Wild Water Preview

What a fantastic time was had as our first film Wild Water was previewed as part of Hebden Bridge Arts. We were blown away by the reaction and made us very excited about releasing it in the Autumn. Topped off, how else but a windy Sunday morning swim at Gaddings Dam to blow away the celebratory hangovers with director Ben Davis, producer Pete Jenkinson and editor Jo Dale.
Follow us @wildwaterfilm


Flash Atkins threw a weekend long shindig at the wonderful Barbary’s in Calderdale, West Yorkshire. House party positive vibrations a came from Huw Costin (Torn Sail) live, Chris Maude, Craft Ale and Record Society, Léna C, Miles Hollway and Paper’s Flash and Massey went toe to toe with Manchester’s Supernature. Sunday wound the party slowly down with CP (Inkfolk) and The Duende Collective.

Roll on next year!


Out The Box: Justin Robertson

We’ve got a bit of a different take to our ‘Out The Box‘ feature this month as we welcome the self-professed ‘DJ, Painter & Musical Arranger’ Justin Robertson. A long standing friend, comrade and consistent peer for us here at Paper. An effortlessly amazing DJ and all round creative soul whose recent debut novel ‘The Tangle‘ has been described as a trans-dimensional trip into the mysterious knot of nature, a journey into the ‘brilliant darkness’ where the timeless divine spirit of the ‘Tangle’ weaves its spell”. We asked him to be part of ‘Out The Box’, of which he has delivered a mini-novella about his time spent in Kensal Green cemetery and the many notable souls that reside there. Gothic & beautiful in equal measures.

Justin Robertson, photo courtesy of Nicholas Ball

Once the strobe light has ceased its incessant chatter and the dry ice has been sucked back into the lungs of the great rave God, I like to spend my time with an entirely different crowd of people. The dead. They are no less enthusiastic. Some are definitely up for in depth conversation or an intriguing tune, it’s just the medium of delivery that’s different. It’s more of a psychic link into the underworld, a silent connection, a posthumous mind meld. Rest assured here in Kensal Green cemetery there is a constant cultural carnival going on beneath the London clay and behind the walls of the carved stone tombs. I have made a lot of good friends there.

Kensal Green Cemetery, photo by Nicholas Ball

Just inside the gates that open up to the crematorium, the hum of the Harrow Road blends into the chatter of bird song and the creaking of old trees whose roots drink deep from the charnel well. Foxes, mice, rats, and the dead. This is their village. The rest of us are just tourists. The most curious residents are the flocks of bright green paraquets who have made the graveyard their home. Liberated from the cruel cages of pensioners they have formed a colony that brightens the grey branches and gives the cemetery an almost tropical feel. Close your eyes and you could be in a Brazilian rain forest.

Willkie Collins, photo courtesy of Justin Robertson

The dead have no need for asphalt. Though there are one or two paved roadways that carry the hearses and mourners’ limos the most interesting routes are down the muddy rutted paths. This is where the dead live. Some of my best friends reside alongside these claggy tracks. Willkie Collins the author of the Woman in White is usually one of my first ports of call. The novel was his fifth book and definitely my favourite, a tale of patriarchal skulduggery in 1850’s Britain, a classic by anyone’s standards. If I’m stuck on a plot line then Willkie is more than happy to lend a hand from his modest stone mausoleum. Just across from Willkie Collins, passed the tomb of Charles Blondin the famous tightrope walker you come to the magnificent porticos at the rear of the central chapel, the setting for several films and photo shoots of a gothic and horrific persuasion. Last month I watched a crew filming what appeared to be karate vampire hunters dispatching a horde of the undead on the steps of the chapel. They were later spotted, still in full make up, enjoying a ploughman’s lunch at the nearby Mason’s Arms, a pub which is itself often the scene of many horrific nights of self-abuse and acid house zombie raising. The supernatural arts are exalted in NW10.

Mason Arms, Kensal Green

In the shade of a venerable old tree to the left of the chapel entrance is the simple but massive grave of William John Cavendish Bentinck Scott Fifth Duke of Portland, an eccentric noble who put down roots in the cemetery in 1879. Celebrated in fiction in Mick Jackson’s wonderful 1997 novel ‘The Underground Man’, also known as the mole Duke, he spent the family fortune constructing a vast network of underground passages under his estate at Welbeck Abbey, large enough to accommodate a horse and carriage he took to riding to and fro under the estate grounds in the middle of the night. He also trepanned himself for good measure. I make sure to say hello when I’m passing though he seldom gives me the time of day.

