Tag Archives: drumzofthesouth

An Oral History of Plastic People, FACTMAG

Plastic Bar

Skream, Hija, Shona, Chef and others at Plastic People, bar area

7 of my photos of Plastic People, the club that I wrote about here a few weeks back have been published as part of FACTmag‘s Oral History of Plastic People, written by Tom Lea and Nick Wilson (aka Beatnick). Some of the photos had  never really been seen before, like the one above and the one of Skepta and Plastician . The feature tells the story of the club from the mouths of a handful of it’s resident DJ’s, staff and promoters including Erol Alkan (Trash), Seiji (Bugz In The Attic / Co-Op), Alexander Nut (Eglo), Jon Rust, Elijah Butterz and others. It’s pretty extensive and well worth a read. Also included are a couple of photos by Alex Nut, like this bizarre one of soulstress Fatima and a DJ with a cartoon snake wrapped around them. On an aside, congrats to FACTmag.com on their slick new redesign! It’s lovely to see my name in the contributors list, alongside some great people. 🙂


2014 part 3: My year in Photographs.

View this collection of photos as a slideshow:

Music House

or as single images on Tumblr.

Documentaries that I contributed to:

London ‘On a Regular’ from Rollo Jackson on Vimeo.

Coki and Mala (Digital Mystikz) Studio 2004

2014 part 1: life, death and 10 years of… !!!!!!!!!

10 YEARS OF HYPERDUB!!!!!!!!!!!!!!!!!!!!!


My favourite label Hyperdub provided me with my favourite live show of the year and one of the only London night’s that I brought my camera to in 2014 (click on image for the gallery). Which was no mean feat as it involved strobes on an otherwise pitch black dark floor. Check out this guy in the centre, blinded. That was all of us in the room. What you can’t see or hear are the high pitched sounds that accompanied this particular part of Dean Blunt’s compelling and heartfelt set. An immense experience.


I’d like to say a big thank you to Hyperdub for a decade of music that is beyond great. The four Hyperdub 10. compilations that came out this year highlight their varied contribution to the sonic landscape, which includes the aforementioned Dean Blunt, Burial, Darkstar, Scratcha DVA, Cooly G, Ikonika, Kode9 and of course, DJ Rashad and Spaceape, both of whom very sadly passed away this year.

Spaceape Polaroid ©GC

While I reflected on Rashad here, I never managed to post a proper tribute to Spaceape. I none the less felt his passing quite deeply and have been reminded repeatedly of his talent, this year. Most recently, it came up while re-watching the punishingly emotional dystopian epic that is Children of Men (watch it!) , which features his and Kode 9’s Backwards Mala’s John Peel Record Box, closes peacefully with his track Sine of The Dub, again produced with Kode9, but this time under Spaceape’s earlier moniker Daddi Gee.

I was lucky enough to hang out and photograph him, in his different guises as well as his regular (happy and incredibly clever) Stephen Gordon self on a number of occasions. His early DMZ sets and his ability to instill a nameless dread over the chasms of Kode9’s music, is a memory deeply embedded in my psyche and undoubtedly, the collective psyche of music lovers worldwide.  Rest in Peace Spaceape aka Steve Gordon.

10 YEARS OF BLACKDOWN!!!!!!!!!!!!!!!!!!!!

One of the maddest things about Hyperdub’s 10th birthday is that it’s sort of all of our 10th birthdays – all as in everybody that was around on the dancefloors of FWD>> and DMZ 10 years ago.  Ever the torch bearer shining light on the underground, Blackdown also celebrated his 10th birthday this year and wrote a lovely piece to mark it, in which Drumzofthesouth (and the name that Sgt Pokes beset upon me, “Soulsnatch”) got a few mentions. Following the post, there was a nice bit of reminiscing on Twitter between myself, Blackdown, Bok Bok, Dan Hancox and Seckle. All good guys, all involved, all progressing. Bok Bok was on the cover of DJ Mag this year and Hancox published some essential articles about gentrification for Vice. Blackdown himself is forging ahead with success with his label Keysound. Happy Birtday Blackdown.

