Oddio Factory – The Prophet Video

Sounds of a Parisian style are the flavour on this release from the duo known as Oddio Factory. If house music with a touch if the cinematic is your thing, then this one delivers in spades. The Prophet boasts full on throbbing low-end action alongside some serious John Carpenter style Arp work and pads in the breakdown. Sci-fi house and disco with a stop off at Baldelli’s Cosmic Club is where it’s at.



Robodisco – 1999

We have unearthed some rare footage of Robodisco in 1999 and it is the time Soane tore the roof off Planet K. The Paper crew were out in full effect, with a few early doors liveners in the Briton’s Protection before hitting the venue where Erik Rug warmed up and Soane took over… things get hazy from there.

There is also footage of the after party but it’s probably best left in the archive. Trumpets were involved.


Soane – Big Daddy – OUT NOW: https://paperecordings.bandcamp.com/a…

Paper Talk

Paper Talk launched in January 2021 is now well under way.  It is a long-form podcast with Paper’s Ben Davis chatting to his musical heroes and friends about their careers and finding out what makes them tick with lots of conversational meanders along the way.

#1 – Bill Brewster

#2 – Colleen ‘Cosmo’ Murphy

#3 – Christopher Kirkley (Sahel Sounds)

#4 – HiFi Sean

#5 – DJ Paulette

#6 – Justin Roberton


Episodes drop every two weeks so Like and Subscribe on your favourite podcast provider.

Paper DJ Tag Team # 2


The Paper DJ Tag Team #2 has landed.

3 tracks each, mixing into the previous DJs to create a non-stop, disco dancing & boogie enhancing alternative take on the live stream. Selectors this time round come in the form of Chris Massey with a few celeb pals who don’t move much, BB & Richie V from their very own Supernature Disco rave den then Anoraak drops the heat from his studio which will make you salivate over his synth collection! Homoelectric banger queen Gina Breeze lays it down from her loft studio with a UV tinge, Mix-Stress knows that all the best parties are held in the kitchen & drops bangers by the sink, we just about catch a few sights of Reeta & her red handbag whilst she mixes up a storm then Indigo Jung come at us live from their sauna which must be broke as they’ve got coats on. Finishing off the mighty Flash Atkins brings it home with a full on family dance off featuring friends from multiple boroughs.

Best of Paper 2020 – Flash Atkins Mix

While 2020 has been a massive shit sandwich with no ketchup, its been a great for music and let’s not forget that the orange lunatic got told to pack his toys and move on….see ya.
Its been a vintage year for us too us too as Paper Wave got in to its stride with brilliant albums from Popsneon, Stubb and The Secret Soul Society along with a flurry of downtempo beauties. Paper Recordings signed their first African artist in Camblom Subaria and the US represented with Mr. Tea, ThrillHammer and Ryan Kick. Paper Disco knocked it out the park with Anoraak, James Rod and Trash The Wax Vol. 8 while Denmark and New Zealand went head to head with Kennedy and Jahn Solo.
Flash Atkins dusted off his controller and blended it all for this end of year mix to see in to 2021 where we’re headed for the light. And just wait to see what we’ve got lined up for 2021….ooooooooooooooft!
Paper x

1. Sirius Rush – Water (Popsnen Mix)
2. Stubb – We Are Launching feat. Jane Weaver
3. The Secret Soul Society – My Exstasy
4. The Secret Soul Society – Don’t Walk Away
5. Coyote – The Igigi Gods Dub
6. BOM – Moon of Endor
7. Picotriopico – Threescodisome
8. Martin Wold – Elixer
9. Anoraak – Fire Inside (Emperor Machine Maxi Edit)
10. De L’Ivresse – Field River
11. From Beyond – Planetary Groove
12. BOM – The Day
13. 2 Billion Beats – Beats of No Nation
14. Jahn Solo – It’s My House
15. The Secret Soul Society – In The Dark
16. James Rod – Belong City
17. Mr Tea – Dramatic Entrance
18 – Popsneon – This Town Forever
20. Coyote – Finally…House
21. Ryan Kick – All That We Do
22. ThrillHammer – Heart Throbbing Lover (Synthe Tigers Vocal Remix)
23. Danny Russell & Ronald Christoph – Future’s Gonna Get You
24. Kennedy – Who Rocks 89
25. Stubb – Haven Wood

