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Living in a box may not be everyones taste, but Alex Martin and Danny “LC” Pickering are happy to take up the space. Together they form the backbone to Box Frequency FM, a newly formed internet radio station catering for deep house, techno, electronica, funk and all things soulful. Since its inception in 2012, Box Frequency FM has opened the lid to a host of radio jocks from the UK and beyond building an impressive mix of talent both established and new. There are regular shows from Scorp!o AKA Steve Alex, a long time stalwart on the London club scene, Desyn Masiello, a world renowned global DJ from the electronic music collective Faciendo and Los Grandes who are based in Madrid, Spain.
Alex and Danny are no strangers to the electronic music scene choosing to immerse themselves in clubbing from a young age. They became DJs, started playing at parties and hosted numerous radio shows in the process. Alex spent his formative years living in Brighton where he was a regular visitor to the infamous Brighton Zap Club and Positive Sound System parties during the early 90s. He has also produced and released his own music, most notably alongside Neville Watson as Midnight Steppers. Danny spent many years cutting his teeth as a DJ and producer acquiring a variety of music tastes along the way including house, funk and soul. He has also produced music with fellow cohort Alex Martin as well as a string of remixes and re-edits; as expected both host their own regular shows on the station.
Can you tell us about the concept behind Box Frequency FM?
Well, it’s all about good music really; relatively simple. We have hosted several radio shows before, some positive and some slightly more challenging! At that point we felt that we could go off on our own and cater for a vibe that isn’t really being catered for in a big way. We are huge fans of the deeper end of the electronic music spectrum be it house, funk, soul; call it the slightly more esoteric side of dance music. The station isn’t genre specific though, the DJ’s can play a two hour Trojan set if they like. We want to create a platform for other like-minded DJs that can channel their art and share it with as many people as possible.
Tell us more about the people and shows on the station.
We have a guy called Johnny Eyeball who plays mainly soul music. He has a roster of DJs himself who all do guest slots for the station on a weekly basis. Then we have Steve Alex AKA Scorp!o who has been around for a long time and is one of the original Kiss FM jocks. He was also involved in Garage City and is now a big name on the London after hour’s scene. Next up we have Dynamicon from Spain - who runs the label Los Grandes - doing a regular show. We host our own shows Frequencies and LC Sessions (Liquid Country) There are a whole host of other talented DJs who all bring something unique to the table or box in our case!
Now that the station is fully operational, what else do you have planned for it?
We are now offering streaming through iPads, iPhones, Android and other similar devices. This is a big step for us, as before all people could do when they wanted to listen to the station was sit in front of their computer which was impractical. We have just hired a young, knowledgeable web developer who has proved to be quite successful. The future for us is where we’ve garnered a significant regular listening base to the point where we’ll be able to steam through iTunes, and it’s getting there. We just want to grow, get our presence up and be a successful independent station. We‘re not trying be a huge commercial entity or anything like that. We’re not charging the DJs or trying to sell things to people. It’s a lovely, uninterrupted radio station that gives people an unlimited listening experience. We want each show to have its own unique personality too. Some people have been sending us mixes only without any presenting as such; we’re not looking for just a two hour mix. We want to get to know the person behind the show and are encouraging people to present their shows and not be afraid to let their own personality shine through.
Tell us more about your own backgrounds in dance music
Danny: I started off DJing at the after party scene in Salisbury and got into music that way. I was actually into the hardcore gabba techno scene and a bit of drum and bass of the time. I’ve mellowed out over the years and discovered house music and Detroit flavours. I’ve been at it for the past ten to fifteen years. Production wise I’ve just started up a new outfit called 54th Street Hustler, with which I now have a record deal. Radio wise, I started out playing at a station based in Portsmouth that specialised mainly in trance music, I was the only one playing deep house at the time and have continued with that trend ever since.
