My First Burning Man

Hot off the plane from Burning Man Festival, Dave Seaman regales Mike Boorman at  with what it was like to party on in Nevada’s Black Rock Desert for the very first time..

Burning Man at night

Dave Seaman has seen a lot of things in his time, but nothing quite like what he saw last week at Burning Man Festival. He was one of the main men at clubbing institution Renaissance, he toured the US with Cream when they were taking over the world, and more recently he has been conquering Beatport with his label Selador but this man was absolutely humbled by it all. 

So tell me Dave, from the top… Burning Man: discuss!

I arrived at Reno airport on Monday night to the news that it had all shut down on Monday because they had some rain, and everything grinds to a halt because the rain basically turns the sand and dust to concrete, so I had to stay in a hotel at the airport. I only actually got to the festival on Tuesday.

You know, I was just thinking about this before, when I knew we were gonna do this interview… ‘how do you describe it?’, but it’s basically indescribable! It is like nothing else – it really is. No matter how many videos or pictures you’ve seen, nothing can prepare you for it.

I guess the best way I can describe it is if you can imagine taking the vibe and spirit of Glastonbury on the dance side of things, like Shangri-La and Block 9, mix it up with some day-time Ibiza partying, and then put all that on the moon! It really is that barren and desolate. Feed all that through a Salvador Dali dream and you’re not even close! 


Then you’re just surrounded by all these mad sights, like these art cars… it’s like Mad Max crossed with Whacky Races! It’s something I’ll remember forever, and I’m already planning on going next year. I only really scratched the surface being there for two days.

Mad max car Burning Man

BM Fish Art Car
It Just sounds insane.

Bonkers, absolutely bonkers. You know, the day I arrived, I’d been there twenty minutes and I see Lee Burridge riding past me on a bike, wearing a pink tutu, with a flower and a headband on his head… you don’t see that every day in London. 

He’s one of the kings of Burning Man isn’t he? He’s there every year.

Yeah, he is, he told me it was his favourite week of the year, and it was “Tutu Tuesday” apparently! That was his excuse anyway.

I was playing White Ocean on Tuesday night and also I was playing Opulent Temple on Wednesday morning for the sun rise which was amazing.

Then I went out to see Robot Heart which is one of the most well known  sound systems  there… the sight of 2,000 people dressed in all these crazy outfits… I felt pretty under dressed. I’ll remember to bring my tutu next year! 

It was one of those moments, raving outside at 8:30 in the morning in the desert, with a really cool crowd… it felt like we were raving on the moon – it really did. And there was some great music out there as well – really inspirational music.

 So where were you staying? Were you in a tent?

I was staying at the White Ocean camp on a tour bus – they had cool hospitality in there. They had a load of yurts as well, but they’d got really battered by the rain the day before, so there’d been quite a big rebuilding effort that morning.
Burning Man Art Globe
So with that kind of thing did you sense the community spirit that we all hear about?

Absolutely. And also you go to somewhere like Distrikt and they’re just serving free drinks all day. I don’t know where the money’s coming from! 

I literally didn’t buy anything the entire time I was there. I took some gifts for people and gave them out but no one expects anything back, it’s not like ‘I’ll give you that, you give me this’ – it’s definitely an open thing with giving stuff away and not having to worry about that capitalist mentality that the world kind of revolves around 99.9% of the time.

It just sounds idyllic. I wrote an article on the story behind Carl Cox’s camp this year, and it inspired me to try and get involved with it. A week of rave enlightenment in the desert with Carl Cox!

That’s it! Nirvana! You’d have reached your peak!

Might as well retire after that! So the White Ocean camp you were playing for, were they paying the DJs? 

No. I think pretty much everybody comes to Burning Man and plays for free. I didn’t pay for my ticket, which a lot of DJs do and I was well looked after by the White Ocean camp but I DJ’ed for free and it was absolutely my pleasure. 

And White Ocean was curated by Paul Oakenfold right? Was he there all week?
He arrived on Tuesday night when I was playing. He was playing on Wednesday. It was a different music policy each night. Wednesday was more truancy.  Saturday was more techno etc. They had a really strong group of DJs. With me there were people like Nick Warren and Hernan Cattaneo, with Oakey there was Above & Beyond & Marcus Schulz etc. Then there was a Techno night with Marco Bailey & Chris Leibing. They had a heck of a lot of people on.

And in terms of production, what was it like?

