Carl Cox's Revolution @ Space Dates - Ibiza 2011

It's hard to believe It's been 10 years since Space Ibiza opened its dancefloors to the Carl Cox Revolution. But Safehouse Management have confirmed they will be returning to Space, for the 10th consecutive year in a summer long celebration of epic proportions.

The Carl Cox Revolution has gained a massive following in the past ten years, as a flagship independent dance music party that reflects the energy and spirit of Ibiza clubbers. I cannot believe It's 10 years, says Carl. It's gone so fast. Space and Ibiza are my two most favourite things in the world. When I play it is like playing at home ñ the crowds and the parties are always amazing.î

Safehouse is planning another blowout summer for this landmark anniversary, inviting all those with their sights on the white island to join the celebration. Every year it gets better and better, and this one will top them all,î promises Carl. Expect an intense mix of world-class artists, cutting edge sound and lighting, and the passion driven atmosphere created by Carl's unwavering love of music. All that, and a few extra special surprises to bootÖ 

The opening party kicks off at 8pm on Tuesday 5th July with the revolution opening its doors every Tuesday throughout the summer, ending with a closing party on 20th September. 

I just cant wait to get back on the decks for another mammoth season, concludes Carl. Get ready for the biggest revolution yet!

EVERY TUESDAY FROM 5 JULY UNTIL 20 SEPTEMBER 2011

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Youth & The Orb present Impossible Oddities (New Album)

The Orb and (man like)Youth need no introduction. The lads have been about since we first started knocking back little fellas in the heyday of Acid House…Yeah Baby….Getting goose pimples on the mere mention of Acid House oooooooooo…

So the lads have been locked into remix culture and produced an album that everyone loved in the office. 'Sunshine on a Rainy Day' got everyone spraying walls, 'erm not painting walls, dancing…by walls! Anyway, no need for a meat wagon officer nothing to see here…

Impossible Oddities is bright, cheerful and cuddly…LSD Magazine will be running a competition to WIN A SIGNED PRINT OF THE COVER ARTWORK BY JIMMY CAUTY…Stay Tuned…This is the official blurb…


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Various: The Orb and Youth present...

Impossible Oddities: The Story of WAU! Mr Modo

W.A.U!. Mr Modo was the product of likeminded music freaks and lifelong friends Youth and Dr Alex Paterson setting out to celebrate and play their part in the acid house revolution sweeping the UK in the late 80s. In the process, they became two of the most well-known and lastingly influential names to emerge from the whole movement, while the label epitomises the innocence and questing spirit of the era. When Youth played bass in apocalyptic post-punk band Killing Joke, Alex was a roadie, prone to leaping onstage and singing Stooges songs in the encores. When Youth left the Joke, the pair found their musical outlooks swiveled by tapes of New York’s dance music radio stations and their jaw-dropping mastermixes. 

‘We wanted to form a label after spending 1986-87 listening to the likes of Tony Humphries’ adds Alex. The first Orb single, recorded at KLF’s Transcentral squat HQ, was a homage to KISS FM., called The Kiss EP. Meanwhile Alex and Youth started demoing a song they called ‘Little Fluffy Clouds’ [a never-before heard version which opens this compilation]. After hooking up with former Killing Joke road manager Adam Morris [aka Mr Modo], the label became known as W.A.U!. Mr Modo. 

The music started flowing freely as names including STP Twentythree [Alex and Jimmy], Insync, Paradise X and Lyndsey Holloday recorded there. ‘We set about sampling our record collections and creating new music with a new vocabulary,’ recalls Youth. ‘This extended further with the Orb and KLF, where Alex's genius was soon realised by his amazing sound collage abilities, where we practically got rid of all musicians and created entire tracks from collaging other records.’ The two CDs also feature the cream of the early W.A.U. releases; a stellar collection of half-forgotten names from the acid house archives [several featuring Alex and Youth], including STP Twentythree, Eternity, Discotec 2000, Delkom, Johnson Dean, U.N.C.L.E., Paradise X, Sun Electric, Indica All Stars, Mystic Knights, Insync, Sound Iration and Zoe, with ’Sunshine On A Rainy Day’, one of the label’s biggest hits.
The recordings here can now be considered the acid house equivalent of Alan Lomax’s field blues recordings or compilations of DIY bedroom punk; snapshots of seminal moments in musical history. In many ways, acid house was like punk rock all over again; like that movement, Youth and Alex were again in the thick of it but soon out front, leaders of the field within a very short time. This is where it all started. To accompany this celebration of the label, this must-have, collectors package includes a fold out scrap book poster of press cuttings from the time unearthed from Paterson’s personal archive as well as iconic cover art from Jimmy Cauty.

ALL INFO INCLUDING SAMPLE TRACKS CAN BE FOUND HERE

LSD Magazine Interviews - Tyree Cooper (Issue 2)

My LSD Magazine partner and i got to speak to the legends we idolised during the Acid House Revolution...This is an Excerpt from the interview which you can read fully online...

From his time with the Funk Brothers drumming up the rhythms for some of the all time classics, to his commercial smashes, to his role in bringing hip hop into house music, Tyree Cooper was at the forefront of the house revolution. His contribution to hip house widened the appeal of house music, laid house as a template for a kaleidoscope of musical styles, and brought the urban vibe of hip hip hop firmly into the house. Old School legend Tyree spoke to us...