Alex: I was into music from a very young age. I grew up playing the piano, guitar and drums. I was in a band during my younger days. I discovered the rave scene when I went to Brighton and did my degree. I frequented the Zap Club which was like a mecca for me for two years and became a part of the after party scene there. I always wanted to make music so I bought a Yamaha QY70 and started making records with it. At a party I met a guy called Neville Watson who was a DJ on the acid house/house scene and we produced a few records together on The Mighty Atoms record label; in a nut shell I caught the bug for studio life. About three years ago I started to up my DJ game again. Danny introduced me to radio and I was hooked back in. I think in a club you’re restricted to what you can play as the objective is to keep people dancing. With radio you can loosen up and play what you want to a degree – I’m a musical purist I guess.
Where else can we see Box Frequency? Are there any parties planned or events?
We have got an event in the pipeline and are looking at venues around London at the moment; negotiations are going on as we speak. Sometime over the summer they’ll be a Box Frequency party. It will be small and intimate to start with and expect to see all the Box Frequency DJs in attendance. We need to build our profile up so hopefully these club nights will be a regular occurrence. It will also be a great opportunity for all the DJ’s to get to know each other and bring their friends along. We will have people coming from Scotland, Spain, Liverpool and London so it will be quite something!
Many people now upload their podcasts and mixes to Soundcloud or Mixcloud. Do you feel that the influence of radio still works in this day and age?
We feel there is a definite need for radio despite the advent of modern technology. Many people still want that human element and interaction rather than simply going to a website and clicking a play button; you don’t have that interaction with the person playing the tunes. This is one of the reasons why we encourage interaction during our shows. We can get immediate feedback from the listeners to see how the show is going and hopefully that they’re enjoying the music we’re playing. We also feel that live radio makes the listener feel a part of something, that they might hear their name mentioned over the airwaves or they can meet like-minded people in the chat room. There can be too much talking on the radio of course which could have adverse effects by discouraging the listener, not to mention ruining a great record. There is a fine line to tread in regard to presenting and as DJs we have to except that we have limited stage time; the music must be allowed to talk too!
Can you both tell us about a funny thing that happened to you whilst on the radio or playing at a party?
Alex: I was playing at a friend’s party once and it was getting completely out of hand, a bit crazy. I was invited to play in the back room and by that time was the only person fit to man the decks. I remember seeing this Trojan records double pack twelve inch on the floor with four tunes on. I then proceed to play a two hour set using just these records. At the end of my “set” loads of people came up to me and said it was the best dub set they’d ever heard!
Danny: I couldn’t possibly comment…well actually I can remember when I was eighteen years old playing at an afterhours party until midday. The police raided the party and they swarmed all around me; I never did finish my set!
Alex: Can I just add that we’re a really friendly station that encourages a wide variety of music with some amazing talents that are really passionate about music they play; it comes from the heart.
Many thanks to Alex Martin and Danny LC Pickering for the interview.
Interview by Pete Rann
in elementary school,
we’d break out the glitter and crayons
and make cards for our mothers.
thing was, they were pre-made,
so we would just have to color them in.
and every may,
i took my crayons
and marked out “mom”
and put “grandma.”
and when you found out,
you were furious.
it took you a while, though,
you never being around and all.
and every may,
the kids would make fun of me
and tell me you didn’t want me.
grandma tried to say you did—
really, you loved me, you did,
you were just having a hard time getting on your feet.
which would be understandable, i suppose,
if you ever managed to do it.
and now i’m here, in high school,
and we don’t make cards in school,
and i don’t mark out mom
because i haven’t seen you in years
and i console my little sister,
who you messed up too.
and i try to keep it together
when the kids in her class make fun of her
and say her mother doesn’t want her.
and i’m not going to lie for you,
because i’m not grandma.
i’m your daughter.
and i deserve better than this.
Things we like… Ron Mueck, “Couple Under An Umberalla”
A lot of things about this production are quite curious in themselves. This is a stage adaptation of the much-loved book, which received a lot of praise during its first run at the National Theatre. With some of the original cast following its transfer to the West End, this is a production that doesn’t quite strike a chord with everybody in the room.
