couple incarnations, the final song released on the soundtrack was called “Fly With Me.” At the time, we didn’t feel that the song represented the style of music we wanted to be known for. So one day while stuck in traffic we made up the name “Saint Le Roq” to be entered in the film credits. After the film was released, Saint Le Roq became an anonymous entity that was subject to much speculation on chat rooms and blogs. Tens of thousands of downloads of the song were being shared via torrents across the internet and no one knew who we were. Some speculated we were men. So after this we decided to create a website and release new material that we felt reflected our sound more accurately.
Do you have any solo work coming up soon? Can you talk about it or is it too early?
Yes I do and yes it is a little early to talk about … I have so many influences, so my individual sound is always evolving. I’m still going through my catalogue and trying to tie together a body of work that can communicate my message. I was the vocalist for “Other I” so what I can say is that you can expect to hear more vocals from me on my upcoming solo work.
What are your plans this summer on your European tour?
I always look forward to being back in Europe. It feels like a second home to me. This tour I’m kicking off in Copenhagen for a new festival called Henry’s Dream, I’ll be in London of course for an epic return to DAF and then onto Paris and Berlin for a few more DJ dates. When I’m not playing you can find me at the local park or at the museum with a notebook and a Club-Mate.
Thank you Kim Anh, we can’t wait to welcome you again in the Big Smoke.
Peeps, come say hi to Kim Anh and sweat your pants off at Dick And Fanny on Saturday 20 July.
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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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Having been a house music aficionado since his teenage years, W JEREMY immediately pursued his dream and went to work in the industry right after school. He got his start as an intern at Elite Music Group where he worked along with some of the industry’s finest, including Issy Sanchez and Debra Eriksen. He then went on to work for the legendary Tony Humphries and help launch the Yellorange label. Six months later, Jeremy took a short break from the industry and moved to the west coast to re-emerge as a DJ. While in San Francisco, he became a resident DJ at the world-famous Endup from 1997-2001 at the Saturday morning party, Otherwhirled. He spent the next several years gigging at clubs all over the Bay Area including, Liquid, Club Six, 111 Minna, 1015 Folsom and 177 Townsend. In 2001 he moved back to New York, and began DJ residencies at clubs such as APT, Centro-Fly, Lot 61, Baktun, and Sapphire Lounge.
We caught up with W. Jeremy who’s stepped up to play our 3rd birthday very last minute. Lucky he was visiting from New York just in time. Here he tells us about San Francisco, New York, Folsom Street Fair and other interesting bits and bops. Oh, and of course there’s mix from Jeremy for you to listen to. Enjoy!
How was Folsom? We bet it was fun!
Folsom was a bit crazy…the fetishes are always too extreme for me to handle…I often look away… lol .
Other than being a DJ in your own right you’re also one half of production duo House of Stank with Christy Love. Tell us a bit more about that. How did it come into being and how did you meet?
A bunch of us lived in SF at the same time in the late 90s, me, Christy, Ana (Matronic), Tai Chi Alfonso and a group of others that eventually moved to NYC. I only knew Tai-Chi from DJing Diesel store events but he became the connector and introduced me to Christy who already knew Ana and Seth (her now husband). All four of us started a party just on a whim called Stank. The 4th Wednesday was a voguing ball, more of a mini-ball because it was in the tiny Mr. Black basement and was hosted by The House of Extravaganza. The second Wednesday of the month was a Chicago house night where DJ Pierre was the guest resident. He helped us bring in guests like Green Velvet, Rob Carroll, Mark Grant, Harrison Crump. Pierre asked if we were producing and we said no. From there he helped us start and finish our first track called ‘Baby Brain’ at his studio in Chicago. We called ourselves House of Stank.
There’s been quite a bit of talk about a resurgence of the NYC club scene. Who are the artists and DJs who you think are doing particularly interesting stuff in New York at the moment?
Artists and DJs like Spank, Carry Nation (DJ Will Automagic and Nita), House of Ladosha, Mr. Saturday Night boys, Let’s Play House collective are at the top of my mind. I can only think of two parties that are held at proper clubs that are really happening and that’s Frankie Sharp’s WestGay party which is actually at an old strip joint and DJ Spun’s Rong Music events which hosts the likes of Harvey, Doc Martin, Discodromo, etc. at Santo’s Party House. The other parties, Mr. Saturday Night, Let’s Play House, Spank and Carry Nation do their thing out in Brooklyn warehouses. All of these parties are about expressing your authentic self…anyone can go and buy a Balenciaga, Wang or McQueen piece, I mean don’t get me wrong those designers are chic, but these kids at these parties are going far beyond that and turning it from within.
How does New York now compare with New York back in the 1990s?
Well, it doesn’t… I mean there is no way to recapture that past magic. Manhattan is so buttoned up, it’s suffocating. Rents have driven out so many artists to the outer boroughs… Even many parts of Brooklyn will soon be inaccessible such as Williamsburg, Greenpoint, Bushwick in terms of creative artists residencies. But the up side of all this is that we have the opportunity to dig deeper and become more creative because we have to, and the energy that comes from doing that is a beautiful thing.
You also lived in San Francisco for a few years. Can you tell us a bit more about that? What made you decide to move there?
I was fresh out of university and started interning at a marketing company for house and rap music. We did P&D deals with Strictly Rhythm and other labels and then Debra Ericksen started their inhouse label. She soon left there to work for Johnny Vicious and Angel Morales’s label and asked me to come with her. At the same time, I also started to work for Tony Humphries to start his label Yellorange. The executive producer of Johnny and Angel’s label, Jeffrey Rodman owned Sound Factory Bar and later on, Twilo. So… I was pretty deep in the scene at a young age and had so much at my fingertips, yet I had no idea what direction to go in. I just put everything aside, moved to SF, crashed with some friends and after 6 months was a resident DJ at The End Up until 2001 when I decided to move back to NYC.
As we’ve already established, you’ve just been back there for Folsom. Have you got any saucy gossip for us? What gigs did you play over there?
No gossip here… everything was pretty much out in the open 🙂 But…I will say that I believe that a well-known DJ was playing a pre-made mix while DJing. I will not name names though, the Universe sorts out things like that.
I played two major parties while I was there, Juanita MORE!’s party BootyCall and David Glamamore and Vivyanne ForeverMORE!’s party Some Thing. I love SF and the whole MORE! family, I always hold a place in my heart for them.
What’s the track you currently can’t stop playing?
One track? That’s tough… okay two tracks – the first is Maxxi Soundsystem’s remix of ‘Just Let Me Dance’ by Scandal… I love his production work and had the opportunity to play with him at a party in LA called Nox Illusio. The other is Pillow Talk feat Tone of Arc’s remix of Kasper Bjorkes ‘Deep Is The Breath’… my friend Ray Zuniga who produces in Signal Flow with Michael Tello from Pillow Talk sat in on the whole 6 hour remix session and told me all about it over dinner… the remix is so major on so many levels.
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