Here’s my mix for the Diggers Dozen vs Soundsci night a few weeks back – all library, all vinyl, all originals, no reissues or comps allowed. I went in for the weirder end of percussion, electronics, jazz, ambient and a bit of big band cheese. Below are also sets by Mr Things and Ollie Teeba and you can hear more sets from Jonny’s Cuba and Trunk here.
Gigs
The Diggers Dozen vs Soundsci ‘My Boosey Weighs A Ton’ launch party at Joyeux Bordel in Old Street the other week was as nerdy and bloke-centric as you’d expect with frequent outbreaks of ‘breakface’ and clusters around the decks as library oddities were pulled out left, right and centre. Various old heads were in attendance and new acquaintances were made until 1.30am when it wound down. Much chatting obscured indepth appreciation of the musical treats going down but Maxwell from DD has kindly snipped some of the sets out of the melee and uploaded them to the cloud of mixes. If you listen carefully you can even hear the faint sound of chatter coming through the needle in the quiet parts. First up, Jonny Cuba (above left, below right) with his ‘spy jazz’ set, then Jonny Trunk (above right).
My mix, alongside more from Ollie Teeba and Mr Thing can be heard here
Announcing a new venture put together by myself and old friend Pete Williams (Eikon / Out Of The Wood) – a collision of Light, Sound and Design… Further.
An irregular event held in different places, it’s not a club night, it’s not monthly, there’s no dance floor. It has got all the things we love in it though: experimental music and film, food and drink, socialising and a bit of record hunting.
The first event is on May 6th at The Portico Gallery, a hidden treasure in the heart of West Norwood and a venue very dear to us that offers an extremely adaptable space to project, perform and present our guests in.
We have Jim Jupp (Belbury Poly) and Julian House (The Focus Group) from Ghost Box Records playing an audio visual set and Howlround sound tracking Steven McInerney’s short film, ‘A Creak In Time’.
Pete and I will be pulling all manner of projections, films, slides and FX out to illuminate the gallery at the beginning and end of the evening to compliment our DJ sets.
There will be food on sale from local café Pintadera, a fully licensed bar and plenty of seating. Michael from the nearby Book & Record Bar will also have a stall selling hand-picked stock for the event.
Venue: The Portico Gallery, 23 Knights Hill, West Norwood, London, SE27 0HS
Doors: 7.30 and we’re all done by midnight. Let’s go Further…
V. limited early bird tickets are on sale now through Eventbrite
Facebook event page here
Insane line up for this gig, not sure how Buried Treasure are going to pull it off but they did last time. Over half the tickets are sold – get yours here
Seeing as it’s 25 years since Aphex Twin’s ‘Selected Ambient Works 1’ was released and exactly 2 years to the day that my first ‘Selected Aphex Works’ mix was aired on Solid Steel, I thought I’d repost both the first mix and the lesser heard follow up I created for GCASFM.com about a year later. Due to multiple requests in the comments I’ve put up a very limited download of the 2nd mix here and in the Mixcloud comments.
There’s still enough for at least a third volume from the enormous Soundcloud upload he made back in 2015 but if you’re fiending for more then I’ll be premiering a special AFX AV set at Archspace in London on Feb 25th.
I’m very pleased to announce that I’ll be part of The Orb‘s ‘An Ambient Evening…’ at the Royal Festival Hall on April 21st alongside The Orb (of course) Youth, Roger Eno, Metamono, Gaudi, George Holt (Cakelab), Micheal Johnson (The Book & Record Bar) and more. As part of the ever-growing local South London crew that have gravitated to the West Norwood Broadcasting Company (WNBC) operating out of The Book & Record Bar, Alex Paterson invited us to be a part of the evening to showcase some of the people within this community. Tickets are on sale now .
Not only that, Pete W (Out Of The Wood radio/WNBC) and myself will be unveiling the first outing of our new venture into sight and sound: Further.
We’ve been kicking this idea around since last summer, wanting to create a space where music and visuals come together in different social settings to form an environment with as much emphasis on the visual as the musical. We’ve gathered an arsenal of analogue kit to make this happen, multiple slide and oil projectors, 3″ cassette effects and all manner of antique controllers to trigger them, with the aim of going back to some of the pre-digital practices that are being lost as we advance into a virtual world. It’s also a chance to showcase the kind of music we’ve been playing in the record shop, on the radio show and in venues like Spiritland over the past year or more – a willfully obscure blend of anything goes from the deepest, unexplored corners of our record collections.