10 YEARS OF DRUMZOFTHESOUTH!!!!!!!!!!!!!!!!!!!!!!!!!!

It’s funny, that considering that as a photographer and blogger my career is built on sentimentality, I did not manage to get my self together to publicly celebrate 10 YEARS OF DRUMZOFTHESOUTH, which as the story so far goes, “was born in 2004 with Quark and photocopier in Streatham Hill before becoming a blog.”  TRUE STORY. 10 YEARS! Who even knows what Quark is these days? (The above pic is my old bedroom in Norwood where I blogged from). While I’ve been away from the blog a lot, distracted by Trees and crafting stories for FACT among other reputable media, my heart’s still here. I’m still interested in what’s happening underground and even though I often feel old at raves these days, or that I don’t want to take my camera out cos it’s heavy, my ears are still open.

So send me stuff or get in touch if you would like to contribute to drumzofthesouth in 2015, which as it goes will mark 10 years of DMZ (!!!!!!!!!!!!!) And in the meantime, I’ll be posting up a few other bits about 2014, including photos and a “Currently Feelin'” post, which as old Drumz’ readers know, is NOT simply stuff that’s been released recently but stuff that I’ve found and would like to share cos, well, sharing is caring.


In a good place

“I AM everybody…everybody lost their s***” : Metamono @ Bambino’s

*title quote by Lucy L

Despite being reluctant to frequent the pubs and restaurants in the CP triangle (where I work, play, eat, love, give / am given, fight & sometimes fuk myself up) too often, in case the comrades get sick of me, I stayed in Palace last Saturday night; cos the Big Beary Godfather that is Andy Bambino was hosting the Metamono 7″ launch party in his shop and it’s somewhere I’ve never been to at night time and I’d heard that the last one was the boom shizzle and the Metamono guys have been to events at my café and Andy is a café guardian (as well as big beary godfather) and that’s how this community (breathlessly) rolls.

Andy’s a genius, not simply for his capacity to attract people as strange and bewitching as the objects he sells to his world, but also, I’m sure, cos he knows that putting on events and getting people drunk will lead to people wanting some of these strange and bewitching curiosities. (I left with a Metamono badge and a 7″ and have a desire for the bench of red chairs out the front of the shop).

Anyway, here’s the following day’s twitter review:

@Lucy_Lovebird “it’s like an old-fashioned Skrillex” #metamono#Bambinos#crystalPalace

©GC ‏@drumzofthesouth 24 Mar
 “I AM everyone” @Lucy_Lovebird

©GC ‏@drumzofthesouth 24 Mareveryone lost their f***** shit @Lucy_Lovebird I actually lost my cardigan, some brain cells, probably some dignity, you’re like an oracle.

©GC ‏@drumzofthesouth 24 Mar @METAMONOMUSIC Chez @andybambino s last night was INSANELY good

As the above tweet is so entirely true, I feel it’s only fair to expand on this in the form of :




All sound is now available to all musicians everywhere
 (until they’ve acquired Tinnitus)

Music has become a flaccid shadow of the social power it once was (FLACCID? Music, are you actually gonna take that?)

will restrict and limit the sound sources and techniques available to us in order

TO LIBERATE the imagination
(How was your weekend? Well, I had a really good space voyage on Saturday actually”)

TO ECHO the struggle society endures
 (like the echo of an emo artist type drinking testosterone from a bottle…Stelllllaaa-a-a-a Stellaaaaa-a-a-a, Stellaaaaa-a-a-a-a)

Our restraints will be our liberties
(The testosterone will later take liberties with a man by telling him to be quiet (mid conversation) just so you can stare at his handsome face. #feminismgonewrong)

Our limitations will be our aesthetic

We will kick against the pricks
(ooh do you want some help with that?!)


– use a microphone (luddites)

– use digital sound generation or sampling
- (u don’t rate hip-hop then fam?)

– use mechanical sound generation
(are we really all 30-60+ year olds raving in a furniture shop?)

– use digital sound processing (But seriously how are you doing this?)

– make overdubs
(but will put the dub in “so.over.dubstep”)

– be afraid of mono
- (Well I aint afraid of glandular fever either which is just as well cos I’m amorous when I’m tipsy)

– remix
(*looks around guiltily*)


– use analogue electronic sound generation
 (This actually IS the boom shizzle)

– use analogue electronic sound processing
 (is that what the millions of cables are all about?)

– use digital recording and basic editing when no alternative is available 
(just when you have me turning my nose up at digital)

– compose and mix simultaneously
 (& produce the sort of sexy analogue bass a South London bird dreams of)

– build their own or play used instruments (please can you build me a Theremin?)

www.metamono.co.uk  actual Metamono manifesto here: http://www.metamono.co.uk/index.html

There are some great pix by John Barrett here. Drumzofthesouth photos to follow