The Cheap Thrills Lemonade takeover is looking to take our 1^st Birthday to stratospheric heights this Saturday and even though we’re all hyped to see the likes of Hervé and Reset! take to our humble stage, this party is just as much about the fledgling Cheap Thrills talent.

Up steps Baxta, a regular releaser on Hervé’s imprint and venerable protégé of the label boss. His sound touches on everything from jungle and funky to house and his latest EP, Baby Girl, truly shows his developing production skills. We caught up with the blond bombshell that is Baxta for a quick chat before Saturday’s show. He was also kind enough to share his September mix with us.

Baxta – September 2011 Mix by Cheap Thrills Records

For more information on The Nest 1^st Birthday: Cheap Thrills Lemonade takeover with Hervé, Reset!, C.R.S.T., Baxta and White Arrows (LIVE), click here

The Nest: Tell us about the new EP set to drop this Autumn. Did you have a vision for the project before you got in the studio or was it a more organic development?

Baxta: I had a rough idea of what I wanted to do with the EP, I really just wanted to have fun with it. Drawing from a lot of my favourite styles of the past couple of years like bmore, dubstep and fidget and just making tracks I want to play in my sets really.

TN: We’re all eagerly awaiting the Machines Don’t Care II compilation which I believe you’re a key part of. Tell us about the steps you and the rest of the guys involved have to take to put together such a record.

B: It’s a great experience and I’m really proud to be part of the project, I can’t wait for people to hear it. It’s come together really fast and been a lot of fun swapping ideas with Hervé. I think we work really well together, we both work pretty fast so we always have new ideas to play each other and work on.

TN: What’s the Cheap Thrills dynamic like? Do you keep up to date with what all your label mates are up to? What’s it like working with Hervé in the studio?

B: Yeah me and Detboi are good mates, I really like Des’ style and we’ve worked on quite a few tracks together now. As for working with Hervé, it’s been amazing, I’ve learnt a lot from watching him and I’d like to think I’ve showed him a couple cool things too.

TN: Does playing out tend to affect your production techniques? I’ve spoken to a few artists who say they get inspired by other people’s tracks after knowing them inside out through playing gigs…

B: It definitely has an effect. I make tracks I want to play in my sets, but still be able to listen to outside of the club. I like to keep things bass heavy and write good music to go with it. Testing stuff out in the club is always fun, seeing people react to something new like they’ve heard it before is great, it gives you a real buzz.

TN: How was the festival season for you? Did you play any particularly exciting shows?

B: I didn’t get to any festival shows this year, but I’m going to keep working away and see what happens next year!

TN: What have you got planned for the months after the EP drops?

B: I’m going to work on some more Machines Don’t Care tracks, also working on a Klifton Manner EP for Deep Thrills and I’m getting the next Baxta EP ready so there’s a lot going on.

TN: Are you excited for your debut set at The Nest? What’s your ideal kind of club space to play out to?

B: Yeah been looking forward to this for a while now, I don’t usually get nervous about gigs but this one is a little bit different. Playing in front of my label mates? It’s going to be a great night.

As tension builds ahead of The Nest’s 1^st Birthday mammoth line-up on Friday, we thought we’d build on the hype and post a quick chat we had with Melé a little while back. His Starlight EP has recently dropped to warm industry reviews (‘What’s the 411?’ builds up to be quite the dance floor destroyer), and everyone’s still banging on about his older-than-his-years selection skills so we’re pretty excited to welcome the Liverpudlian to our club for his debut set.

There are limited tickets available for this weekend’s events. For more information click here

The Nest: Tell us about the new Starlight EP that’s about to drop on Mixpak. We’re particularly feeling ‘What’s The 411?’, those rhythm patterns are sure to induce some embarrassing drunken dance moves…

Melé: I really feel like I’ve found my sound on this one, something I’ve struggled with in the last year or so. It’s kind of just going back to the things I used to listen to when I first discovered dance music!

TN: I’ve read that Redlight’s is one of your favourite Rinse slots. Has radio and radio culture (pirate or otherwise) been a big influence to you as a producer? Was there much happening in terms of radio where you live when you were growing up?

M: Yeah I suppose it has, especially Rinse! I remember getting into grime around 2005 and listening to Rinse a lot. There was never much happening up here that I’m aware of, I think Liverpool has always had the big drum and bass thing going on.

TN: Have your productions managed to break overseas? I’ve spoken to up-and-coming artists who say sending their records out to America/Asia/Australia etc is the strangest and most satisfying feeling. Have you played out much outside of the UK?