The idea is to install Further into different places, working with different layouts to make each one different and fresh. Musical and visuals guests will be invited and given space to do their thing and and we’ll provide the environment for them to fit into. Think the 60s UFO club meets a 70s Arts Lab meets the 90s Land of Oz nights with a leftfield audio/visual agenda. We’re currently talking to various different people about the possibilities of staging one of these events in their venue so if you think this could work for you then please get in touch: [email protected]
The Delaware Road currently exists in several forms; an actual road in London where the BBC’s Radiophonic Workshop was originally situated, a compilation released in 2015 by the Buried Treasure label and a multi-faceted performance piece based around a story created by the label’s founder, Alan Gubby and David Yates aka Dolly Dolly. The Radiophonic connection is no coincidence, being that the piece that ties the music contained on the album and play together is loosely based on two key figures working at the BBC Workshop at the height of its powers. Gubby describes it as, “…a work of fiction based on actual events & some unusual anecdotes gathered whilst researching for archived electronic tape music albums released in recent years”.
The story is situated in London, the possibilities of technology and tape are being stretched by inquiring minds and the swinging sixties are upon us. “Two pioneering musicians compose electronic themes for television & radio. They discover a recording that leads to a startling revelation about their employer. Fascinated by the occult nature of the tape they conduct a studio ritual that will alter their lives forever.” Add in dashes of psychedelics, orgies, spirits summoned via stone tape theories and the relentless march of progress and you have the ingredients for a wild ride through the middle of 20th century London, from analogue to digital as the 80s approach and new ways replace old.
The live staged version of the concept album is narrated by the incredible Dolly Dolly, sitting stage right at his desk throughout the performance, suit and tie in place, illuminated by a single anglepoise lamp. His earnest delivery ties the acts together that sonically illustrate the different chapters in the piece, his speeches becoming more animated as the story progresses, enhanced by oil and video projections. The first performance was held at the South Street Arts Centre in Reading and featured a host of acts using tape manipulation, analogue synths, ancient percussion and home-made electronic devices, each in roughly chronological order as the years played out. There was even some jazz on the menu and the whole thing was book-ended by Jonny Trunk and Pete Wiggs playing suitably-themed tunes for the occasion, I covered the night for Shindig! magazine at the time and you can read my review here.
The album suffered distribution problems upon initial release, as did other Buried Treasure output, but a new deal should mean greater availability and a re-release is planned, there’s even talk of some kind of illustrated version too with various artists being commissioned to bring scenes to life. I can’t recommend the record enough as it perfectly soundtracks the piece put together to showcase it and there’s nary a bad tune in its 20 tracks. Listen to it and buy via Bandcamp.
Which brings me to the reason I’m writing this now as a second performance will be taking place on July 28th, this time at the Kelvedon Hatch Nuclear Bunker site in Essex. Tickets are on sale now but places are limited, there’s even a chance to book a place on a double-decker bus that will take you to the venue from the nearby Brentwood station and discounts for groups of four people. I’m also delighted to reveal that I will be opening and closing the event in a DJ capacity too! I’ll be bringing visuals and delving into my collection for a suitable selection to mark the occasion.
Follow the event and the bands playing it on Facebook, this is going to be a very special evening.
The line up so far is: DOLLY DOLLY, HOWLROUND, TELEPLASMISTE (Mark O Pilkington & Michael J York), RADIONICS RADIO, IAN HELLIWELL, GLITCH, SAUNDERS & HILL, CONCRETISM, SIMON JAMES (The Simonsound), THE TWELVE HOUR FOUNDATION, LOOSE CAPACITOR, DJ FOOD.
I was asked by the m.cast website to write some background history on a mix I did for Solid Steel with old friend Mario Aguera under the Openmind DJs name back in 1994 (this was before I became part of DJ Food or had been given the Strictly Kev moniker). Here’s a little slice of London ambient history as I remember it:
Openmind originated at 102 Tintagel Crecsent in East Dulwich, South East London around late 1992. The shared house spread across three floors above a shop, rented out by a local chemist specifically to students at a very reasonable £37 each per week, and the occupants came together by chance from different circumstances. Computer programmer Mario Aguera and 3rd year Camberwell School of Art students David Vallade and Kevin Foakes were later joined by Chantal Passamonte at some point in 1993. They frequented many of the clubs, gigs and underground parties of the time like Club Dog, Tribal Energy and Megatripolis but often found themselves enjoying the post-club comedown chill out sessions more than the actual clubs themselves.
