PARTY PROACTIVE - SAT 20TH MAY - TURNMILLS - LONDON

[Proactive]

its getting fucking closer Vince - u got any of those £10 tickets left, becasue i am down to my last 100 odd - fuck its turnmills for a tenner, even better its Party Proactive!

[Proactive]

just been to the veneu again tonight - its fuking amazing!

[Vee]

This is the event not to be missed!!!

 

:thumbsup: - god this bumping threads is exciting business!

 

 

Indeed it is :lol:

 

:excited:

[Lisa]

This does look rather fab, Paul, anyone is there a paying guestlist?

[Proactive]

This does look rather fab, Paul, anyone is there a paying guestlist?

 

yep yep!!

 

email me on brainless66@hotmail.com for paying guest list or advanced tickets

 

or you can call me on 07814179946

 

This is going to be sooooooooooooooooooooooooo good! Evenhad someone ask me this wkd if i was going!!

[Lisa]

(w00t) Wicked stuff, will do thanks :happydance:

[Proactive]

(w00t) Wicked stuff, will do thanks :happydance:

 

lovely to meet u on Saturday X

 

Nearly there peeps only two wkds to go and its Party Proactive time!!

[Vee]

One of the top 5?

 

Surely number one............!! :thumbsup:

Edited May 2, 2006 by Vee

[Proactive]

INTERVIEW WIHT JIM MASTERS - SOMETHING SPECIAL AT PARTY PROACTIVE!

 

DJ, promoter, producer and Industry businessman - Jim Masters is an unstoppable force. With a love of music and a passion for techno he has carved a sizable niche for himself in the twenty odd years he has been involved in the world’s dance scene. A truly global agent, his winning in 2003 of Best Techno/Electro DJ at the prestigious DJ Awards held in Ibiza shows testament to his world-wide stature.

 

But DJing is just one string to this man’s bow; his influence over dance music has been enormous. As promoter of some of the most popular techno nights in the UK (BASE, alongside Carl Cox; the Open to Torture Nights alongside Billy Nasty; and the ground-breaking It Is Where It Is) Jim is responsible for helping shape the scene as we know it today. The Drum Club, set up when director of Ministry of Sound, was a key element in the whole evolution of the UK dance scene as whole. With debut shows from acts such as Underworld, Chemical Brothers, Leftfield alongside first time UK appearances from Sneak, Vath, van Helden, Tenaglia, Jim has never shied away from experimenting and pushing boundaries.

 

Taking time out from his globetrotting tour of the past five years, Jim’s latest project, String Theory, has him collaborating with former Cubanate artist, Phil Barry. Producing one of the biggest techno tracks of 2005 – the massive, Swarm, released on Carl Cox’s Intec label – Jim continues to be at the forefront of the techno scene.

 

On the 20th May 2006, Party Proactive has the privilege of inviting Jim Masters to the UK’s number one club, Turnmills. In anticipation of his appearance, we interview the man himself to find out just what he has planned for us, the future and everything…

 

So Jim, thanks for taking time out of what I know is an extremely busy schedule. First off, congratulations on the success of Swarm last year. How does it feel to be back in the studio and creating again?

 

Well the last 18 months have been really different for me, I became a father for the 1st time (my best production ever!) and made the concious decision to cut down on travelling every weekend and enjoy the 1st year with my daughter, daisy rae. The other thing that it allowed me to do was finally spend some serious time in the studio, something that before I’d only been able to do now and then between gigs and promoting our clubs, Ultimate Base and Open to Torture.

It was a great feeling when the first thing phil and i worked on together ‘swarm’ was picked up by coxy for Intec. To be honest we’d made it with the big man in mind, having played with him so much I guess I knew what made him rock!

 

With Phil’s background being industrial and yours techno, how does your partnership work musically?

 

The great thing about the two us working together is that we can look at something from completely different angles. Phil also makes drum ‘n’ bass so there’s been a bit of that influence in the techno we’ve been making especially in basslines and loud, angry noises! Phil’s much more the perfectionist with sound quality which is great because it allows me to concentrate more on how it works on the floor. At some point we shall dip into his dark and murky past and look to see if the industrial vibe can fit in with what we’re doing.