M: I suppose so. I get a lot of love from the DJs over in America but I haven’t made it over there to play yet. I’ve played in Paris, Switzerland, Prague, Belgium and a few others this year which is wicked. It’s dope to go and play my music to a totally different crowd who may not necessary know what’s going on.

TN: If you could live anywhere in the world and play out, produce and party, where would it be? I’ve heard you’re a bit of a junk foodie so maybe that might play a role in making your decision…

M: Haha! Erm, New York I reckon. I’ve always been obsessed with it since I was young and it just looks like an amazing place to live. Plus everyone knows the junk food is next levels over there!

TN: Can we expect an LP from you any time soon? Are you interested in making an album at the moment? Have you got any more plans to team up with the Grizzly camp?

M: Yeah definitely. I reckon I might start one early next year, I don’t just want to do an album for the sake of doing an album though. I’d want to spend a lot of time on it and explore different areas of music I haven’t explored before. Grizzly, yes. Working on that EP right now, we are aiming for the end of the year but I’m rubbish with deadlines!

TN: So you’ll be playing at The Nest’s 1^st Birthday at the end of the month. What’s the best birthday present you’ve ever received?

M: Probably when my mum bought me Spiderman for Playstation when I was about 9, because it’s the only one I can ever remember.

Tucked away in their remote cosmic forest studio, Psychemagik are busy welding together a whole universe of lush, delirious, tripped out audio sonics for their long awaited studio album due for release late this summer.

They found the time to join us for our weekly Lemonade shindig the Saturday before last, and sent the dance floor into the sparkling, metaphorical sonic stratosphere during their set. We were eager to relive the experience (and thought you might be too) so here is a live recording of their set on Saturday 17^th September. Making skilled selections from their vast collection of balearic, folk, live orchestra, afro disco-isms, vocoders, monster beats and funky psychedelic instrumentals, this recording is the perfect aural material to start off your week.

Psychemagik @ The Nest by The Nest

Set to headline our huge birthday bash at the end of the month, Redlight was kind enough to spare the time for a chat with us about everything from radio and rice cakes, to collaborations and carnival. Widely regarded as a wise owl of the Bristol bass scene, Redlight finds a perfect balance between age-old experience and uniquely contemporary foresight in his productions, many of which allow underground vocalists to shine through in spite of heart-stopping kick drums and inherently funky rhythms.

Catch Redlight headlining our 1^st Birthday on 30^th September alongside Melé, Lil Silva, Sampha and Stripes. For more information and ticket links, click here

We’re all eagerly awaiting the next Redlight/Toddla T collaboration to drop. Anything in the pipeline?

Yeah, we’re supposed to be doing something. We’ve got some vocals from a guy called War 21 who’s a big artist in Jamaica. It’s just hard with our schedules; obviously Tom has just dropped his album, and I’m about to do another single and I’m just starting to write my album so with our schedules the way they are, it’s hard to fit in but there is one coming definitely.

How does it work when you’re in the studio together?

We’re very relaxed. Obviously we share a studio, he’s got one room, I’ve got another room.

What if you massively disagree with something? How does the dynamic work as a collaborative duo?

I definitely say something. I’m not doing something I don’t want to do. We’re very different producers like that. [Toddla’s] very easygoing as a guy and a producer so he’ll be more willing to try certain things whereas if I’m not into it, I’m not having it. But that’s why, when we come together, we make good tunes because we have got different strengths and we know about different styles of music. So when we come together, it is always fun because we create something and we push each other in different directions.

How important a platform is Rinse FM to you? I can’t even remember when you first got your show…

For me, I love Rinse. I love what they do. They’ve come up from the underground and have built something which is important and imperative for the British scene. For me, I’m proud to be part of Rinse and have a platform on there.

I do my show every other week. I didn’t start that long ago, I don’t even know. When you’re doing a monthly or a bi-weekly, every month just goes fucking quickly. It was definitely this year.

Do you still actively follow pirate stations?

I’ve been on pirates since I was 15 or 16. Pirates aren’t anything new to me. Obviously, Rinse isn’t even pirate, it’s the first British legal pirate station. That’s the way I look at it. It’s run in a really good way. We’re allowed to play what we want. The best thing about it is there’s no playlist. It doesn’t have to conform. You can play exactly what you want. You can play two hours of the same tune if you want to. That’s what’s so important to me, because it’s all up to you.

How has radio culture changed since you first starting out?

Well it’s different you know. When I was 15/16, nobody had the internet at home really. Pirate stations are a completely different thing now, what with youtube and stuff. We’re in the internet age of information so there’s so many more ways of getting content from youtube or your phone or anything. It’s not just about the FM dial so people are digesting music in a different way. It’s way more accessible. You don’t have to be part of anything to get your music heard.