Harold Pinter, Photo courtesy of Justin Robertson

Down the central boulevard where some of the most splendid tombs are located you can call on a variety of ex Imperial scoundrels and capitalist exploiters whose names are largely forgotten despite the grandeur of their homes. I tend to give them a polite but cursory nod as I seek out more nourishing company. Two of my favourites for challenging conversation and literary inspiration live just off the central avenue. Firstly, the grave of J.G Ballard foremost writer of the late 20th century. The poet of the suburbs. The grand duke of dystopia. The man who gave voice to the horror behind the twitching curtains. The author who made the concrete, steel, and exhaust fumes of post-industrial Britain shimmer with menace. The author I’d most like to be. Harold Pinter lives next door give or take a tomb or two. The master of the pause… The dramatist who conjured the comedy of menace from the gaps. We often laugh about how absurd it all is.


Further down the road is the grave of Ras Andargachew Messai of Ethiopia son in law of Emperor Haile Selassie right next to the grave of my next-door neighbour’s dad. Get to the fork in the path and hang a right you’ll find William Makepeace Thackery author of Vanity Fair. His grave could do with a good scrub if I’m honest. He often complains about it. Carry on down that same path which runs parallel to the canal, and you will hear the sound of good times vibrating through the soil. Even in the silence you can feel it. Even in death the sound will never die. On a modest mound lies Count Suckle UK reggae sound system pioneer. Next to him Count P, who ran a Kensal Rise based system and was one of the first soundmen of Asian descent. This corner of the yard contains some of the cemetery’s most lively characters. I’m always sure of a warm welcome as I wander by.

Count Suckle, photo courtesy of Marcus Painter

Take to your wings and fly above the graves, look for the anke cross on a black tombstone. You have found the simple but stylish resting place of Ossie Clark couturier to the stars and decadent prince of the King’s Road in the swinging sixties and flamboyant dystopia of the 70s. He always advises me to loosen my look up a bit, though he generally approves of my berets. On the way back home, I bow to the genius of Ian Loveday, electronic pioneer and the producer known as Eon, resting next to his pianist mother Ruth. His grave is shaped like a marble record. It’s kind of beautiful. I can hear him making machines sing as I leave the morbid housing estate, waving at my friends as I go. Adieu. But they are not really there. They are everywhere.

To Her, photo courtesy of Nicholas Ball

The graves are just symbols. Random markers where flesh turns to bone and life is reborn from the rot. The dead never die. I know because I’ve met the dead. Some are truly lovely. Some of them are assholes. As in life so in death. But death is just a change of state from something you can meet down the pub into something that you can meet anywhere. The dead are everywhere all at once. Pub, hearth, heart. You are never lonely with the dead, everyone I have ever known and loved is still here. Some people I had never met in the flesh are now my best friends. We meet regularly in this magical spot. Kensal Green cemetery. Just another address. A spot on a map. But under the earth and in the air the dead are having a blast. It can get pretty crowded in the saloon bar of the hereafter but unlike most nightclubs you don’t have to shout to get served.

Justin’s website is HERE

Support his writing: The Tangle by Justin Robertson

Wild Water – Official Trailer


Paper Vision Films is thrilled to release the first trailer for its forthcoming feature documentary in partnership with homelessness charity Crisis. Wild Water is a dive into the cold water swimming community at West Yorkshire’s Gaddings Dam, home to the highest beach in England.

What drives somebody to swim in a freezing reservoir, and what do they find on the other side? The film tracks the landscape and the people as they use the restorative powers of cold water to reconnect with their mental health, identity, nature and each other.

Wild Water

Out Autumn 2023.


Screening, Partnership & Distribution enquiries: @wildwaterfilm

Press enquiries: @margaret_london

Screening, Partnership & Distribution enquiries: pete@paperevisionfilms.com

Untitled – The Wild Kiwi Army

The good people at Untitled have interviewed and got mixes from our Kiwi cousins.

Out The Box: Tina Edwards

We’re jumping back to ‘Out The Box’ with more interesting chatter from a fellow music head about what they get up to when not fully immersed in the crazy world of music!

This time we welcome music journalist, broadcaster and DJ Tina Edwards. Whether playing for Boiler Room or Worldwide FM, Tina perfectly joins the dots between jazz & club culture with her appearances at some of the finest festivals in the UK and abroad. And…as if that wasn’t enough, she works as a broadcaster, presenting radio shows for British Airways, Jazz FM & BBC Radio 3.