 

You’re billing your new project, String Theory as a live act and I know you’ve always been at the forefront of technology (I believe you obtained the world’s first commercial unit of Final Scratch – some coup!). How do you see the role of DJ these days as opposed to when you first started out? Can a DJ rock up to a club with just bag of vinyl and still be considered at the top of his game?

 

We’ve always seen string theory as having a live element to it, at the moment it mainly consists of me incorporating our material into my normal dj set using ableton live and dex ‘n’ efx but that will expand eventually to include more live elements.

It used to be so simple! When I started out, nobody even mixed! But now there are so many amazing pieces of technology to use within a performance it’s definitely moved on the art of dj’ing. However I still love playing with vinyl, nothing can match it for feel and at the end of the day no matter what technology is being used it is still the Dj and his choice of music that matters, any extra kit on top of 2 decks helps but for me vinyl still kicks.

 

I know you’re launching your own label, Superstring, later this year. Being a label for the 21st Century do you intend to sell vinyl or are you going the MP3 route?

 

Superstring is going to begin as an outlet for our more experimental releases and we will defiinitely be releasing on Vinyl, to me it still feels like a proper release and it’s great to have a piece of music that you’ve made actually physically in your hands when it’s released. Although vinyl sales are not what they were 10 years ago there’s still a good market of fans of vinyl and I think if more labels go the digital only route then that’s not a good thing. Of course we’re not going to ignore digital downloads as more and more people use websites like beatport and track it down so we’ll do that as well.

 

You’ve played at the best clubs in the world and had residencies at Twilo and Industry in North America, Florida 135 in Spain and Rocks in Portugal but recent years have seen you move more into the global fesitivals (Rock in Rio, Exit in Serbia, Monegros in Spain to name a few). Was this an intentional move on your part?

 

I wouldn’t say it was intentional but it’s definitely a logical progression. It’s great having residencies where you can build up a night and really work with a crowd in developing a sound but nothing quite beats the feeling of working a big crowd whether it’s outdoors or in a huge arena. This year I already have quite a few festivals lined up in europe and south america. Plus I have decided to look start some more residencies this year as well – 2 in cambridge at the Priory and my new Sunday night affair ‘bottom heavy’, one in London ‘Supernova’ and two in portugal at Kadoc and Alcantra Mar so I guess I’m after the best of both worlds!

 

How do these festivals compare to what’s available musically within each country? How does it compare to the dance scene in the UK at the moment?

 

To be honest dance music is so global now that I see very little difference between the big festivals, they all offer a wide range of good music and acts. I would say that the techno scene is definitely stronger on the continent – those crazy fuckers in spain and portugal can’t get enough! Also asia can be a bit different but I think that’s more to do with differences in youth culture than in musical styles.

Does your set differ if you’re playing to 20,000 people as opposed to say the 1,500 you will be at Turnmills?

 

There will be some differences, when you have a arena of 20,000 people you normally don’t get a long set so you tend to play a set of ‘bomb’s to keep that many people jumping. With a club gig it gives you the option to play a little different, maybe through in a few more experimental cuts taking people up and down a bit more through the night.

 

Your millennium set in Manila was beamed live to 6 million people via satellite – how did you plan for that set?!

 

I didn’t!! - We didn’t find out till just before the party that we were being broadcast live on one of the main satellite stations so it didn’t make any difference to what I was going to play. I’d prepared a set with a few classics in anyway as it was the millenium and to be honest once you get down hot and sweaty with the dancefloor you tend to ignore the cameras that are on you.

 

I heard someone stole your records on a flight to Brazil – every DJs worst nightmare! Was there anything in your box you still have a pang for no longer having? What’s your top tip on how to prevent it happening again?!

 

Yeah some m******r emptied my bags in madrid where I was connecting for a flight to Rio and then had the cheek to put them back on the plane so my bags arrived with no freakin’ records! I bought some stuff out there and had final scratch with me so it didn’t affect the gig too much . I was lucky enough to get most of the stuff replaced when I got back and the stuff that didn’t get replaced I cannot remember now anyway.

My top tip for not letting it happen again – never fly IBERIA!!

 

You seem to be a man of musical contrasts – through the years you’ve favoured both the soul and rhythm of rare groove and Balearic beats and the intensity and drive of acid house and techno. Do you find you have to compartmentalise your musical tastes or do they filter into each other?