Stubb – The Love You Once Regret feat. Charlie Sinclair Video

The fantastic video for Stubb’s The Love You Once Regret feat. Charlie Sinclair (Sylvette) was made by the super talented animator Caleb Riley.

Based around an ancient tree spirit with nods to Studio Ghibli and Pan’s Labyrinth, it is a comment on the Climate Emergency and how trees offer solution and salvation. Charlie Sinclair brings the soul to the epic, cinematic song and make sure you hold tight for the soaring chorus at the end.

Taken from the album Stubb – Canopy.

Get it on Bandcamp – https://stubbed.bandcamp.com/album/ca…

Paper DJ Tag Team

Since lockdown the concept of online clubbing has taken off, often with unsatisfactory results. We like watching the back of a middle aged-man DJing in his laundry as much as there next person but the novelty has worn off now. Clubbing is about interaction, fun and being in the moment so in that spirit, here’s the “Paper DJ Tag Team”.

We asked our friends and family to film themselves playing three tracks, continuing on from the previous DJ in a digital back to back. It begins with Flash Atkins warming things up in his kitchen followed by Ed Mahon rocking his man cave, who knows what Leon Sweet is doing but by God he’s having fun, Danny Russell digs deep in Berlin while Leeds’ most finest selector Reeshy rocks a disco fuelled by a large glass of wine and dancing shoes. Crazy P’s Danielle Moore has her own loft party, Hot Toddy needs to tidy his room and Kimo performs musical surgery. By the end the night its peak time, roof raising scenes as Kim Lana and Julie Wills are in full party mode in what could well be day two of a three day rave-a-thon.

A new concept in clubbing?

Probably not.. . More fun than you can shake a light stick at?

Most certainly!

The July Paper Wave Radio Show featuring Akibar Jnr, Crazy Penis, Sonic Boom and Todd Terje

No celebrity interviews and no retrospectives just aces high music from around the world that covers drone to soul and afro-funk to Digidub. There’s a track from Sonic Boom’s first album in thirty years, an exclusive first play of a Flash Atkins’ edit of Lovelight and album of the month from Vibration Black Music.

1. Crazy Penis – Do It Good
2. Martin Wold – Elixir
3. Vibration Black Finger – Acting For Liberation Pt 1
4. OSHUN – Solar Plexus
5. Tenesha the Wordsmith – The White Folks Can’t Call Me Nigger
6. Elsa Hewitt – Kevlar
7. Etienne Jaumet in Dub – Ma revelation Mystique (Etienne Goes Dub Mix)
8. Coyote – The Igigi Gods Dub
9. Mac & Party – Harambe
10. Akibar Jnr – Sore
11. Antibalas – Amenawon
12. Janka Nabay – Build Music
13. Sonic Boom – On A Summer’s Day
14. Zap Mama – Babanzele
15. Vibration Black Finger – Soul Fire
16. Loure – Heavyweight Sinner
17. Lewis Taylor – Lovelight (Flash Atkins Edit)
18. Mr Fuzz – Briefcase
19. Kraak & Smaak – Pleasure Centre (Turbito Extended Remix)
20. Todd Terje – Jungelknugen (Four Tet Remix)


Memoirs from Norway’s underground dance pioneers: Andy Swatland #7

Travelling around Norway in the Spring is an amazing experience and my trip was made all the more special by being based around hookups with the key movers and shakers from the start of the country’s house and disco scenes. I was lucky enough to touch down in Oslo, Bergen and Tromsø as well as many weird and wonderful places in the surrounding areas.