We caught up with her to get the lowdown on a few things we should check out…

Any books/publications you have recently read?

I’m a big reader. I’m slowly working my way through Temperament by Stuart Isacoff. At the moment, though, I’m favouring magazines over books; my go-to’s are WIRED, WeJazz – a Finnish magazine focusing on Jazz, and Monocle; its take on culture and politics is so refreshing; you really get stories from all angles without bias. And I’m a sucker for the ridiculous puns in the headlines. It’s my cup of tea.


Are there any films watched you’d like to share with our audience?
I love a good film, but recently, I’ve been at gigs and the theatre way more, mostly small productions and comedies. I’m a big fan of comedy improv and see at least a couple of shows a month. I saw a friend perform in Paradise Now at The Bush Theatre, which stayed with me for days. An amazing show! Gig-wise, I love to see what’s on at 91 Living Room, GROW Hackney and Barbican.

How about places to eat?
My favourite place to eat out is Camberwell, South London. There’s some low-key restaurants with big ideas and flavours; there’s a humble little spot called Falafel and Shawarma, which will make the most delicious and perfect wraps you can imagine! I spent a day in lockdown trying to recreate them. My absolute favourite restaurant is Farm Yard in St Leonards on Sea.

Falafel and Shawarma, Camberwell

Places to visit/go on walks?
I live in Croydon, so I’m fairly close to some beauty spots like Box Hill and Farthing Downs; those are gorgeous places to walk and get lost in. I often go to Wellcome Collection and The Tate; creative people do a lot of “output”, so I look at creatively stimulating days out as “input”.

Ways to spend a Sunday?
I’m a bit off kilter; as a DJ, I make my weekend Sunday-Monday, so a Sunday feels like a Saturday to me, whereas on a Monday, I usually have a chilled one. Providing I haven’t gotten in at 4 am from DJing the night before – I start my Sundays with a UK Jazz dance class hosted by an incredible Japanese dancer, Masumi Endo. Then I’ll stay in town for a gig or a comedy show with my mates in the evening.

Catch Tina Edwards DJing at her jazz dance ‘Love Is Everywhere’ with special guest Rebecca Vasmant on 17 March in London.

Gig Tickets, Mixcloud, Tina-on-the-Web

Tina Edwards


Paper Talks to The Secret Soul Society’s Cal Gibson

Cal Gibson

Cal Gibson, The Can Do Man of  The Secret Soul Society

Once a writer for Muzik, Jockey Slut, IDJ, and The Face and being part of Neon Heights, Cal Gibson is the one man Balearic wrecking machine whose workflow is the kind we all wish we had!
Under his guise as ‘The Secret Soul Society, ‘ he has released four incredible sun soaked sounding E.P.’s on Paper and on labels further afield where his chopped-up reworks take on a whole new life of their own, and we’re massive fans.

His latest release, ‘Oh People’ is out now on Paper, and we caught up with him for the lowdown…

1. Big thanks for being behind such an incredible release (once again!) with ‘Oh People’. You seem to be one of the most prolific music creators we’ve ever had on Paper. Can you give us a rough rundown of your workflow and process?

First off, it’s an absolute joy to be releasing on Paper: it has been such an integral part of my musical journey stretching way back to the days of ‘The Book’ and Dirty Jesus – it’s never put out anything but absolutely top class underground dance music. I think these days I’m quick workwise because I’ve been doing it for so long: if an idea isn’t working pretty much straight away then it gets binned – the days of beavering away for months on tracks are no more. For me now it’s all about fun and enjoyment and the love of music: it really only matters if you like what you are doing – if anyone else likes it then great, if not no worries – it’s about the process of making the art more than anything else. It’s a collage of soft synths and samples, basically, with occasional guest muso appearances from peeps if I can get hold of them, if not then my rudimentary noodles have to make do. Keep the mistakes in, keep the wonkiness in, mess around and have fun. Fun being the key word. Music as therapy. Creation is all. We’re not around for long – try and enjoy it.

2. There is some really clever use of samples throughout your work. Do you go deliberately digging for things to use or do you have a pile of records in waiting collected over time?

A bit of both: I’ve sold most of my vinyl, but there’s a fair chunk still kicking around, waiting to be repurposed. And then there’s the vast dystopia online where everything and nothing exists at once, and our minds are reshaping themselves as we speak. Squish it all together, and voila. I do recall Jonny Trunk saying how much he loves getting lost in a good loop: something you can spin in the headphones for hours and hours – I tend to be that way inclined. I then usually spoil the loop by plonking squiggly noises over it. Job done. The best ideas are always the simplest ones – one great hook, sample, vocal, guitar lick – and then try your best not to mess it up.