After an incident with a synthesiser, a Rastafarian and a bowl of fish (see David Toop’s excellent ‘Ocean of Sound’ book for details) they formed a collective called Openmind and started a series of ambient parties under the name Telepathic Fish. Nearby neighbour Mixmaster Morris took them under his wing and introduced them to many of his contacts.
The first party was held in their house across two floors which held a rave room with strobe lighting and a chill out complete with tower of scavenged TV sets broadcasting trip videos, black lights and Morris DJing from decks on the next door kitchen counter. Advertised through word of mouth and a few posters at the college, the party drew 300 people and they realised that they had to find somewhere else to do the next one.
A squat in Tunstal Road, Brixton was located and a line up of Mixmaster Morris, Aphex Twin and the Openmind DJs (Mario and Kev) with Matt Black (Coldcut) on visuals played throughout a Sunday afternoon into the evening. A second gig was held at the same venue later that year (’93) which saw members of The Black Dog, Psychic Warriors Ov Gaia and The Future Sound of London checking out what was happening. Early flyers included shaped fish pendants and tea bags, hand-assembled using tracing and holographic paper.
After Matt Black’s initial revelatory experience at the Fish (his first ever VJ set) he invited Mario and Kev to guest on his and Jon More’s weekly KISS FM radio show, Solid Steel in the summer of ’93. They appeared a number of times (11.07.93 / 07.11.93 / 04. 03.94 / 15.07.94) and Matt and Morris continued to guest with music and visuals at the parties.
The venue then changed to the Cool Tan building in Brixton for a fourth excursion that included Matt Black on decks with PC (DJ Food), a pre-Leaf Tony Morley and visuals by Hex. Just before that party Mario and Kev were invited back onto Solid Steel on 26.09.94 and you can hear Matt giving the party a shout out in the mix. The sets played here are a pretty good indication of the sort of thing they played at the Telepathic Fish parties, sometimes pooling their then meagre record collections to fill out the nights.
There were more parties after this, usually as part of bigger events – Orbital’s Brixton Academy gig VIP room, Quirky, Megatripolis, a New Year’s Day party at the derelict Roundhouse and a Dutch excursion that saw them playing in a gas silo. They also produced four issues of an ambient fanzine called Mind Food which they sold at the parties, by mail or in various record shops in London.
Mario went on to join Hex for their early explorations into visuals and software and then headed up a team at a major video game developer. Chantal, David and Kev all worked at the Ambient Soho record shop in Berwick St. at certain points. Chantal went on to become Mira Calix and sign to Warp. David designed record sleeves for Warp, Ntone, Worm Interface, MLO and Reflective among others. Kev became part of DJ Food, carrying the Openmind name on as his design alias whilst shaping the look of the Ninja Tune label in the 90s and 00s.
You can down load this mix directly from the m.cast website here
First hour: Mario Aguera (Openmind/Telepathic Fish)
Coldcut – Autumn Leaves (Irresistible Force remix) (BMG)
UVX - Elevator (13th floor spectrum) (Magick Eye Records)
Frankfurt – Tokio Connection – Luminescent Avatar (Harthouse / Rising High)
Golden Girls – Kinetic (Morley’s Apollo mix) (R&S)
Psychic Warriors Ov Gaia – Obsidian (Deconstruction) (KK Records)
The Grid – Crystal Clear (The Orb remix) (Virgin)
Ongaku – Mihon 2 (Fax/Rising High)
UVX - Elevator (13th floor spectrum) (Magick Eye Records)
Deep Forest – Sweet Lullaby (Natural Trance Mix) (Columbia)
Peter Gabriel – At Night (Real World)
Amorphous Androgynous – Mountain Goat (Virgin)
System 7 – 7-7 Expansion (Double Edged Sword mix) (Big Life)
David Morley – Calibration (Apollo)
Second hour: Kevin Foakes (Openmind/Telepathic Fish – pre-DJ Food)
Frankie Goes To Hollywood – Warriors of the Wasteland (End) (ZTT)
Harold Budd & The Cocteau Twins – Memory Gongs (4AD) / S’Xpress – Coma (Record Mirror) No-Man – Days In The Trees (Reich) (One Little Indian)
KLF – What Time Is Love (Virtual Reality mix) (KLF Communications)
Jesus Jones – Zeroes & Ones (Aphex Twin Reconstruction 2 mix) (Food/EMI)
David Sylvian – Home (Virgin)
This Mortal Coil – Andialu (4AD)
B12 – Soundtrack of Space (Warp)
Spacetime Continuum – Fluorescence (Reflective)
Eurhythmics – The City Never Sleeps (Capitol)
Moody Boys – Free (XL)
Depth Charge – Depth Charge (Drum Death Version) (Vinyl Solution)
Material – Mantra (Praying Mantra mix) (Axiom)
Dub Syndicate – What Happened? (On-U Sound)
Moody Boys – Pumpin Dumpin (XL)
Plaid – Yamemm – (Warp)
unknown (Digidub or Moody Boys?)