They built these huge fifty foot archways and had balls of fire Jerry Lee Lewis would have been proud of – just incredible. There was so much mind blowing art there. And near us was The Temple, where people would do all sorts. There were people scattering ashes there, crying, praying, paying their respects… It’s like a non-organised religion, spiritual rave church thing they’ve got going on there. 

image copy 2 White Ocean by day

Just sounds mind-blowing. I think what says it all is how keen you are to go back, so you think you’ll definitely end up playing there next year?

Yes, I’ll be back. Would love to play for White Ocean and Opulent Temple again, but also DistriktCarl Cox’s Playground Experience and Root Society too. I didn’t make my set this time at Root Society due to scheduling. I had to fly out early to make my gig in Colombia.

The best thing I could say about it is that for some people it’s such a mission to get there. People were driving twenty hours from California to get to Reno which is the closest city and it could take another twelve hours from there, and once you get to the outskirts of the camp you might be waiting four hours to get in depending on the size of the queue. So for people to actually do all that and then say, ‘right, I’ll see you next year’ – that says everything.

For me, there were eleven of us cramped together on a ten-seater tour bus with all the luggage all over us for five hours. But once you’ve done it, everyone was already planning next year. You wouldn’t plan to go through all that again unless it was something really out of this world!

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My interview with Lost & Found

Here’s a transcript of my interview with the Lost and Found website from earlier this month…

So much has changed since the early days of House. Going from an underground movement to gaining global recognition and acceptance. What are your thoughts on the current state of dance music and prediction for it’s future? 

I think it’s come full circle now. A lot of the music that some of the new younger producers are making reminds me of late 80s early Chicago House music. Acid is back in vogue, the tempos are slower and there’s definitely a strong DIY ethic going on again. A lot of small new nights are cropping up. Especially in the UK. The underground had to start a fresh after the scene became so commercial in the 90s and then the EDM movement took over across the world but the circular nature of fashion means that the bubble will burst and people will look to the underground again for what’s next. You can already see the deeper house stuff starting to penetrate the UK chart. The likes of Disclosure, Ben Pearce, Breach, etc. What goes around comes around as they say.

You’ve released close to 30 DJ mixed compilations to date and it could be said that you’ve mastered the art of the DJ mixed CD. What goes into track selection for a timeless mix?

Ha! A lot of care and attention to detail. I really put my heart and soul into these mix compilations. I spend weeks crafting them in the hope that they’ll stand out from your DJ regular sets which are two a penny these days online. I don’t think you can guarantee a mix will be timeless. Some stand the test of time better than others. Some of the old GU albums now sound so fast to me now but that was how it was back then.

You were one of the featured DJs on what was possibly the first, legal, commercially available mix CD – Mixmag Live Vol.1. More recently you’ve made history with The Selador Sessions mix being the first crowd-funded compilation. Can you tell us about the process involved in raising funds for the mix.

It was an fantastic experience. One that I hope to do again one day. When you do something for the first time there’s always an added edge of nervous excitement and it really took over my life for a few months. First of all, the 30 day fundraising period (which is the rules of the crowd funding platform I chose to use, Kickstarter) is a 24/7 commitment because you really have to get the word out as far and wide as possible and be there to answer everybody’s questions on a daily basis. I don’t think you can just put out a press release and hope that everyone just comes to you. You really have to sell the idea. Especially as this was the first time a DJ had done a crowd funded compilation. And then once the album had been done you still have to deliver on all the pledges. Everything from private parties, to DJ lessons and VIP nights out. These were all things I offered in return for certain levels of contributions that I needed to deliver. It was a big undertaking and one I couldn’t have done without my agent Sara who’s idea it was in the first place and who took care of all the logistics. Thank you Sara.

Mixmag has been instrumental in spreading the gospel of dance music around the world. You’re credited with turning the initial DMC mailout into a fully fledged magazine. What were some of the highlights of your time as editor?

It was such a glorious time in the development of dance music culture. The halcyon days. And to be in the eye of the storm was a privilege I will treasure forever. Back then all everybody wanted was for dance music to be taken seriously. It was very hard to get dance music played on the radio and rock and pop very much ruled the roost. But if you were going out to clubs regularly as I was, you knew it was the beginnings of a cultural revolution and the likes of MARRS, S.Express & Bomb The Bass were more than just the novelty hits they were being treated as by big record companies. They really couldn’t get their heads around the facelessness of dance music. How DJs were making hit records in their bedrooms when they could’t even play conventional instruments. It was a passing fad they said. Of course, the rest is history. Dance music took over the world and broke down more barriers and boundaries than even rock music before it. I enjoyed every minute of my time at Mixmag but actually taking it from a subscription only publication to the news stands was the pinnacle.