It tells the story of the autistic Christopher Boone, who finds his neighbour’s dog murdered by a fork. A garden fork. A tale of family separation and the difficulties that Christopher, played superbly by Luke Treadaway, faces on a daily basis. But more drastically when he decides to move to London, is what follows. With such an array of characters around him, not all quite delivering the strongest of performances, we get to know Christopher and his personality traits quite well. Family life isn’t great for Christopher, and with his A-Levels looming, which he is sitting early, it’s understandable why he seems a little all over the place, but it’s quite difficult to believe how some family members respond to his situation.
The design by Bunny Christie is absolutely superb. The building of a child’s train set is inspired, and there are numerous moments that instigate an involuntary gasp; the aesthetic of this production is by far the most pleasing aspect. The trouble is the way in which all of the astounding moments of walking on walls and lighting up London with figurines, actually make all of the realistic and banal moments far too realistic and banal: in these moments we start to miss the real four walls of a room, but we shouldn’t because the majority copes so well without.
The stage adaptation isn’t one to fall in love with, and it has Simon Stephens, whose reputation precedes himself, stamped all over it. Granted, that’s far from a bad thing; there are moments where his ideas suit the large scale production now being staged in a much larger venue than where it was born, but there is ample reason to have reservations about whether there was nobody else more suitable for the job. The switch from being staged in-the-round as it was initially, to now being in a traditional proscenium arch is one that may have had some hindrance. It’s quite easy to imagine why in the Cottesloe, this was a must-see, but it’s not quite living up to every expectation in its new home.
31 Shaftesbury Avenue, London W1D 7ES
Box Office: 0844 579 1971
See before 4th January 2014
Photo Credit: Tristram Kenton
This article was originally published on: http://whatspeenseen.co.uk/ and is reproduced with permission of the author and founder of the site, Adam Penny.
Pae White: ‘Too Much Night, Again’, 2013, installation, mixed media. Courtesy of greengrassi, London. Photo: Andy Keate
Beneath the high glass ceilinged exhibition hall of the South London Gallery, a dense mesh of red and black thread engulfs the room. The interweaving lines form a tunnel that draws the viewer into the space. Within the network, the threads are animated by the emergence and dissolution of large letters that are gradually deciphered to spell UNMATTERING and TIGER TIME. This site-specific installation by American artist Pae White is inspired by a period of insomnia and her consequent reflection on the transience of our existence. Such existential questions are alluded to by the simultaneously substantial and transient quality of this textile installation. However, it is White’s perceptive negotiation with architecture that is the most compelling feature of this exhibition.
Responding to the ‘relentless ethereality’ of the exhibition hall, White constructed the work to be simultaneously in conflict and sympathy with the space. Indeed, from certain angles, the threads coalesce to form a dense, angry mass of red, black and purple, clashing boldly against the serene white walls. Move slightly, and the illusion of substance collapses and the threads elegantly fall into geometric harmony, echoing the fine lines of the building, drawing our gaze upwards to contemplate the site itself as an extension of the artwork. The fluctuation between substance and nothingness is reinforced by the unusual word UNMATTERING written on a monumental scale down the length of one wall. TIGER TIME, White reveals, suggests the menacing quality of insomnia, ‘concealed’ and ‘lying in wait’.
With a vast and incredibly diverse career, White’s work shares one common theme: a specific and often unpredictable response to place. Previous works have been sited in a decommissioned French synagogue; a disused Venetian warehouse transformed into an elaborate birdcage with hidden impersonators mimicking birdsong, and a sound installation of German bells programmed to play love songs throughout Dusseldorf. More recently, White’s work has involved increasingly large-scale public art commissions: her signature thread installations in LAX airport; an outdoor exercise park for dogs, and future plans to re-design London tube stations with enormous Kelvin light-boxes to provide a ‘wash of optimism’ for seasonally-affected Londoners. In each piece, White displays an unusual ease in relinquishing control of her art and letting the site influence its outcome; the reflective surfaces of an installation that depended on her native Californian sunshine were transformed in the dim January light of a Berlin gallery.
