This year at We Love… saw the first of a new and very special collaborative series with one of British house and techno music’s most prolific figures Paul Woolford. Paul has been conducting a string of back-to-backs with a host of new friends (Hessle Audio's Ben UFO, dub experimentalist Untold to name a few previous) culminating in this Sunday's B2B with Apple Pip’s founder Appleblim.
Ahead of all of that we sat down – virtually you understand – with the ever evolving legend for a quick fire q&a about all the above plus we've been handed an exclusive remix he's laid down for Bang Gang available exclusively for download… nice little Friday morning warmer isn't it…
You're a longstanding friend of We Love and have been playing for them for years, but this year you've partnered them in bringing the break-through bass/house crossbreed to Ibiza. Did you feel like you guys were taking a big risk when you set out at the beginning of the season?
Not particularly – the media will waffle on about genres until the apocalypse comes but ultimately the artists I chose to bring into WeLove were people that I knew would work alone anyway – we are not reinventing the wheel here. Ben UFO, Laurie and Jack Dunning are all playing various hues of house & techno music amongst other things, basically the more interesting edges of it all. This is why I connect with them and it seemed logical to bring them in to WeLove. There are also other artists that you could bracket in a similar way that WL have booked this summer such as Cosmin TRG and Scuba, but the reason why they are now viable to somewhere like WeLove is that they are all playing house & techno for the most part these days. I don't think booking these artists is a risk, it's progress.
As part of the season you've run a series of back-to-back specials in which you've gone b2b with Ben UFO, Untold, Appleblim All well-established in their music circles, but perhaps considered fresh faces on Ibizan and indeed We Love turf. Why did you chose these acts to represent the new bass angle for We Love?
I chose them because first and foremost they are friends, secondly I respect what they do musically, and thirdly I knew they would bring something interesting in their selections, as indeed they always do. I have to say that Mark Broadbent completely trusted my judgement and went with the artists I chose which was vital, his involvement made this happen as much as my own.
What have you wanted to achieve with this series?
My aim is to keep it interesting without gimmicks – let's not beat around the bush, there is a massive amount of pedestrian bullshit fodder passing for "dance music" and there is a whole load of people just feeding this because it lines their pockets – good for them but meanwhile in the world of those of us that actually give a fuck, it's important to keep it interesting.
We've heard reports that it's been quite surreal to see people at Space getting so excited and immersed in the quite heavy bass sound that's being brought, for example you and Ben UFO in the main room at Space. Are you pleased with the reaction?
Yes although it must be said that some of the best moments have been hearing records that I would never associate with that cavernous room initially – which is the beauty of a B2B – you cannot plan, you can only know your records inside out and go with the flow. In terms of the actual room itself it's definitely my favourite environment in Space, and the system is a killer. It's a pleasure to play on that system.
Have there been any stand-out shows or moments for you at Space this season?
There have but we are only half way in, ask me at the end.
Do you have a sanctuary on the Island where you hide from loud music and crazed party-goers?
Cala Xuclar in the North is a winner, some of the clearest water for swimming and there's a small shack where you can have a bite to eat, I can fully recommend it.
Moving away from Ibiza! You recently techno'd up Moderation by Lightyear for Motorik. Were you a fan of the original beforehand?
I could hear the potential in the track but it wasn't something that I would play. Sometimes an irreverent approach is a healthier one and that proved to be the case here.
The label trusted me and communicated better than most during the entire process – they knew they weren't going to get a "standard" mix and their enthusiasm fuelled me, it's always a two way street.
A while back Motorik bought the rights to Bang Gang's Moderation and set about to find the finest men of techno to tweak, adjust, and distort it. Here for you, exclusively is a download of Wooly's interepretation… mmmmmmm.
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