You’ve recently launched Selador. What is your vision for the brand? Which artists have delivered tracks on the label thus far and who can we expect to see releasing on the imprint?

I set the label up with my long time friend Steve Parry as we have similar musical inclinations and vision for the label. We wanted to show our diverse tastes off and not get stuck in one niche sub genre of electronic music so we’ve released everything from the minimal deep house of Samu.l’s ‘Restless Dreams’ to the full on Techno stomper of Robert Babicz’s remix of Paul Rutherford’s ‘Get Real’ and everything in between. We’ve also had releases from Piemont , Rob Hes and Seff with more planned from Affkt, Babicz & Marc Marzenit. All killers, no fillers! It’s going to be a big year for Selador ;-)

You played an amazing set in Cape Town a few years ago and celebrated a birthday on the night =) when will you back for another performance? Possibly a Selador showcase?

We’ve been working on that recently actually. There’s been one or two enquirers from South African promoters so fingers crossed it actually happens. It’s been such a long time since that infamous GU night. I remember it well. Largely because there was a bomb scare and everybody was made to leave the club. As it was my birthday everyone sang happy birthday to me in the car park and then we were let back in and carried on with the night. It was suspected that it was a rival promoter that had started the bomb scare but it really backfired on them as the intensity of the night only went up several levels after the hoax. A night to remember indeed.

What can we expect from Dave Seaman in the near future? Any forthcoming release info you’d like to share?

I’ve just released 3 tracks in the last few weeks. ‘Flatter To Deceive’ on Great Stuff, ‘Everything Comes In Threes’ on Tulipa and ‘Naughty Forest’ on Selador. But there are another two done and ready for release already. One called ‘Distraction Tactics’ is going to come out on New York label, Sullivan Room and another for Selador called ‘Justified Replacement Of Lulu’ which will come out initially on our Selador Showcase compilation in April but then will have a full release with remixes later in the year.

There’s also going to be a Remix EP for Tulipa in the summer featuring remixes of my stuff by Dousk and D Nox & Beckers. You can also be a part of that as the label have launched a remix competition where the winner will be their remix released on the EP. Find all the details here…

You’ve been a DJ and actively involved in the Music business for over 25 years. What inspires you and helps you remain committed to a rapidly evolving industry?

It’s a cliche but it’s the music is that drives me on. There’s nothing like hearing a fantastic new track to get you inspired and those creative juices flowing. If that feeling ever leaves me then that will be the time to hang up my headphones but I can’t see it to be honest. Dance music is in my bones :-)

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My recent interview with

1. Before house music landed in the UK, you were spinning various records of multiple genres. Do you remember the very first house record that you heard and what were your immediate thoughts on it? Did you know right away that you had to be a part of this new, emerging sound?
I do remember yes. I’d been into the Electro and Soul scenes for quite a while by then so was following James Hamilton’s dance music pages in Record Mirror religiously so I knew of this new “House Music” that was coming from Chicago but it wasn’t until I was at Roof Top Gardens/ Casanovas in Wakefield one weekend that I heard Steve ‘Silk’ Hurley’s ‘Jack Your Body for the first time. It blew my mind. It was so different to anything else that it really stood out and I immediately went off to search for more. Marshall Jefferson’s ‘Move Your Body’, JM Silk’s ‘Love Can’t Turn Around’ and The House Master Boyz ‘House Nation’ all arrived at around the same time. It was pretty obvious that this was the start of something exciting. I couldn’t get enough.

2. You were also attending many of the early raves during the house explosion. Those parties were quite cavalier in a sense. Part of the excitement was trying to determine the location and playing this “cat and mouse” game. How would you contrast those early raves to the festivals that are happening today?
The early Rave scene was subversive and underground. It was completely new and because of the illegality of the parties had an element of danger. Festivals nowadays are very much a part of the fabric of modern day culture. There’s nothing subversive about them. Latitude (or Latte-tude as it gets called) is particularly family friendly and as middle class as it gets. There’s a great book I can recommend about the Acid House explosion by Matthew Colin called Altered States. It really gives you a great insight to the madness of those halcyon days.