This flexibility and willingness to collaborate is apparent in ‘Too Much Night, Again’. White is openly grateful for the collective effort required to assemble the vast textile installation. In total, the work involved 48km of yarn, 4,725 eye screws, 8 people, 2 weeks and 18 pizza boxes. This joint effort is testified by the presence of the 18 pizza boxes piled at the end of the installation, alongside White’s ancient running shirt; a ritual aspect of her studio time. This unique signature style is seen in other pieces: her marital initials were embroidered into custom bus seat covers, ‘just for kicks’. And in the corner of a vast metallic stage curtain, White scanned her thumbprint, rather than the standard artist’s signature.
‘Too Much Night, Again’ is an impressive installation, and well worth visiting for its immersive, experiential viewing experience. However, I can’t help but feel that White’s artwork is paradoxically more successful outside the art gallery. Her work is most vibrant and exciting in its engagement with the public, often with a practical concern: ‘sculptures often do something for people.’ All of her projects are built around her persistent questioning: ‘how does art engage with the world?’ The textile installation at South London Gallery draws our attention to the ‘relentless ethereality’ of the site, though it also highlights the limits of the exhibition space, raising the question: is art more effective in public spaces than confined in art galleries?
‘Too Much Night, Again’ Exhibition Dates: 13 March - 12 May 2013 Admission free
Tuesday - Sunday 11-6pm Closed Mondays
Current exhibitions: Eoghan Ryan: Oh wicked flesh! 5 March - 12 May 2013
It’s around two thirty pm on a Friday afternoon and I’m not sure what to expect when I speak with Adam Dewhurst and Earl Gateshead from The Trojan Sound System. Thinking they may be taking break from the studio, it turns out the boys are down the pub supping a pint. Who can blame them? It’s been a hard day of radio shows and taking part in a feature for the Guardian Newspaper. “We’ve just done a mix for them” Adam enthuses who is also the band’s manager, “a bit of an odd one, It’s for their travel section about England with us relating reggae tracks to different cities basically”
It’s not just the national newspapers that are eager to get a piece of the Trojans; the likes of Toddla T, Lee-Scratch Perry and Tippa Irie have all collaborated with them at some point and for a good reason. Between the collective that is Earl, Daddy Ad (aka Adam), Super four, Chucky Banton and Jah Buck, there is a wealth of musical history between them that stems all the way back to the 70s. Earl has been a respected DJ for the last twenty years, having held residencies at The Dive Bar in London and The Blue Note. Adam has also been on the DJ circuit for just as long, proudly boasting about playing the odd reggae track during a house set. He has been heavily involved in the music industry previously running lifestyle magazine Sleaze Nation and dance music cult magazine Jockey Slut. Vocalist’s Chucky and Supafour are member of London Sound systems; Taurus, Sir Coxsone and Saxon. Lastly, Jah Buck is a respected singer songwriter.
Forming in 2004 out of the legendary reggae label Trojan Records, it can be said that the bands success and cult following could be attributed to the fact that each member has something different to bring to the table. With this in mind, The Trojan Sound system have spent the last few years touring the globe as a DJ/Vocal collective ensuring that the medium is strictly vinyl and music policy reggae in its purist form. They have also graced the studios, producing deep rooted rhythms and pounding bass lines, most recently on their own imprint TSS. The latest offering “Africa” did some extensive damage on the dance floor with an underlying message to reflect the deep felt need which all people of African descent feel for their homeland.
Tell us more about your label TSS, and any new releases you have planned.
Well, we’ve released three singles so far and two EPs. The first single My God featured a Toddla T rhythm and we also did a version after performing it live a few times. With the next single Look to the East featuring Superfour we were trying to make a modern version of roots reggae but somehow it ended up In the grime section! It is however, quite contemporary in our opinion. The third single Africa has a message which relates to a black audience primarily, a sort of plea against repression but we hope that all races can identify with it. With Africa we were trying to do a modern take on the Bunny Lee sound; Ashley Beedle and JFB provided some great remixes. The fourth tune, yes, there’s a fourth actually, was done by Jah Buck called Life in a Day. It’s a slow ballad, almost Gospel sounding so we didn’t think it was appropriate for a single but we released it on the original Africa EP. With that, it is our most listened to song on iTunes which we didn’t expect. Our next release will be Revolutionary written by Supafour followed by The Bomb which we think is our best so far but then, who are we to judge!