Minnie Ripperton – Lovin’ You (Epic)
A rip of a limited edition cassette of DJ Krush‘s performance at The Custard Factory, Birmingham, UK on the Mo Wax Headz Tour 9th July 1994. No playlist available, feel free to make one and post it in the comments. There is a similar companion cassette of a DJ Shadow set at The Cockpit, Leeds from the same tour out there too.
Love this poster, that is all, who’s going to book me onto line ups like this please?
Very pleased to be a part of this line up for the Eat or Heat food bank and charity. The event kicks off at 2pm, with music on at different venues throughout the day. Entry to all venues is FREE – you can just turn up on the night. Donations are encouraged – there will be donation buckets for Eat or Heat, but donation not compulsory. And if you want to donate before the event there’s an online link here: https://mydonate.bt.com/
More info here and DJs being added all the time.
My set from Spiritland on Dec 11th was uploaded to Mixcloud but was so quiet you could barely hear it. I got to work on the file and remastered it whilst compiling the track list for the full 5 hours. Photo by Karla Davis
DJ Food – Spiritland 11/12/16 track list…
The Heliocentrics w. Melvin Van Peebles – Prologue (Now Again)
Bernard Szajner – The Fremen (Cache Cache)
Voyager – Arrival (excerpt) (Union City Recordings)
Basement Jaxx – Stanley (Sunday Best Records)
unknown – Blue (CDR)
DJ Shadow – I’ve Been Trying (Third World Orchestra’s Folkumbia Remix – DJ Food edit) (https://soundcloud.com/punk-cho)
DJ Shadow – Come On Ride (Through The Cosmos) (Secret 7s / Island)
DJ Shadow – Dark Days (Spoken For Mix) (MCA)
Andre Previn – Executive Party Dance (UA)
The Dragons – Peace Garden (Rural)
Kool & The Gang – Summer Madness (De-Lite)
Stan Getz – Bonjour Tristesse (MGM)
Fourtet – I’m On Fire (part 2) (Text)
Lalo Schifrin – Joy To The World (Lo Recordings)
Warner Jepson – Deck The Halls (Shinkoko.com)
The Soulful Strings – Little Drummer Boy (Cadet Records)
Warner Jepson – Silent Night (Shinkoko.com)
J. P. Massiera – Silent Night (Finders Keepers)
Warner Jepson – Good King Wenceslas (Shinkoko.com)
Vincent Geminiani – Ophis Le Serpentaire (Jazzman)
Paul Schutze – Doubts About Waking (edit) (Extreme)
Alice Coltrane – A Love Supreme (Impulse)
Arnaud Robotini – The Choir Of The Dead Lovers (Blackstrobe Records)
Brain Machine – Massive Dying Stars Vibrating Like Giant Speakers (Tinae)
Chapterhouse – Beta Phase (Global Communication remix) (Dedicated)
Voyager – Arrival (excerpt) (Union City Recordings)
Howlround – OH feat. abandoned playground (The Fog Signals)
Sheila Chandra – One (Indipop)
Eurhythmics – The City Never Sleeps (Capitol)
Annabel (lee) – (1849) (IF Music/Ninja Tune)
Beautify Junkyards – Constant Flux (Ghost Box)
Cavern of Anti-Matter – Zone Null (Duophonic UHF Discs)
Stepkids – La La (Stones Throw)
Broadcast & The Focus Group – The Be Colony (Warp)
Vanishing Twin – Floating Heart (Soundway)
Stereolab – Miss Modular (Duphonic UHF Discs)
Sirconical – Moondance (Twisted Nerve)
The Twelve Hour Foundation – Sun and Air (Part 2) (Bandcamp/Environmental Studies)
Voyager – Arrival (excerpt) (Union City Recordings)
The Orb – A Huge 54 Minute Mix Mk.2 (excerpt 1) (CDR)
Grace Jones – Don’t Cry, It’s Only The Rhythm (ZTT)
Grace Jones – Rough Slave (Better Days version) (unreleased)
Flying White Dots – Slave To The Grid (soundcloud.com/flyingwhitedots)