3. Many people know about the infamous Mixmag competition that you won when you were DJing early on, but what initially led you to becoming the editor at the magazine?
I was initially just doing reviews for Mixmag and maybe the odd interview but when the then Editor left hastily I was catapulted into the deep end. I ended up covering for him whilst a replacement was found but after managing to pull two issues together myself the powers that be just said, we’ve not found anybody that we’d rather do it than you so you might as well carry on. I had gotten my English O level but really had no journalistic experience so it was sheer enthusiasm and passion that got me through. I was living and breathing the scene though and I was very much right time, right place. Right in the eye of the storm as it were. As I arrived at Mixmag- M/A/R/R/S, S Express, Coldcut and Bomb The Bass had all just hit the top of the pop charts. DJ Culture as we know it had just begun.

4. With the advent of technology, music has become extremely accessible and the lines of genre are increasingly getting blurred. As an industry expert who has been in key positions such as DJ, producer, editor and label boss, do you think music is still at a healthy point creatively?
Undoubtedly. There is always fantastic, creative music being made but with so much music being made and as you say with almost everything being instantly available to everyone, it’s not as valued as it used to be. MP3s are such a disposable medium. So cheap and replaceable, they have no real worth. And so in that sense it’s not healthy. Cheap and disposable is not good. The real problem though is quantity over quality. There’s just too much music being made with no filter system in place like record companies used to provide in the past. Imagine if everyone who thought they could cook were allowed to put their product on the shelves of a supermarket. It would take you a week just to get past the cereals!

5. I have read that growing up you constantly listened to the radio. Going back to the topic of technology, people have gone on to use the medium of the internet to produce their own shows and podcasts. On one hand, it’s liberating to have the ability to broadcast music, however, does this slowly eliminate the idea of the taste maker, similar to what we used to have on radio?
To a certain extent. You could argue it takes the power out of the hands of a few and spreads it around a bit more but at the end of the day you’re only a tastemaker if you have an audience and the people with real influence still have a lot more listeners than your average podcast.

6.From working at Mixmag to producing Top 20 hits such as Brothers in Rhythm’s “Such a Good Feeling”, on down to working with acts like the Pet Shop Boys and David Bowie, you have had a continual train of success. Are there ever times when you have had to step back and really take it all in?
Ha! Not really. I’ve always been all about the present and immediate future. Maybe one day I’ll get round to writing it all down though. I probably do have a pretty good story to tell :-)

7. More claims to fame are your labels Stress Records and Audio Therapy, which included releases by a slew of top acts in the scene. You now run Selador Recordings with Steve Parry. What prompted you to start a new label?
It’s all Steve’s fault. I blame him! hahaha. It was following a conversation we had where he expressed a long time ambition to run a label that got me thinking. I had been out of the game for a couple of years after Audio Therapy and didn’t realise how much I’d missed it until we spoke further about the idea of Selador and that buzz very quickly returned. It’s a labour of love. It’s not really profitable in monetary terms but you get so much out of it in other ways and I just love the process. It’s a great way to collaborate with like minded artists and put your flag in the sand.

8.You have the new “Selador Sessions Vol. 1” mix compilation out right now which was funded by the people through Kickstarter. I think this speaks volumes in terms of the support from those who love house music. Do you envision this process to soon be the wave of the future for releases?
I hope so and can’t see any reason why not. It’s a fascinating development and actually more of a throwback to the way things used to get done before capitalism took over the world. This idea of a communal project. And now with the advance of social media it’s so much easier for artists to be able to get together with their audience to make creative projects happen. It’s a win win situation really.

9.Finally, what projects are coming down the pipeline at Selador?
Our next release is a compilation to coincide with the Amsterdam Dance Event this month which features a lot of the artists that have already featured on the label and a few more besides. Then there’ll be a new single from myself together with Funkagenda called ‘Naughty Forest’ which has been a staple in my sets for the last few months and also features on Selador Sessions Volume 1. And then who knows, there’s even talk that Mr Parry will be getting back into the studio although I’ll believe it when I see it! :-)

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My recent interview for The Ransom Note blog

Here’s my recent interview for electronic music blog, The Ransom Note on all things Kickstarter, why I wanted to do things differently this time and my thoughts on the state of music journalism 25 years on from my days at Mixmag..


There is much moaning about the demise of tangible products in this business, but hardly anyone seems to do anything positive about it; and even fewer people are brave enough to make the point that the past wasn’t all that great anyway; so it was nice to hear Dave Seaman buck the trend of apathy and negativity when I met with him the other day.