I travelled with Ben Davis who was directing the film we were working on, which was being formed from interviews with the key people from the dance scene plus Paper Recording’s label artists such as Those Norwegians. We were also curious about the country, its geography and people and how they influenced each other. This film had a working title of ‘Northern Disco Lights – The Rise and Rise of Norwegian House Music’. During that month we spoke to as many of the DJs, producers, promoters and radio stations as we could and decided to publish these best bits that sum up the trip, the film and our findings.

Andy Swatland was manager of Rocky Platebar [record shop] in Tromsø, he now lives in Kristiansand, Norway with his family. 

Where did you first get into electronic music in the UK or Norway and how?
I had been travelling as an international DJ for about 3 years visiting Denmark, Germany, France, Luxembourg and my agent asked if I fancied gigging in Norway? It sounded like fun, so I agreed and ended resident DJ for a club called Jonas which was based at the SAS Royal Hotel (now the Radisson). A friend of mine ran a small record/video department in Tonofoto AS who moved to Tønsberg and recommended me for his position, I then became a resident of Tromsø.

Rocky Platebar Record bag

Rocky Platebar Record bag

Where did you buy your dance imports?
As a DJ, I was surprised how behind the Norwegian record stores were regarding new, trending music and saw a business opportunity. I got in contact with a wholesaler in Manchester called Streetbeat and started importing 12” singles. These were pretty much non-existent in Tromsø. Streetbeat had all the latest stuff such as Depeche Mode, Human League, Japan, Scritti Politti, Duran Duran and Frankie Goes to Hollywood plus the latest remixes. Some albums were released earlier in other countries (e.g. The Smiths, The Cure, Yello), so I imported these as well. I also imported ADDA DJ cases for the DJs, all of whom used to get their vinyl from me. At Rocky’s, Per was a regular customer, as was Rune.

What radio station/shows were people listening to?
Pretty much the only radio station at the time was Radio Luxembourg. I did a couple of gigs with Tony Prince & Mark Wesley from the station while in Denmark. Student radio took off and I had a two hour Saturday show for a called Rocky Radio to help promote my shop; Rocky Platebar (Records).

What genre was the most popular, disco, house or techno?
Disco was mainstream, while Techno and House were more niche genres. Per and Rune, both great guys and were pioneers in Tromsø and were on the cutting-edge of electronic dance.

Per Martinsen buying tunes in Rocky's Platebar, Tromsø

Andy Swatland’s record shop Rocky’s Platebar circa 1988, can you see Per Martinsen?


These excerpts were taken from a Facebook Messenger interview conducted as part of the research for the Northern Disco Lights feature documentary film.

© Paper Vision Ltd (Pete Jenkinson/Ben Davis)

Recorded on a Zoom H2.

Transcribed by Fingertips, Louie Callegari and Tongue Tied.

Memoirs from Norway’s underground dance pioneers: Hans T. Zeiner-Henriksen #5

Travelling around Norway in the Spring is an amazing experience and my trip was made all the more special by being based around hookups with the key movers and shakers from the start of the country’s house and disco scenes. I was lucky enough to touch down in Oslo, Bergen and Tromsø as well as many weird and wonderful places in the surrounding areas.

I travelled with Ben Davis who was directing the film we were working on, which was being formed from interviews with the key people from the dance scene plus Paper Recording’s label artists such as Those Norwegians. We were also curious about the country, its geography and people and how they influenced each other. This film had a working title of ‘Northern Disco Lights – The Rise and Rise of Norwegian House Music’. During that month we spoke to as many of the DJs, producers, promoters and radio stations as we could and decided to publish these best bits that sum up the trip, the film and our findings.