You have a musical background which goes way back to the 70s. Can you tell us more about your history and how this gels you together as a band.
We all come from different places really, different skills and slightly different perspectives. Jah Buck is the only one that was actually born in Jamaica so he has a really Jamaican perspective on the music. Supafour was in New York for about seven years as a part of an underground hip-hop collective and they used to perform at many New York venues. Chucky is a respected singer who’s been around for a long time. He’s performed with Dennis Brown and other influential reggae artists so has a very strong musical standpoint. Daddy Ad started as a drummer so he has a rhythmic perspective and is the most technical minded of the collective. I come from a DJ background having started in the 70s. I think like a DJ so that’s what I add to the mix. Outside the music, we all have our separate lives and understand each other’s values.
You’ve worked with some influential people in reggae. Who has been a favourite and why?
I love working with Big Youth definitely because he is massively talented. In my opinion, he is the best lyricist ever in reggae music, an innovator; it was such a huge privilege to meet him. I became his tour DJ so we got to know each other very well and I learned to like him as a person.
Reggae has played an active part on the London music scene. When you play abroad what do you notice about the scene compared to the UK?
It doesn’t really work like that with reggae; you’d be surprised how big the genre is abroad. It’s huge in France and they know the music really well. We’ve noticed that Italy in particular has an equally huge scene which I guess you wouldn’t expect. Spain is up and coming I’d say and Germany also has a very big culture of reggae and its mutations. Each country is slightly different; of course it’s not the same as the scene here but globally it’s a huge market.
What can people expect to hear when they come and hear you play live? Tell us about your performance.
A lot of it is rehearsed, often containing songs we’ve made in the studio which we’ll then transfer to vinyl and play out during our sets. It’s a strictly vinyl affair with a mixture of our own material and people we like. Although we play instruments they’re not used in a live setting so in essence, it’s a DJ set with our vocalists toasting and singing over the top of the records to get the crowd warmed up. For us, it’s all about the sound system vibe and we go right through the whole range be it roots, reggae, dub, or dancehall.
Most musical genres have their golden era before they fall out of fashion but reggae seems to have remained a staple musical diet here, particularly in London. Why do you think this is?
Bob Marley said a thing about reggae “them who feels it knows it” and I think if someone hears reggae and it resonates them, then they’ll say “I like that!” It has the African vibe about it of course but it also has a certain otherness and a certain separateness which a lot of people seem to like. Musically, it’s a third world form not first world. It looks at the world from a third world pint of view. It’s also a more spiritual form of music and it has a different view point that is totally separate from hip hop, house and similar genres; people like that separation.
What are your ambitions for 2013?
For me personally, I love playing on the big stages. I like every live show but when you walk out and there’s thirty thousand people out there waiting for you, that’s pretty exciting – it’s what you want you know. So we’d like to make some very successful records to enable us to keep doing that. We are also playing at Bestival this year so really looking forward to playing there. Our gig diary is pretty healthy although I can’t remember what else off the top of my head; you’ll have to check our social media sites for that! I’d like to play another gig at Koko in Camden, it’s always a good gig; the technical guys are great and we always get a full house. Hands down, one of our favourite venues to play – it seems to work for us.
“Reggae was always such a passion for me “says Adam “Earl and I would always try and slip in a late 70’s steppers tune in one of our house sets back in the day and people would come running up to the decks and say, wow what’s this brand new track it’s amazing? Actually, it came out 30 years ago mate…It just shows you how much influence reggae has had on contemporary music – it sounds like it was made yesterday”
Thanks to Adam Dewhurst and Earl Gateshead for the interview.
Africa EP by The Trojan Sound System and the Africa remixes is out now in all good stores on TSS Records. Click here to buy from iTunes.
Written by Pete Rann
Elizabeth Metcalfe juxtaposes Alexis M Teplin’s recent artwork exhibited at the Hayward Gallery with Umberto Boccioni’s futurist masterpieces.