If you don’t already know, Dave whacked his head clean on the chopping block when he decided that his next mix CD would be funded by the public via Kickstarter.  He had a month to raise £25,000 and he bloody well went and pulled it off with a few days to spare, no less.  And what’s more, at the time of writing, he’s more than £7,000 over his funding target.



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My recent interview for DMC World…

DMC World interview screen shotIt’s incredible to think Renaissance are Twenty years old next year. Back in 1992 – did you think that you would still be here today, still at the forefront of this global takeover otherwise known as dance music. Back when you began your career, we all jumped around when we heard a Unique 3 or FPI Project on daytime radio!

It is incredible isn’t it. I don’t think any of us that were involved in the acid house explosion of the late eighties ever in our wildest dreams thought we’d still be going strong over 20 years later. Most youth cultures that the UK had produced that had evolved from a music scene such as mods & rockers, punk, new romanticism, etc had all lasted only a few years before dying as off with the clothes they’d fashioned. But acid house transcended all that. The clothes & style may have changed but the music just continued to gather pace. A huge snowballing juggernaut that, like you say, just spread across the world like wildfire. Not even rock n roll had managed to cross borders and language barriers like acid house. And looking at it right now, i can’t see it ever it going away. It’s here to stay, to be passed down from generation to generation. I feel very privileged to have lived through it’s first two decades.

However, it was plain to see, Renaissance was different from the rest. It oozed quality and there was never any cutting corners, it must have driven Geoff Oakes’s bank manager crazy. What have been your favourite 3 moments at Renaissance over the past 2 decades…?

Oh God, there’s so many to choose from. We had a couple of Asian/Australian tours in the mid/late nineties that will always remain dear to my heart. It was really when dance music was at the height of it’s powers and we had the likes of Bono & Helena Christensen dropping by our gigs. Also, playing alongside Kylie at Privilige in Ibiza was another special Renaissance night. And I don’t think anyone could forget the 2nd birthday party at the Que Club where the production really must have given Geoff’s bank manager a heart attack. That was the moment that I realised dance music had well and truly gone big time. The last night at the Cross in London was a special night too.

What are your all time 10 Renaissance classics?

M People ‘How Can I Love You More’ (Sasha Mix)

Bedrock ‘For What You Dream Of’

Shawn Christopher ‘Another Sleepless Night’ (Morales Mix)

Sounds Of Blackness ‘The Pressure Part 1′

Leftfield ‘Release The Pressure’

Pete Lazonby ‘Scared Cycles’

Way Out west ‘Mind Circus’

Luzon ‘That Baguio Track’

Blast ‘Crazy Man’ (Fathers Of Sound mix)

Hysterix ‘Talk To Me’ (Sasha mix)

Why do you think Renaissance has stood the test of time?

I think that care and attention to detail has always been their strength. They’ve always put quality of product & experience before the bottom line which has been very much to their detriment on occasion. But they’ve always stuck to their guns. Never sold out or followed the latest trend. They just do what they do and they’re the best at it.

This is your ninth Renaissance mix CD – how has your style changed over the years?

I supposed like most DJs it has evolved with the times and with the advancement of technology. Things have definitely gotten slower recently though. House music is groovier again which is probably a back lash against the bang, crash, wallop aggressively mid range music that has dominated the last couple of years. But It’s getting more difficult to describe what I play. Music is harder to pigeonhole and besides, people have such different ideas of what the genres represent these days, it can be more misleading than helpful a lot of the time.

You were the first Editor of Mixmag when it became available to the general public after being on subscription only for years. You once said in an interview when asked if you thought there was space for actual music magazines today in light of the hundreds of on line magazines…

“There is room for maybe one, probably DJ, but I think Mixmag will go. I don’t read it anymore. There is nothing to read in there anymore. It is the same stories repeated over and over again. They are cornering themselves into a very niche market with the music they cover – that trancey stuff. They’re going towards a bad end for me.” – How did that make you feel knowing it was your precious baby once in your life?

It wasn’t very nice to see Mixmag go to the dogs at that time. It just turned into a rag. Nothing but tits and pills. It lost it’s spine both literally and metaphorically. But I’m happy to say that it’s now back in the hands of a publisher that knows what to do with it and it’s a much better magazine than when I said what I said. I do still read it from time to time.

You left a very good job in advertising up in Leeds to follow your dream down south – what did your mum and dad think of your new career choice?