Grace Jones – The Crossing (Ooh The Action) (ZTT)
The Orb – A Huge 54 Minute Mix Mk.2 (excerpt 2) (CDR)
Szuletet – Domino (Bandcamp) https://afxtribute.bandcamp.com/releases
David Sylvian – Home (Virgin)
Paul Schutze – Doubts About Waking (edit) (Extreme)
Sheila Chandra – Nada Brahma (Indipop)
Camille – Ta Douleur (EMI)
The Beastie Boys – Something’s Got To Give (Live) (Grand Royal)
NT – Distances By Air (RCA)
Annis le Neve – Stories (Apeman)
Grandmagneto – Night Fever (Big Single)
The Karminsky Experience Inc. – The Fifth Peg (Patterns of Behaviour)
The Hellers – Take 46 (Command)
The Karminsky Experience Inc. – Through A Prism Backwards (Patterns of Behaviour)
The Karminsky Experience Inc. – The House Band Takes A Break (Patterns of Behaviour)
The Casuals On The Square – Moonbound (Trans International Airlines)
Nino Nardini – Tropicola (Jazzman)
Vincent Geminiani – Ophis Le Serpentaire (Jazzman)
Jacky Chalard & Dynastie Crisis – Les Scandales (Fat City)
Bomb The Bass – One To One Religion (Skankapella) (Stoned Heights)
Scarper – Lacuna (Jani R Remix) (Plexus)
Drog – Curtains (Bandcamp) https://afxtribute.bandcamp.com/releases
The Shamen – Possible Worlds (Reverse) (One Little Indian)
Nico Motte – Morning Mist (Antinote)
As One – Where Did He Go… And Why? (De:tuned)
Steve Hauschildt – Same River Twice (Kranky)
Queen – In The Space Capsule / Ming’s Theme (EMI)
As One – Where Did He Go… And Why? (Heinrich Mueller Lamb Shift Model) (De:tuned)
Nico Motte – Necroville (Antinote)
The Emperor Machine – Introduction To Outer Space (part 1) (DC Recordings)
E.A.R. – Interlude (Earworm)
V.I.V.E.K. – Mantra (System Music)
E.A.R. – Transistor Music (Earworm)
Boards of Canada – Satellite Anthem Icarus (Warp)
Great gig to finish the year with – clipping. at Corsica Studios.
After a very moody door exchange where I was asked first for photo ID and then if I either worked for the police or the council (!?) we got inside an absolutely rammed room.
Clipping deliver a shot blast to the inside of your skull, sometimes it’s sheer noise and you can’t make out the beats or tempo and then it suddenly locks in and you find the whole room head-nodding in unison. Daveed Diggs‘ incredible delivery propels each song using multiple time signatures, single, double and even triple time raps, dancing all over the rhythms eked out of little more than beats, bass and static. At times it seems that the roof is about to come off but there’s so little actual sound in the track that it feels more like floating in space. You want to mosh but there’s a 130 bpm tune actually only bouncing at 65 but with builds that sound like the nastiest German techno but no 4/4 kick drum to pin it down.
What was great was hearing kids 25 years younger than me rapping along word perfect, every line, every nuance, every shift in rhythm, just as I and my mates had done at Beasties, Cypress Hill or Public Enemy gigs a quarter of a century ago. This is their equivalent. They knew the old stuff best and when the group finished with the avant garde space opera of ‘Splendor & Misery’ and dropped into tracks from ‘Midcity’ and ‘CLPPNG’ they got the response they wanted.
‘Wriggle’ burst into its 303 acid second half and then got pushed up into an AFX Amen-punishing d’n’b version and ‘Body & Blood’ is still the most terrifying sex with power tools track ever.
