INPUT | Julio Bashmore, Huxley, Justin Miller with Thomas Schumacher and Corey Baker
74 Wythe Avenue
New York, NY, 11211
This event is 21 and over
Ever since 'Everyone Needs A Theme Tune' on PMR Records stormed the scene early on in the year, Julio Bashmore has been at the forefront of Bristol's electronic army. An artist who has expertly fused his city's bass roots with a deep appreciation for the classic house sound, Bashmore consistently imbues his productions with tangible emotion without losing sight of the dancefloor. The notable 'Batty Knee Dance EP' on 3024, was followed by Futureboogie's inaugural release 'Father Father feat. Javeon McCarthy' back in April, with a number of stand out remixes for the label as well as the huge remix of 'Into The Valley' by Classixx. Bashmore has been an unstoppable force on the global circuit endowing his sets with a vital eclecticism that was showcased in his mighty contribution to the ubiquitous Essential Mix series on BBC Radio 1 at the end of the year.
Julio may have appeared to burst on to the scene in late 2009, but the lead up to the Julio Bashmore EP for Claude VonStroke's highly influential Dirtybird label was essentially a lifetime in the making. Siphoning the tastes of his older brothers through hip-hop cassettes, Julio's interest in electronic music began in earnest after hearing Daft Punk's "Da Funk", which was handily around the time that turntables arrived in the house via his elder sibling. There was something Julio warmed to in the typically French approach Daft Punk and Cassius took to house music composition, and his earliest vinyl purchases reflected this. Aged 14, a battered old PC and a copy of Reason became Julio's very first 'instruments.' He later experimented with synthesizers and guitars, playing in bands for a brief period, but by the time he was old enough to experience club culture first hand, Julio had made the realisation that DJing was the true vehicle in which to deliver his music.
Perhaps indicative of Bristol's fascination with low-frequencies, Julio began to gravitate towards the bass- indebted sounds of the Dirtybird label. After spending considerable periods of time sharpening his mixing and productions skills, Claude VonStroke's label tellingly signed an EP's worth of Julio's material for the Julio Bashmore EP. This breakthrough also meant a difficult decision: on the cusp of leaving for university Julio decided instead to remain in Bristol and install production and DJing as his primary focus.
What happened next is the reason you're reading this. Night Slugs, Ten Thousand Yen, PTN, Dirtybird, fabric and Soul Motive were among those who housed Julio's early productions/remixes—and this list of forward-thinking labels seemed fittingly representative of Julio's future-facing output. But what is it about his sonic approach that has created so much fever around the name Julio Bashmore? It's difficult to say exactly. But bounce to blissed-out Garage of "Footsteppin", lose your shit to his Mosca remix, or turn out the lights for "Batak Groove" and you'll realise, simply, that it's just something you feel and with 3 cuts on Jessie Ware's highly anticipated debut album (including 'Running' and '110%'), a Radio 1 show as part of their INDJsWT brand and fresh music for his newly imprinted label Broadwalk Records on the horizon, 2012 is shaping up to be and even bigger year than the last.
Hard earned respect from your peers is a rare commodity but Huxley, aka Michael Dodman, has it in spades. Since his late teens he's been producing, seeing initial underground success as a garage producer before his sound partly mutated towards a deeper, house-based sound in the past few years. Collaborations with old mate Ethyl for the then hot-as-hell Cecille imprint in 2009 showed a producer receiving massive support for what instantly seemed like a fully developed sound.
Since then, Huxley has delivered releases for an enviable roster of labels (Tsuba, Morris Audio, Fear of Flying, Hypercolour and 20:20 Vision for starters) and has stayed true to his robust, bass-led strain of house music that reflects his formative interests in UK and US Garage, with critics, punters and peers lapping up each release and remix. Whether veering towards deeper vibes alongside Ethyl on his own Saints & Sonnets imprint, turning in cast iron grooves for Tsuba or full vocal barnstormers like his lauded 'Let It Go' single for Hypercolour early 2012, there's a clearly defined but pliable and versatile sound to Huxley productions that marks him out as a truly talented producer.
As a remixer, the Tring (Herfordshire, UK) man is hugely in demand, turning his hand to major label talents with as much flair and skills as he does underground cornerstones like Like Burridge or Maya Jane Coles. Completing the picture is his Djing – another perfect string to his bow that sees him tour his open minded and deftly programmed music selections in clubs and festivals across the world on a weekly basis.
Going forward, there's more of the impeccable same and more than a smattering of surprises on the way from Huxley. Singles for his tight knit group of labels (he just describes them as 'mates'), more collaborative projects with the likes of Sam Russo and Ethyl, production projects for vocalists (he's not naming names) and carefully chosen remixes are all on the way and, if anyone who has heard recent sets for Rinse FM and Fact Magazine will know, more on-point DJ sets that span house, garage, techno and beyond.
Justin Miller is a quintessential New York City DJ. Mixing the classically cool with the always-cool and the brand new, he's a selector whose tastes spread across best of techno, deep house, and disco new and old. Part of that diversity likely comes from his tenure as DFA Records assistant label manager and sole employee for seven years, guiding the seminal NYC label through one of its most fruitful periods. With artists including LCD Soundsystem, The Juan MacLean, Hercules & Love Affair, Still Going, Benoit & Sergio, Runaway, Canyons and Walter Jones, a diverse crew of disco-leaning artists, Miller helped to establish the best of the best in modern dance music as part one of its most respected and influential imprints. He's a proudly interactive DJ, feeding off of the crowds he plays to a self-proclaimed goal to "hypnotize," and his prominence is only likely to increase. Having recently left DFA to start his own label HAKT Recordings, the new imprint will see releases from like-minded artists as well as debut productions from the man himself, as he begins to focus more on his own career after helming one of the most formidable juggernauts in dance music for almost a decade.
Sun, April 26
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