They weren’t very impressed when I told them I was going to give up my highly paid and promising career in Advertising to go and be tea boy at some fledgling DJ organisation. There were some heated exchanges shall we say. But they’ve since admitted they were wrong about my decision and are now very happy that I chose the path I did. I think like any parents, they were just worried about me. I try not to remind them about it too often! hahaha

Are you looking forward to the huge Renaissance 20 birthday plans…?

Of course, I’m so pleased they’re back in the game just in time for the 20th anniversary celebrations. There’s gonna be some big shows all around the world and some very special accompanying releases. I’ve been chatting with Geoff & Jo about it and I think it’s only just now sinking in what they’ve accomplished over the last two decades. 2012 is gonna be big ;-)

What are the big 10 tunes you are smashing out right now?

1. Butch ‘Big Futt’

2. Oliver Huntemann ‘In Times Of Trouble’

3. Henry Saiz ‘La Marea’

4. Trentemoller ‘Moan’ (Radio Slave remix)

5. Egbert ‘Vrijheid’

6. Sian ‘Sacred Geography’ (Guy J mix)

7. Boys Noize ‘Adonis’

8. Slam ‘Black Arts’

9. Dapayk Solo ‘Nneka’

10. 2000 & One ‘Tropical Melons’ (Kaiserdisco mix)

In today’s modern times, fans know everything about their heroes thanks to Twitter and Facebook – doesn’t this frighten you knowing people know your every move? We knew last week for instance that you were on the A380 driving home from the airport and at 5am you were “relocating goldfish”. Do you think things have gone too far in this obsessive world?

Hahaha. I wasn’t driving on the A380 (wherever that is!?). I was coming home on an Airbus 380. The huge double decker plane that Emirates use between London & Dubai. Hahaha. So much can get lost in translation. I take the position that if people want to know what I’m up to then I don’t mind sharing some information. But I only pass on the stuff I want them to know. I still keep a lot of my private life private. I don’t think people need to know every little detail.

You were once the boss of the mighty Stress  Records where the likes of Sasha, Danny Tenaglia and John Digweed released dancefloor monsters. What was the biggest song you signed to Stress?

Probably Bedrock’s ‘For What You Dream Of’. It was Digweed & Muir’s first release and when we re-released it after it went on the Trainspotting soundtrack, it went Top 40.

So we come back to yours after a club (we sit in the garden so as not to wake the kids!) – what are the (quiet) 10 Back To Mine tunes you spin us…?

Lana Del Rey ‘Video Games’

Jamie Woon ‘Spirits’

Sara Bareilles ‘Gravity’

Flowers & The Sea ‘A.M’

Everything Everything ‘Final Form’

Bon Iver ‘Perth’

James Blake ‘Limit To Your Love’

Clare Maguire ‘Ain’t Nobody’ (Breakage mix)

Gonzales ‘Crying’

Bat For Lashes ‘Moon And Moon’

It may not be very good for  my image, but I really like…

A Saturday night off at home in front of the telly. Harry Hill’s TV Burp, X Factor, Match Of The Day with a curry and a couple of cans. Boom! Get in!

So Dave, a family man now. It’s fair to say that the style of music you play took a dip in the UK a few years back with the emergence of trance and the harder beats, whilst the demand for your decksterity abroad just got bigger and bigger. It just shows foreign shores have better tastes in music. How though has the incredible air miles accumulation had an affect on married life – is it not impossible sometimes to get onto yet another plane?

It is a bit of a juggling act trying to be an international DJ and a good father and husband but it’s something I like to think I manage quite well. I very rarely go away for more than a weekend, always take the last flight out and the first flight back and try to not work after I’ve picked the kids up from school during the week. My job has also had lots of benefits for them too though. They’ve all been round the world several times on my air miles. It’s already played a big part in shaping their characters.

You also once lived in Ibiza. What are your thoughts on the wicked white isle these days?

I still love it although it’s a very different island for me nowadays. I took the family there in August and we had an amazing time. We did loads of things that in all the years of going there I’d never got around to doing. Taking the ferry to Formentera. Visiting the church at the top of Dalt Villa. Swimming at Es Cavellet. I only went out once to Ushuaia & Pacha and even then I was home in bed by 2am!

What one record would you never sell?

Everything has it’s price ;-)

Not a lot of people know this, but Dave Seaman is very good at…

I can sit on a unicycle juggling 3 dwarves whilst playing the theme from Thomas The Tank Engine on the piano with my left foot! True story :-/

An increasing amount of DJs today are only playing their own bootlegs of people’s tunes throughout their sets – thoughts on this?