Posted on Saturday, March 2nd 2013, by Beat Magazine: Art & Culture
In 1909, F.T Marinetti launched the Futurist movement though the ‘The Founding and Manifesto of Futurism’. Against the past and traditionalism, but advocating provocation, violence and destruction, his manifesto called for a re-evaluation of politics and culture. Rejecting the sentimentalised art hanging in museums – places that Marinetti deemed to be ‘absurd abattoirs’ and ‘graveyards’ – the manifesto begs for ‘canals to flood the museums’.
Umberto Boccioni: The Charge of the Lancers (1915)
A year later, ‘Futurist Painting: Technical Manifesto’ was written by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacoma Balla and Gino Severini. Outlining a new type of painting that sought to capture the ‘dynamic sensation’ – the movement of the subject – rather than a ‘fixed moment’; the manifesto rejected imitation of art from the past. Lines became both angular and floaty, colours blurred into one another, swirling shapes converged and wedges of light beamed outwards.
Umberto Boccioni: States of Mind I: Those Who Leave (1911)
On walking into the recent exhibition by Californian artist Alexis M Teplin ‘sss T!!’ at the Hayward Gallery, I certainly found myself thinking back to futurism and these manifestos. In a white, medium-sized room, four roughly plastered white sculptures flecked with greens, yellows, pinks and browns are strewn across the floor representing the dismembered body, whilst four colourful, billowing appliquéd paintings sit on the three walls.
Alexis M Teplin: E (2012) - Southbank Centre exhibition poster
Just as Boccioni et al. write of capturing movement in paint, Teplin explains how ‘in my work I try to negotiate the relationship between rhythm, colour and movement.’ And we do see this in her paintings: jagged letters are camouflaged to form the exhibition name ‘sss T !!’. The angular letters not only fragment the paintings, mirroring an interruptive movement, but they give the paintings a verbal power. By juxtaposing glossy paint with more subdued matte finishes, we feel that we are viewing the paintings in different lights as they move. The irregular ripples of the vintage French fabric that the paint sits on looks like a ships sails billowing in the wind.
Alexis M Tepplin: sss (2012)
There is even a hint of motion in the inanimate sculptures: the footless leg, handless arm and mangled torso all have an air of movement about them, the leg anatomically detailed. The drippy plaster captures motion; could it slip off the sculpture at any moment?
Alexis M Teplin: H of the H (2012)
Not only this, but when Boccioni et al. note that the ‘human face is yellow, red, green, blue violet’, we see this bombardment of colour in Teplin’s paintings. There are blood reds, pumpkin oranges, golden yellows, lurid blues, turquoises, velvet purples and dusty pinks. The bright hues overlap, deepening this patchwork of colour: in sss (2012) red dribbles into dark green, whilst blue becomes red in T (2012). This installation is typical of Teplin’s abstract style, using colour to challenge our emotions and provoke a personal response.
Alexis M Teplin: Untitled (2012)
But within this futurist-esque art we see a harking back to the past, the very thing that Boccioni et al. sought to avoid. Enclosed within the paint in sss (2012) and T (2012) are Aubrey Beardsley’s illustrations for Oscar Wilde’s sexual and shocking play Salomé. These illustrations torn from the pages of Salomé are licked by paint, with the angular black and white avant-garde illustrations in antithesis to the colour surrounding them. Similarly, on the leg sculpture, H of the H (2012), there is an intricate tattoo of André Derain’s illustration for Salomé. And in La, La, La, a page ripped from the printed Salomé script sits. This reworking of old art rather undermines the innovative nature of Teplin’s work - is it only posing as innovation? Nonetheless, I do think that Teplin would quite happily accept the cutting up of her work and its reincorporation into another’s art. Perhaps this is the most futurist element to Teplin’s work.
Alexis M Teplin at the Hayward Gallery via www.marymarygallery.co.uk
Teplin’s installation is on until 10th March. It is part of The Rest is Noise festival, a year-long celebration of the cultural and musical 20th century. Held at the Southbank Centre, the festival will see various talks, concerts and exhibitions throughout 2013.
Elizabeth Metcalfe is an English student at King’s College London and a writer, published by the Guardian and London Student.