3. Tell us about your current studio set-up?

Streamlined to the point of not being there: on the table sits a laptop, MIDI keyboard, couple of guitars. Currently enjoying Arturia’s Minifreak softsynth and the Surge free download. Less choice often leads to more creativity.

4. It’s quite a unique yet familiar sound to your work. Are there any producers or styles you draw influence from?

I respect anyone expressing themselves artistically in any format. Art, literature, music, philosophy: these are the cornerstones of a life well-lived – when you couple them up with a ton of love, of course. Anyone creating and presenting that creation to the world, with all the knockbacks and ego-bashing that entails, then yes, I’m right with you, amigo. Hate hate and love love. Anything left of centre and quirky tends to find favour in our house: today, let’s go with Gilberto Gil, Yabby You, Husker Du, Mahlathini, Space Ghost, Airto, Guy Maxwell and Duval Timothy.

5. Lastly, what is your favoured studio snack of choice when having a long day at the controls?

Bucketloads of diet coke, sadly. Not good, but hey, you do what you can, right?

Thanks, Cal x

Great review below from Juno on ‘Oh People’ – check it out HERE.

Once something of a UK deep house and downtempo mainstay thanks to his role in Notts outfit Neon Heights, Cal Gibson has quietly set about building up quite a catalogue with his latest project, The Secret Soul Society. ‘Oh People’, the latest TSSS outing, offers a neat summary of the collective’s various influences, inspirations and developing trademark sound. For proof, check the drowsy, loved-up sunrise shuffle of opener ‘Boo Boo4 Sure’, the Beatdown-goes-ultra-deep-house bliss of ‘Oh People’, the Rotary Connection-with-electronic-instruments dreaminess of ‘Stay’ and the unashamedly saucer-eyed Balearic pop warmth of ‘Sooner or Later“. JUNO Review Feb 23

Out The Box: Jason Boardman

A DJ, promoter, artist manager and most recently label manager, Jason Boardman lives, breathes, sleeps & drinks the good tonic music! He has been a pillar of the Northern club scene for nearly three decades and is part of the Paper family, having released on the label as part of Truant and Tribadelics on our Paper and Repap imprints. His DJ resume reads like a Yellow Pages of brilliance with appearances at legendary sweat pits like The Electric Chair and Bugged Out.  He was resident DJ at Manchester’s ‘acid out’ disco night Yellow alongside Dave Haslam and a backroom pilot at superclub Hard Times in the 90s and 00s. But it was his Aficionado parties alongside Moonboots where he cemented his reputation. Originally a Sunday night party for after the after-party, it became a byword in Balearic excellence, spinning off a record label of the same name. Today he is the selector of choice all over the North, bringing his deep record collection to life behind two turntables. His ‘Before I Die’ label is one of the most exciting & forward-thinking labels to appear, and the collab parties with SK1 Records are fast helping cement Stockport as ‘the new Berlin’.

Jason Boardman

Jason Boardman


Annoyingly and unnecessarily retitled Underbank’s for marketing purposes, this is a ten-minute trip from home for me; I have history here, having initially worked here from 1980 for Joe Moss and Janet Aynge at cult clothing store Crazy Face, my first job as a teenager, and it’s nice to see how its redeveloped recently. SK1 Records is undoubtedly the best Record shop in the North West, and I should know, having visited most of them, Joe and Gareth have created a beautiful community hub and some legendary street parties! There are lots of cool independent businesses here, The Spinn Off next door to SK1 is a friendly bar, and then there’s Plant Shop, All Night Flight, Rare Mags, Wineboy, Old Town General Store and some top places to eat, Mekong Cat and up the steps the marvellous Columbian Cafe San Juan.

SK1 Records, Stockport

SK1 Records, Stockport


Our consistent go to is Sugo in Ancoats, and I really cannot recommend it highly enough; pretty sure Germaine and I visit every month; it’s a Southern Italian Pasta Kitchen, and the specials are always on point, as is the House Sugo, a nice place to eat, drink a jug of vinho verde and watch the world go by if you get a window seat. I’m also obsessed, like most Mancunians, with Rice & Three, the staple workers’ lunch of the Northern Quarter. My top three are Café Yadgar, Café Marhaba and This ‘n’ That.