 

It depends on the situation, where possible (ie with my various residencies) I’ve always tried to blend as many styles of music into a night that work together. As a guest it’s slightly different as normally the clubs you are playing at have a musical policy already in place so I wouldn’t play a deep house set at a techno club for instance! I’m always looking for fusions in music as that’s how music mutates and moves forward which to me is the most exciting part of it all. I get as much pleasure playing a tough set to a big crowd as playing a smooth deep set to a few hundred people as the sun comes up on a beach. With a long set, say 6-8 hours you can definitely build up through the night and infuse as many flavours in the set as possible.

 

 

 

 

 

 

Techno has obviously been your passion for many years but all genres morph and change as time goes on. How has your sound developed and how would you describe it now – what can we expect from you at Party Proactive?

 

I’m glad to see a move away for the loop driven techno that has dominated the european scene for the last 5 years or so. To me it had become too one dimensional and had run up a blind alley musically. The stuff we’ve been working on recently is a little slower but just as tuff but with more structure and dynamism to the tracks as opposed to just being a mixing tool which a lot of techno had become. I’m going to bringing ableton live to Proactive so will be exclusively previewing some of the new material that’s due on coxy’s label later this year. Expect BIG basslines, tuff beats and intense drama!

 

You started the trend of mix CDs with your ‘Session’ series back in 1992 and have since mixed some classics yourself. You were given the accolade of mixing 1 of only two CDs from the BBC celebrating the history of electronic dance music for the millennium. That must have been both an honour and a challenge. How on earth did you decide what to put on it? And is there anything you’re now kicking yourself for leaving off?

 

Yeah we kicked off the sessions with Tony Humphries and couldn’t have guessed how big the whole compilation thing was going to get. Getting asked to to the ‘history of techno’ for radio 1 was indeed an honour and a challenge. I spent about a month going through thousands and thousands of trax narrowing it down to about a hundred before eventually getting it down to 50. It wasn’t just my favourite 50 trax, I tried to include all styles of techno from all over the globe with representation from producers and dj’s that I felt had been an important part of techno. I also included classics from Kratfwerk and New Order to show where it had come from. I then redited the tracks in the studio before mixing them all together. I still feel it is one of my finest pieces of work so far and have had great reaction to it all round.

 

 

And finally…If you were a mod back in the 80s and a raver in the 90s, what are you in the 00s?!

 

A Dad!

 

[Proactive]

SET TIMES FOR PARTY PROACTIVE @ TURNMILLS - SATURDAY 20TH MAY

 

Well the time is finally upon us and Party Proactive is THIS coming SATURDAY. This is your last chance to put your name down on the paying guest list for this event. Guest list closes on Friday at 12pm. Email any names to brainless66@hotmail.com.

 

 

SET TIMES

 

 

T1 – HARD BEATS

 

10:00 TO 23:00 - K.A.R.L

23:00 TO 00:30 - CHRIS COWIE

00:30 TO 01:30 - JIM MASTERS

01:30 TO 02:30 - PETE WARDMAN

02:30 TO 03:30 - D.A.V.E THE DRUMMER

03:30 TO 05:00 - ANDY FARLEY

05:00 TO 06:00 - THE *TING* B2B DANNY GILLIGAN

 

T2 – HOUSE / ELECTRO / BREAKS

 

10:00 TO 23:30 – DANI D B2B STEFAN

23:30 TO 00:30 – QUEEN MAXINE

00:30 TO 02:00 – THE VISITOR (JON PLEASED)

02:00 TO 02:50 – JACOB MOSS

02:50 TO 03:40 – ALEX PARSONS

03:40 TO 04:30 – STEELO

04:30 TO 05:30 – PAGANO

 

T3 – FUNKY HOUSE

HOSTED BY KINKY U

 

VIP ROOM – FUNKY BREAKS

HOSTED BY FUNDAMENTAL

 

Venue: Turnmills, 63b Clerkenwell Rd, EC1, London.

Date: Saturday 20th May 2006

Time: 10pm to 6am

 

 

 

[Vee]

 

 

Two days to go!!

 

This is gonna kick off!! :yay:

[crazyclubber66]

last call for tickets www.funkdeluxe.co.uk venue pickup