I’m all for it although I don’t think you should just exclusively play your own edits or bootlegs. Some tracks are perfect in their original format and don’t need messing with. If it ain’t broke, don’t fix it. But bootlegs & mash ups are a great way to make your sets unique when music is so easily accessible these days. It let’s a DJ really stamp his own identity on a set.

What is the weirdest request you have ever had from a fan whilst DJing?

‘Have you got anything we can dance to?!”

What is your guilty pleasure song?

Oh God, there’s loads… In the last year though I would say Nicola Roberts ‘Beat Of My Drum’ & Rhianna ‘Only Girl In The World’. A good pop song is just a good pop song. Period.

It’s your birthday, what 3 DJs do you ask to come and spin…

Larry Levan

John Peel


Alas, it might fall on Sasha to do the whole night as the other two are sadly no longer with us.

And finally – what have you in the pipeline for us all in 2012?

I’ll be touring my new Renaissance Masters album right through to spring 2012 and am planning to get back into the studio soon too. I’m going to do a new track with Funkagenda and also another with Andy Chatterley. I’m also going to start doing some pop songwriting again too if time permits. There just never seems to be enough hours in the day. No change there then! :-)

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The recent interview with about my best & worst travel experiences

The Best

: what’s the most opulent, luxury/ decadent travel trip you’ve experienced?

That’s an easy one. My honeymoon in the Maldives. We travelled first class from Heathrow, took a sea plane from Male to the Soneva Fushi resort in the Baa atoll and spent a week there before going on to Cocoa Island for another week. It was an absolute picture paradise. It wasn’t opulent or decadent in a bling way. It was much more understated than that. But pretty much the perfect getaway. And cost a small fortune!

: and the best hotel?

Well, Soneva Fushi takes some beating but I love The Mercer in New York, The Hacienda in Ibiza, The Four Seasons in Bali, The Establishment in Sydney, The W in Hollywood, The Como in Melbourne. I could go on and on.

: what do you need to make a trip perfect?

An upgrade to first class!

: What do you always travel with (teabags? torch? lucky charm?

Spectacles, testicles, wallet & watch. Oh, and my laptop!

: what are your top three travel tips?

1. Travel light so you never have to check in luggage and don’t bother to take your liquids out of your bag at security. Waste of time. 99 times out of a hundred they don’t stop you.

2.  If you’re staying in a hotel for any length of time, go to a supermarket and take out all the hotels mini bar items and use the fridge for your own stuff. At the end of your trip simply put all their stuff back in. You’ll save a fortune. And don’t let them give you the skinflint look. They shouldn’t be such robbing bastards!

3. Don’t get stressed out, go with the flow, enjoy the journey.

: The worst

: what’s been your worst travel nightmare?

One time I got out of a cab at New York’s JFK airport, got my luggage out if the boot and went into the terminal only to realize I’d left my hand luggage in the back of the taxi. It had everything in it. My passport, wallet, flight ticket, money, phone. Everything! I was stranded without and money, form of ID, and any means of calling anybody. Luckily, this was pre 9/11 so I was able to speak with the Virgin staff who eventually got me to their Lounge and helped me get home via the British Embassy. I had to spend 36 hours there in the Lounge but to be honest, I’ve slept in a lot worse places!

: what’s the worst hotel you’ve stayed in? where? why?

Oh God, I’ve stayed some shockers. But there’s one establishment in Aberdeen during a cold winter in the 90s that particularly springs to mind. An inoperative radiator wasn’t a good start. The flowery wallpaper hanging from the walls where damp had taken hold didn’t brighten the mood. And the pubes in the bed didn’t help either. To make matters worse, there was a sour faced receptionist who muttered “soft southern bastard” under his breath when I asked about the lack of heating. An altogether brutal affair. Made Fawlty Towers look like The Ritz!

: What’s the worst experience you’ve had at customs/ Immigration (ever been strip searched/ detained/ deported?)

I went to Puerto Rico once and due to my own ignorance, I didn’t realize it was part of the United States. I just presumed as they have their own team at the Olympics that they must be an independent country. Once I was on the flight and they gave out US immigration forms I realized I didn’t have the passport with me that had my US visa in it (I have two passports). No problem I thought, I’ll just explain my mistake at the border, right? Wrong! They carted my off for interrogation, had my finger prints & photo taken. I spent 14 hours in what was little more than a prison cell. It was like next stop Guantanamo. The club’s lawyer  eventually got me out just in time for the show. All this was just after 9/11 so US Border Control was both paranoid & angry.