Hans T. Zeiner-Henriksen is Associate Professor, Department of Musicology at University of Oslo

Hi Hans, how are Norwegians regarded by the rest of the world? I think we’re seen as a safe area of the world, calm and safe, a bit outside. Our economy is very good it’s an expensive country because of our oil resources so it’s an easy place to be.

Do you think the discovery of the oil changed how Norway thinks about itself? Well yes, it’s been a long time now since the oil, we started getting oil resources and during these years we have kind of grown from being similar to other European countries to have this strong economy. Especially in the last decade, we don’t have any economic problems.

Do you think it’s affected Norwegian creativity? Yes, if you grow up in a country in a situation where you feel that things are going to go well, you don’t really have to stress too much to survive; it’s then that you can move into more creative work.

Do you think Norwegian music has certain characteristics? That depends on what you label on each music because it comes in a lot of sizes and a lot of shapes. I think if you consider Norwegian music as Norwegian folk music then it will have different instruments, the Hardanger fiddle which is local to Norway. The music that you would play on that instrument has travelled from other countries and been influenced by other cultures. Classical music was important at the end of the 19th century and so it was important for building the Norwegian identity. We said goodbye to Denmark and then Sweden and became our own nation. It was important that we had not only the music but the literature, the theatre, all the things that became an important part of Norwegian-ness. At that time, it was considered that this music was Norwegian and that it has something that is specifically Norwegian about it. A lot of us, growing up in Norway would consider classical music as very Norwegian, maybe because we had already heard it played alongside landscape footage in films. We have also heard it with Norwegian fairy tales and those connections are very strong. When you refer to Norwegian Jazz or popular music it’s difficult because there are so many influences and today you can just switch on your device and get the whole world into your living room.

Why do you think Norwegians have such a strong connection to nature? We have a strong connection to nature, especially my generation. There’s an understanding that the nature of Norway is beautiful, and you should use it, go on Sunday walks, have your vacations in the mountains in your small cabin, go skiing, of course, all Norwegian’s go skiing! I’m not sure if it’s the same with the younger generation but it’s part of our society and important to our culture.

Do you think there’s a connection between nature, landscape and electronic musical sounds? I feel there’s a connection between the landscape and the music, we have album sleeves with photos of the landscape, so the connection is understood. You can kind of connect snow, cold ice with sounds that are similar. For example, if you have an echo, you can have a warm echo. If you add a lot of reverb to it, you create a sound that is a warm echo, but you can also have a cold echo, it’s less reverb and the sound will be brighter. So there might be elements already present in the music but sometimes you have to imagine these connections into the music because if you just listen to music without any kind of understanding, knowledge or photos it’s rare that you would hear these connections. You can see the connection in artwork, titles that will have some association with nature and the landscape. And of course, music is very much about movement and then you have movement or a drive forward. There’s rhythm and you feel there’s kind of a movement. You often set this movement in some sort of landscape.

FEEL THE FJORDS: Urban club culture and Arctic scenery in the music of the Norwegian duo Röyksopp.

FEEL THE FJORDS: Urban club culture and Arctic scenery in the music of the Norwegian duo Röyksopp.

Do you think there’s a Tromsø sound that has been formed by its landscape and geography? I think there are many other influences in Tromsø’s music as well as the natural ones. Tromsø is a coastal area so there’s not permanent ice there the whole time. It’s not like Solvær, an island near the North Pole, Tromsø is more Arctic than Oslo. You have sun, snow, ice and the ‘northern lights’ and a connection to natural experiences when you live in Tromsø; to what extent that has directly influenced these musicians it’s hard to say.

Why do you think Norwegian producers are so collaborative? In Norway, you’re don’t compete too much, and in the schools, it is not very competitive; we’re busy trying to make people work together and collaborate.