What was it like for black Americans in Chicago during the mid 1980s? 

Being black and growing up in America, you don't have to think about anything else outside of your surroundings. You’re so oppressed but don't know it, you think you have freedom but you don’t. And you try to do what you do. Anytime you have an oppressed society something creative is gonna come out of it, i don't care what it is but something groundbreaking is gonna come out of it. So for us as far as House music was concerned, we didn't think that anyone outside of Chicago would be listening.

So when did the spark become a flame? 

When Jesse (Saunders) starting doing it, he wanted to become a bigger DJ, so he started making records. When he did it, Farley (Jackmaster Funk) said ‘Screw’ that if he can do it, i can do it to. Farley stripped it down even more. Jesse had the music side and on the other-side you had House but it was more of a beat track. The Jack tracks for the Jacking music, so we had House and we had Jack. Depending on the kind of person you were that’s the kind of music you listened to. So the preppy people went to House Parties because they’d play a little disco. It was cleaner they had polo shirts, blue jeans, preppy loafers. Just straight up college prep, the whole party. 

Some of these people were fashion designers and were designing clothes for rappers back in the day. Outside of Dapper Dan and his jogging suits, I’m talking parachute prints for the ages, man, it looked like a fashion show in a House Party. When you went to the Jacking Party or a Beat Party on the Westside or you went to the hood parties, it was only Beat music, that's when the party started. When I went to London that was the side I grew closer to because nobody was dressing up, they dressing like fuck that, I’m in this party, I’m going on.


In Chicago it was always the High School Parties those were the parties. Every famous DJ that you can think of from Chicago back in the day, trust me, he got known from the High School Parties. It was all focused on the High School kids because that youth movement at the time, hip hop and house, well in Detroit it was Techno and that was closer to Miami Bass meets Kraftwerk, it so was futuristic and if you lived in Detroit you got it. They had House too because of Ken Collier. So this whole black youth movement was bubbling and by 1985 Farley said ‘Im going to London’ I was like what you gonna do, DJ? he says ‘Yeah’. I’m like ‘They listen to House in London?’ 

Our experience of London was the language, Benny Hill and only white people. If you were shrewd enough and watched international TV, you might find Desmond’s (black tv show from 1970s) which came on PBS. Desmond was my shit, Pork Pie, man I loved Desmond’s. Benny Hill and James Bond if you got deep, we didn't even think about The Saint. I’m no college professor but I liked knowledge and more so than my peers. Growing up in the hood you see your friend or someone you know on the corner selling drugs or somebody stealing cars or someone Breaking and Entering or doing all kind of nonsense. I said to myself as a kid, I can’t do this shit, so I played basketball until I found House music, that was my escape. Basketball saved my life, I mean it really saved my life. I wanted to be in the NBA that was my dream. I could play and most of the people I played with played in the NBA but at 19 I started thinking about my height, i thought yeah, I could play in Europe, back then you needed the grades it wasn't as easy as it is now.


My best friend Hugo was a DJ so he was taking me to these House Parties and stuff, saying he wanted me to check Farley (Jackmaster Funk). I was blown away by his DJing, for one there was women from end to end and not like girls in the hood.. I was like OK, what I gotta do to be part of this. First you get into the music and then you get into the scene and vibe. So i said to Farley ‘Yeah I know how to DJ’ he laughed at me saying ‘You don't know how to DJ’ ‘I’m like yeah I do’ Farley says ‘OK, come by the crib’ I went by his house he had two decks and a mixer. I said ‘go ahead do your thing’ he did it and I said ‘Alright, you gotta teach me how to do that shit’. He said ‘Nah, I cant teach you this it took me five years to learn how to do this’. So me being the person I am, if you tell me no and I like it, I'm gonna find a way to do it. Get good and then try to be better than you, not go against you, just better. 

For me it was like basketball, if you score 20 on me today, tomorrow if you score 2 points on me you’re good. After a while another friend of mine named Leonard Remix Roy and another guy Alto Hines and his brother James Hines who had a sound system in the neighborhood, gave birth to me and Mike Dunn. The times they heard me trying to DJ in that basement, day and night. Until one day they say ‘You doing a party on your own, do you know what your doing? You need speakers? ‘ Then they heard me and Mike Dunn play and said ‘Wow’. Mike Dunn is the only DJ partner I’ve ever had. When we got together to DJ it was like me and Mike against the world. We both like the same music but in different ways, Mike liked to tape records and edit, so I was like ‘Mike edits’ They sang like Frankie’s but were cleaner, it was for us. One of the promoters that gave birth to so many DJs was Marvin Terry, he threw some of the biggest parties on the planet. 

 The comparison with England is that you had warehouse spaces we didn't have those spaces, we had hotel lobbies or hotel halls. We hire Hotel Congress or Hilton Hotel for two thousand bucks. It didn't matter we were charging ten bucks and 2,500 kids would come to the party. Every-time you threw a party downtown everybody came, matter of fact, if you threw a party anywhere in Chicago and it wasn't crowed, you really did something wrong. Especially if you were one of those DJs like Ferris Thomas, Andre Hachet, Steve Hurley or Mike Dunn and we’re not talking radio DJs because every-time they were on a flyer it packed the party every-time.

READ FULL INTERVIEW IN LSD MAGAZINE ISSUE TWO

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Tyree is also an Admin on the Classof88 Facebook Page