: what do you love about travelling?

It’s “me” time. When i’m on a plane nobody can get hold of me on the phone or via email so I get to do exactly what I want to do. Which is a rare treat these days. I’m very lucky to be able to travel business class most of the time so eating, drinking, watching movies, reading, listening to music in a comfortable seat is my little oasis away from the world. Most of the time the flights are not long enough!

: What’s been the most frightening experience you’ve had on your DJ trips; ever been robbed/ followed/ threatened?

I woke up in the middle of the night once to find someone stood at the foot of my bed. I was with my wife in Thailand. That was scary. I jumped out of bed and he went off in to the bathroom. When I asked what he was doing he said he was the cleaner. At 3am in the morning?! Turned out that he was prowling the hotel, high on drugs and told the police that he was looking for sex. I laughed until they then added that he was gay!


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Australian interviews

Whilst I’m happy to say that I don’t ever have to deal with anything approaching a media circus, I have got something of a sideshow going on with all the press commitments for the release of my upcoming Renaissance Masters compilation. Here’s links to two interviews I’ve just done for Pulse Radio and Beat magazine in Melbourne. And believe me, there’s plenty more where these came from. You’ll know everything but my inside leg measurement by the time this campaign is finished!


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My interview about getting started in the industry for

What was your big career break: what happened?

Believe it or not I won my first job in the music industry in a raffle! Well, kind of… I attended the 1987 DMC DJ convention and entered a grand prize draw for which the first prize was an all expenses paid trip to the New Music Seminar in New York City which at the time was the equivalent of the Miami Winter Music Conference today. To my utter disbelief, I came out of the hat first! I thought it was a wind up for a few weeks but it turned out to be true and I spent a week in NYC in the company of most of the UK record industry’s movers & shakers. It was the trip of a lifetime. But I must have made an impression because two weeks after i got back, I got a telephone call offering me a job at DMC who at the time owned MixMag and were at the forefront of the DJ & remixing revolution that was just starting. I left my promising position at an Advertising Agency in Leeds to go and be the tea boy at DMC. My parents were not impressed. But my timing was impeccable. It was 1987.  M/A/R/R/S, S Xpress, Bomb The Bass & Coldcut had all just had No1 records and suddenly DJs were taking over. Within 6 months I was the Editor of MixMag and Acid House had swept the country. As the old saying goes, I was very much in the right place at the right time.

How aware were you at the time of how significant the event would become?

I don’t think any of us that were involved in the scene at the time could have hoped in our wildest dreams that we’d still be here nearly 25 years later. The UK had always been a world leader in youth culture and had produced Mods & Rockers, Punk, Skinheads, New Romantics, etc so I think we all just thought this was another movement that had 5 years – tops. But as the whole thing grew, we began to realise this wasn’t just a passing fad, that it really had legs and was infect like the electronic version of rock n roll. Here to stay. Something that will be passed on from generation to generation, continually morphing, reinventing and repackaging itself forever. I was just very lucky to be in the eye of the storm.

How much had you been actively working towards transforming your position? If so, had you had any/ many false dawns? Did you experiences any crisis of confidence beforehand? What was the closest you came to quitting?

Like I said, I became Editor of Mixmag very early on in my career. I was really dropped in the deep end and there were times I thought I was going to sink. It was hard work back then to be taken seriously by the music establishment. Nobody thought dance music would sell in big numbers. A lot of it was faceless. And just getting airplay on the radio was a huge battle. But, the monster had been created and it was only a matter of time. A never really seriously thought about quitting. If I did it was only fleeting. And once the magazine started to get a foothold, my DJing and production careers had started to take off so it was a very natural progression into what I do now.

What advice would you have for someone starting out as a DJ/ producer/ today?

It’s such a different world now form the one I started off in. But there are still two key elements that will always remain. There isn’t a substitute for hard work. You have to put the time in. To learn your craft. DJing and production are two very different skills and being good at both takes a lot of practice, dedication & patience. Secondly, and I think this is more important than ever now, is social skills. You’ll need an awful lot of luck to get anywhere in life if you can’t get on with people. Making & developing relationships with the right people is an artform in itself and one that’s essential to making your mark.

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