Sugo in Manchester's Ancoats district

Sugo Pasta Kitchen in Ancoats


I’m currently reading ‘Totally Wired – The Rise & Fall of the Music Press‘ by Paul Gorman, who also assembled the amazing ‘The Wild World of Barney Bubbles: Graphic Design‘ and the ‘Art of Music‘. I’m not really a fiction person, so also in my current reading pile are Chris Blackwell’s, ‘The Islander’ and Trevor Horn’s, ‘Adventures in Modern Recording‘.

Paul Gorman

Paul Gorman

We recently went to see Aftersun at Home, which really blew my mind; so much to unpack and being a father to two daughters, it resonated with me.

I also recently watched a fantastic Korean film, ‘Memories Of Murder’, a serial killer thing based on a true story; I highly recommend it. My favourite films are Escape From New York (What a cast), The Warriors (teenage heroes) and David Lean’s ‘Great Expectations’.

Aftersun – 2023

As many will know, I’m a complete music obsessive, always on the proverbial perennial hunt for the perfect beat. I’ve recently fallen back in love with reggae and all its subgenres, so I have been listening to many dub sides.

My Current 5
1. Lee Perry – King Scratch Box Set (Trojan)
2. Om Unit – Acid Dub Studies Volumes I & II (No Label)
3. Dubkasm – Enter The Dub (Mad Professor Mix) (Dubkasm)
4. Adrian Sherwood Presents – Dub No Frontiers (On U Sound)
5. Fire (Feat Adrian Sherwood) – Fire (Salgari Records)

Paper Talks to Liam Fairclough pka Aniso Topics

Aniso tropics is indeed a busy fella!

As well as making some pretty outstanding (and bloomin’ unique!) spaced-out cosmic wonky electronic music, he & his partner have just welcomed their first baby into the world! Luckily we managed to grab a bit of time with him in between feeding & nappy changes to get the lowdown on his studio sessions & what goes into his productions…read on!

An obvious one to start but where did the name Aniso Tropics come from?

The name derives from the term Anisotropy, *commences Wiki copy and paste* – “….is the property of a material which allows it to change or assume different properties in different directions.”

A couple of boffin friends who work in physics and chemistry have picked up on the connection. For me, however, this term was discovered via Anisotropic filtering, a feature synonymous with graphics settings in PC gaming; a method of enhancing images and textures on surfaces in relation to distance. I liked the idea of splitting the term into two: juxtaposing Aniso which sounds quite cold and mechanical, with Tropics, conjuring a feeling of nature and warmth.

Your productions have a lot of elements happening in them whilst retaining an element of being stripped back & quite minimal too, where does the inspiration come from in hour creativity? Are there any specific environments or artists you draw on?

I love this description as it’s exactly the kind of vibe I aim for, so cheers! I’m not really one for brand loyalty but I’m a bit of a freak for Ableton. I approach my productions like a sketchpad, creating a big palette of loops, chopping and changing over and over until I really like the stuff that sounds good together. This could take anywhere from days to months, the actual flow and automation of the finalised track comes right at the end and usually just takes a day or two. I think this is where the feeling of many elements happening in a stripped back vibe comes from. I tend to add lots of elements and then pare them back, sometimes quite far into the distance, for the final mixdown.

With regards to influences, that 90’s/early 00’s Warp Records stuff was my gateway drug into off-kilter electronic music. The likes of Boards of Canada and Future Sound of London made me realise a world could be created in the mind’s-eye with just a pair of headphones. I actually got into electronic and experimental music quite rapidly from my mid-teens, falling asleep every night to ambient stuff like Brian Eno. Head nodding to video games in the day with (in my opinion) the golden era of soundtracks, those mid/late 90’s Japanese productions which had heavy influences of ambient jungle/techno and acid jazz. Ridge Racer Type 4 and Street Fighter III: 3rd Strike immediately come to mind.

It was when I started to go to club nights in my 20’s that my horizons broadened outside the electronic sounds and seeing the likes of Mr. Scruff and Gilles Peterson opened me up to a world of music past and present. I love all that rare groove, disco and afrobeat stuff and that’s the kind of thing I tend to play when out and about DJ’ing in bars. Also, a big fan of German Kosmiche Musik from the 70’s, bands like Kraftwerk, Can, Faust, Cluster, Tangerine Dream etc. My track Ferric Bias was heavily influenced by this style.

In terms of contemporary influences, I have to give a shout to Lone and Space Dimension Controller. Lone clearly grew up in a similar era to me with loads of nods to those 90’s ambient flavours and his recent productions are especially lush and layered. Space Dimension Controller knows his way around an 808 like no other and has this minimal sound filled with tons of space and reverb from which I really take inspiration.