How important to Norwegian music is national identity? Identity is important for everybody everywhere. We are proud of our country, nature and landscapes. I think some of the electronic dance producers felt that they were on the outside. They didn’t live in Britain but were influenced by the music and urban sounds that they heard from there. It’s a kind of collaboration between these different identities. There is a very strong sense of wanting to be culturally cool or hip in the dance music community. It was very important to be one of the hipsters or VIPs jumping the queue and getting into all the cool places in Oslo’s club culture during the nineties. This is important when you talk about identity, it is false to be hip and cool. Norwegian nature and landscape are not really that cool to Norwegians. For example, when they are portrayed in a British magazine they would say ‘Feel the Fjords’ or the ‘ultimate chillout’ linking directly to the connection with nature in Norway. In this sense, artists may feel pressure to connect with the environment or even fight against it. Maybe you can see a sense of irony in many of the photos where they present themselves in the natural environment in an ironic way?

Norwegian music seems to have a sense of mischief and humour. Why do you think that is? Maybe some of the same reasons. Mischief can be used to show that you don’t think things are that important or I’m not struggling to make a success in somewhere, this is just something I do for the fun of it. This is just a part of it, but I think the ‘cleverness’ in making good dance music is much more important. The production of tracks with good grooves and melodies are more important elements in becoming a success.

What is it about Norway that is considered ‘exotic’ to the rest of the world? I don’t think it’s that exotic to grow up here. We are on the outskirts of central Europe. Of course, there are the clichés about living in Norway, the country life, the snow, the cold winters but now we have warm houses and it’s not that awful. Norway’s ‘exotic’ label is also created abroad when (music and culture) journalists write about Norway, it’s a way to start writing about Norwegian artists. As a journalist it’s difficult to write about music, for instance, how are you going to talk about the ‘sounds’ of the music? ‘ It’s easier to start with something specific and Norway has mountains, ice, snow, dark season and Tromsø being so far north, it has all of these.

How important do you think Röyksopp’s Melody AM was for global recognition of Norwegian dance music? We must go first back to the eighties and A-ha’s breakthrough with ‘Take On Me’ and ‘Hunting High and Low’ was also very important for Norwegian artists. It showed that it was possible for Norwegians to make it in the US, England and the rest of the world. After that, quite a few Norwegians artists were successful international in places like France, Japan, the Philippines and other exotic countries. For example, in the late nineties, Röyksopp and Kings of Convenience (Röyksopp in 2001) were successful in England and globally and this inspired Norwegian artists. It’s difficult living in remote locations but when artists are successful it presents an opportunity; recently we had Ylvis, ‘The Fox (What does the Fox Say?)’. It shows that there are new ways of distribution, online or YouTube to make your start. You don’t have to travel to England or contact with a British record label to be promoted, now if you have something good you can go for it on your own. ‘Melody AM’ was released at the right time and showed that dance music can be taken into a different place. For example, the track, ‘Poor Leno’, it’s very danceable, but it also has very strong melodic themes. ‘Eple’, uses sampling techniques in a cool way, taking a tiny piece of improvisation and making something fantastic out of it. The album was very creative and did fun (mischievous) things with samples and the music. It had great grooves and strong melodic themes and brilliant vocalists such as Anneli Drecker and Erlend Øye who sing on ‘Poor Leno’ and ‘Remind Me’.

From where has Norwegian music absorbed its wide range of influences? Growing up in Norway, we only had NRK Radio which did not play very much popular music apart from the Top 10. We had a strong economy and disposable income and we’d buy our own records. My local youth club held a disco every Thursday where I learned to dance to disco music, club music that came a few years later. We bought records and spent a lot of time at each other’s houses listening to what we considered good music. Everybody has their own [formative] listening experiences with music. This is enormous to the artist and producers, every different tune they have listened to during the years growing up; that creates identity. You can explore that identity to a much deeper level. I didn’t know very much Kraftwerk before I got into club music and then I really got interested also in them, exploring their early releases. In Norway, we had the record stores and we had friends who also had records!