With monochrome static and bit-crushed graphics projected across the band in the tiny run down black box of a room this was absolutely the best place to see them. So refreshing, so exciting, so far out I’m not sure it even qualifies as hip hop.
Sunday night saw my second set at Spiritland, this time for a 5 hr slot instead of 4. The chance to spread out and play a non dance floor selection in public is always welcome and the sound system there is particularly good with highly polished electronic music and deep bass tones I’m finding. In the mix you’ll find a short Xmas medley and part of an exclusive 54 Minute fan mix of The Orb’s ‘A Huge, Ever Growing, Pulsating Brain That Rules From The Centre of the Ultraworld’ interspersed with some special mixes of Grace Jones‘ ‘Slave To The Rhythm’ that I compiled. Some of the photos below are by Karla Davis and Arthur Arkin.
(The mix is a bit quiet, you need to turn it up) I’ve remastered the file now for maximum volume.
I’ve been looking forward to this since I had a sneak peak about a month ago, the new Howlround album is also the soundtrack to a film called ‘A Creak in Time’. Two years in the making, “A Creak In Time is a film directed by Steven McInerney exploring the interrelation of the macrocosm and microcosm navigating its journey through time in two parts. The soundtrack has been composed entirely from creaking objects and manipulated on magnetic tape machines.”
The film is “…Taken from source material discovered in London, Yosemite and the Mojave desert, these sounds, through simple manipulation, gradually cast off their moorings and head into space, leaving their original identities far behind and chiming perfectly with the film’s recurring themes of transformation and altered perception, switching scale in a heartbeat from microscopic topography to the vast distances of the cosmos. Shot entirely on 16mm film with a musique concréte soundtrack, it’s both science and fiction and marks a dramatic new direction for all involved”.
Available to pre-order on McInerney‘s audio-visual Psyché Tropes label now, the LP comes with a download and link to an online stream of the full film. You can order it here or, if you want to see it and hear Howlround live they’re playing a launch party in London on Dec 10th at Iklectik as part of Pascal Savy‘s two day residence. The night after they’ll be doing a more traditional tape loop set at the Brunel Museum as part of the Film Sound Performance weekend – more info and tickets here (no tickets on the door).
I’ll be doing this next Feb at Echoes, something new with something old. Tickets here
Love this poster by Andy Votel for Gruff Rhys‘ live shows next year.
Thursday evening last week saw the release of this fab record; ‘Beat!’ by The Karminsky Experience Inc. and they had a party above a pub in the middle of Soho to celebrate. It was small, hot, packed and great. I hadn’t seen them for years so it was nice to catch up and the music was spot on. I even danced a bit, which is very rare for me. The album is out now, packed full of beautifully cinematic / library / funky / exotic sounds and anyone who opens a side with snatches of John Rydgren closely followed by Ken Nordine is alright with me. You can buy it on vinyl, cassette and DL here.
Earlier this year I reconnected with an old friend from the early Ninja Tune days, Shane Solanki, a writer and poet who was responsible for the original Ninja press releases and the lexicon inside the original Ninja Skinz packets. These freeform, punning, cut and paste definitions, profiles and prose helped define part of the aesthetic and thinking behind the label in the early years and gave voice to Coldcut and co.’s ideals. He’s currently constructing a hugely ambitious project involving a stage play, an album and a graphic novel based on a story he’s written called ‘Songs of Immigrants and Experience’.
I helped him visualize certain scenes for the play and put together a rough version of an extract from the novel to help present the complicated project to prospective publishers. Below you can see examples of the A4 handout at the last performance and shots from the show with some of the scenes as backdrops. For more info go to Lastmangoinparis.net
My recent 4hr set from Spiritland – the new venue just behind Kings X station in London – is now online for your enjoyment. I certainly had a good time playing there and count it as one of my favourite gigs of 2016. The sound system is out of this world, the beer good, the company was great and I’ve even listened back to the full mix a couple of times and enjoyed it, something I rarely do with my own work. There’s no dancefloor and mixing and scratching is discouraged due to the audiophile nature of the set up there (vertically positioned rotary Bozak mixer). The speakers are the stars of the show as well as the rack-mounted kit behind the DJ booth. It’s free and they have an amazing line up of DJs on every night of the week.