Keep an ear out for a relatively new kid on the block, Tom VR, a great producer starting to get his props from the likes of BBC 6Music and Luke Una.

Have to say thanks to you guys at Paper too for the Northern Disco Lights documentary, it’s one of my all time fave music docs and I think the track Lubek especially has a flavour of that Norway disco sound. Was especially buzzing to release my tunes on Paper off the back of this.

There’s always a very solid & tight sound to your tracks, what is your studio set up and do you have any official training or education or have you just jumped in feet first & found your way around?

No official training or education per se however music production has been a staple in my life for over half of it! Big props go to my dad who nurtured and encouraged this hobby from my early teens. He’d bring home these big old IBM machines and music software from his work in educational IT, loaded with old school tools such as Sound Forge and ACID (the Sonic Foundry era) which opened a gateway to manipulating waveforms and samples. Huge appreciation goes to Music 2000 on the original PlayStation too, my first foray into using a DAW (you could even sample from CDs in the PS1 itself, genius!) I still have tons of semi-finished tracks made over the past 20 years or so on old hard drives, sadly the PS1 memory cards are long dead!

My dad also knew Martin Price, the founder of 808 State, and I went around his house a handful of times in my late teens to record vocals and hang out. He’d have this huge stack of big box VSTs and an iMac with Pro Tools in his living room and would tell stories of working with Bjork and crazy worldwide tours. I didn’t quite realise the gravity of 808’s influence on many artists I love back then, so it’s pretty mad looking back in hindsight!

In my early to mid-20’s, I ran a not-for-profit record label called Retronym with my mate Lee Ackerley. We would scour MySpace and fan forums for bedroom-made music we loved from around the globe that harked back to that Warp Records/IDM/Ambient style sound. We would release stuff for free download with an optional pay-if-you-like model with 100% of funds going to the artist, around the time Radiohead made it popular. The label kind of died out with the advent of Bandcamp, and artists being able to release stuff themselves.

Here’s a couple of artists I’d highly recommend who we had the pleasure of releasing on the label:

Boreal Network: https://borealnetwork.net

Cilocub: https://cilocub.bandcamp.com

After the label phased out I decided to re-focus my energy on my own productions and conceived Aniso Tropics. I’ve actually pared back my setup quite a lot over the past few years, no longer clogging up my DAW with tons of VST’s I never use but investing in a handful to fully master and utilise to the fullest. Big shouts go to Valhalla delays, Arturia synths and XLN XO which has revolutionised my beat-making. Also for me, the Korg M1 synth will never die, those crystalline 90’s pad sounds go into most of my tracks. I use my MicroKorg an awful lot for both sampling and MIDI input, and an AKAI MPD for beats and sample triggers. I sometimes throw some of my old guitar pedals into the mix too. Ableton has been my ‘bread and butter’ DAW for a good decade or so now.

As well as becoming a dad really recently (congratulations Liam!), what else is next on the agenda for Aniso Tropics?

Thanks! I’ve got a few more almost finished tracks in the pipeline, these may end up as another EP or time permitting (looking at you our wee new boy Oscar!) a full-length release. I’ve been dabbling into recording my own vocals for the first time in a long time, so expect some more personable releases in future. I’ve also been formulating and tweaking a setup for potentially playing my stuff live with room for improvisation. I also took a bit of a hiatus from regularly DJing to focus on production and using that precious time outside of full-time work. Chomping at the bit again to be out there playing tunes for folk though, so I’ll probably get back on that train again soon enough.

Fun one to finish off, do you have a specific studio snack or snacks which you always must munch on when working on music?

Knoppers Nut Bars from Aldi! They’re kinda like a Starbar crossbred with a Kinder Bueno. If I went off the rails and ended up driving to Dundee in my bare feet, these would be my crux. I also recall being at the height of creative writing the track ‘Lubek’ in the midst of a Wasabi Pea high. That pleasure/pain of delicious sweetness followed by a burn behind the eyes from munching too many at once really got the juices flowing.

Connect with Liam on his Insta. 

Check out his Lubek release on Paper

Lakeshouse – Ban Ban Ton Ton Interview

Oslo’s Lakeshouse did a great interview with the Balearic Bible, Ban Ban Ton Ton. Topics cover include Cosmic Disco, studio set ups influences and all things Norway.

Buy the EP on Bandcamp.