How is homegrown dance music regarded by the establishment now? The national broadcaster NRK or cultural politics did not support dance music back then. They play it but they generally supported Norwegian classical music composers, folk music and jazz and acoustic singer-songwriters that sang in Norwegian. While people that made pop music, sang in English or worked in the dance music scene was not supported but they did have tracks broadcast on radio. There was lesser national interest around the success of Röyksopp or Todd Terje, compared to classical music, jazz and other events that are considered culturally important for Norway.

How do you think Norwegian music has evolved from the 70s?A-ha were important, their synth-pop music was produced by programming synthesisers. We must go into the nineties before something really exciting happens and it came from Tromsø. It started with Bel Canto in the late eighties, who was Geir Jenssen, Anneli Drecker, and Nils Johansen. Geir Jenssen went on to become Biosphere.  There were a lot of artists and electronic music producers coming from Tromsø such as Rune Lindbæk and Bjørn Torske. It started the style of dance music that is famous today. When Röyksopp released ‘Melody AM’ it opened it up for other artists, then came Hans-Peter Lindstrøm, Prins Thomas and Olle Abstract and now Todd Terje.

How influential do you think Bjørn Torske has been? Bjørn Torske has been influential when it comes to using Norwegian track and album titles. His name, Bjørn Torske, Torske means cod (the fish). So, he’s given himself an artist name which Norwegian people think is fun. I think he encouraged the use of Norwegian words in this way, for instance, why would Röyksopp call a song Eple? It’s the traditional Norwegian name for a fruit. There’s probably a link to the Bob James album (with an Apple on the cover), from the sample used in the track? The band name Röyksopp is based on a Norwegian word with a Swedish spelling.  It’s means mushroom. The ones that blow smoke if you step on them.  It’s small, white. I think it’s called a puff mushroom in the UK. There might also be an association with magic mushrooms as a drug. You step on it and something amazing comes out!

Röyksopp and Todd Terje seem to have the most success internationally. Do you see similarities in their music? It’s easy to state the differences. Todd Terje is much more instrumental and seldom uses vocals. While Röyksopp use more vocalists. Similarly, they both use strong melodic themes paired with good grooves and beats that you can follow with your body and dance.

Why do you think Norwegian electronic music has a strong affinity with disco? We grew up dancing to disco music, and maybe coincidentally, but somewhere along the line people started to explore this connection. House music has a connection to disco music, such as with the fun, the irony and outrageous clothing of disco, which also connects to being mischievous.

Can you hear Norway’s influence being reflected by international artists and producers? I hope that our influence has been great melodies and grooves that evolve.

DJs seem to be very open-minded here, why do you think that is? Because we are outsiders? If you’re in the centre of cultural activity you’re more worried about what’s right or what’s wrong. We can explore different landscapes with nobody telling us how to do it.

Tell us about Röyksopp’s ‘Poor Leno’ video? It’s very traditional Norwegian at the beginning when they fly over landscapes that are very mountainous and head towards the sea surrounded by Arctic coastal landscapes, few houses, lots of skiing. Then you have this person, Poor Leno, but it’s not a person, it’s a strange creature with hipness and cool. Leno longs to go back to the mountains and it can, of course, be understood as a link to traditional Norway.  It’s not clichéd, and it’s cool to still have connections to Norway and it’s the environment. Musically, there’s one specific part that builds up, almost like going up the mountainside. Then suddenly it’s like you have come to the top of the mountain and see the amazing view; there are definite metaphorical associations between the music and nature in the video.

Do you think Röyksopp have a strong sense of melancholia? There is an element of melancholia but if it’s specific to a Nordic sound I’m not sure. They do use minor chords which are also used in deep house productions which they might have been influenced by.

These excerpts were recorded and transcribed with some parts of the interview being used in the final print of the Northern Disco Lights feature documentary film.

© Paper Vision Ltd (Pete Jenkinson/Ben Davis)

Recorded on a Zoom H2.

Transcribed by Fingertips, Louie Callegari and Tongue Tied.