I hear you’re a big carnival fan. What did you get up to this year?
I played on Sunday night at Cable which was really good, something completely different for me. On Monday we did the Digital Soundboy Stage on Lemington Villas Road and that was amazing. Ms Dynamite was there, Ms Bratt came…

How does it compare to the Bristol Carnival?

It’s completely different. Notting Hill Carnival is the original British carnival. The size of the city, the size of the West Indian community that started it is huge. Bristol carnival is a lot smaller but they are both highlights of my year without a doubt. They’re free, nobody has to pay to get in, nobody has to be on a guestlist, you know, it’s free. You can walk up and listen to some of the best music in England. That’s what I like about it. I used to go there when I was a kid and I was so inspired by carnival. For me that is the best thing about England – the free festivals.

I’ve caught wind of the possibility of a live show from you; is there any truth in that?

I am doing a project at the moment which could go live. I’m not putting together a live show though. If there was the need for it and enough audience for it to happen, then yeah it would happen. It wouldn’t be live but it would be a show. There’s things in the pipeline definitely.

You’re perhaps best known these days for your vocalled productions. Do you approach this work in a completely different way than if you were just doing an instrumental?

Definitely. If I’m just producing an instrumental you can just bang it out and you’re not thinking about melody structure in it. Whereas if you want a vocalist on a certain tune, especially a singer – not so much an MC or someone who’s going to rap, because that’s rapping , it doesn’t have to be tonal. So when you’re dealing with singing you have to make sure you structure it in a certain way with chords and melodies.

Are you self taught in that respect? Or have you had any classical training in a particular instrument?

No. I just taught myself. I wish I did learn more but when I was a kid I wasn’t looking to learn anything really. It’s only now that I’m an adult and I’ve grown up a lot that I’m willing to learn things. But maybe it’s just me, I like going in my own direction. But I would love to pick up the guitar again and learn the piano. I’m working with different people as well who bring different elements to the table which is really nice.

A lot of underground producers I’ve spoken to say it’s almost better to not have that knowledge…

With theory it depends what you’re doing. If you’re just dealing with underground music, you’re trying to not think about it, you’re not trying to be Beethoven. It’s stripped back, under-produced music. But then if you want to be more accessible and you want to go more overground and you want to reach more people, then you need to start thinking about theory because you won’t get very far without it.

Have there been any releases recently that have made you think, ‘wow, I really wish I’d thought of that…’?

I don’t really think of music like that, I just think that’s a big tune. I can think of hundreds of tunes I think are really good, from Rick Ross to Swedish House Mafia to Mosca. Good music is good music, it’s not anything like ‘oh, I wish I made that’ though. Sometimes I’ve thought when I’m in the studio, I’ve wanted to make a tune like this for a long time, that’s what I do find. I’m always like, ‘shit, I’ve always wanted to make a tune like that and I just have.’ That’s kind of more how I think.

Do you get nervous revealing a production that you’ve put a lot of work into, nervous about the reaction it might have?

I get more nervous when I’m finishing a tune because I think I could fuck it up. I think this could be something really good and I might fuck it up now if I don’t think about it properly. But usually the best tunes are made when you’re not really thinking. Good music makes itself I think. You’re in a vibe and you make it and six months later everyone’s like, yeah that tune is big. And you think, ‘oh yeah that’s the one I didn’t even care about.’ And the one you did think about and think is going to be massive, nobody gives a shit about. That is the way it goes, but I think that’s the way it goes with a lot of things in life. If you’re not thinking and just feeling, it’s natural. It’s a natural progression. If you’re forcing it, nothing fucking happens. It’s very hard to be that person sometimes.

What sustenance do you rely upon to get you through those long hours in the studio?

Rice cakes.

Uh for god’s sake, you’re a nuts and berries man?

Dun. Kno. If I wasn’t I’d be fat as fuck. I love rice cakes man. Marmite rice cakes are the one. Cashews. Slow burning protein man, slow burning protein. I need energy food. I don’t need quick fixes, I need long term fixes.

Pre-emptive slow burning protein consumption is going to be crucial ahead of The Nest birthday bash. You looking forward to playing?

The Nest is wicked. Every time I go there I have a good time, even if I’m just going to socialise or I’m going to DJ. Good soundsystem. Loads of people I know live around there as well so it’s always fun to come down there and I can’t wait to play on 30^th.

‘…when there is a groove like that…the subliminal effect is… everyone feels good’

After the unbridled success of the Funk Steppaz launch party back in April that saw Silkie, Louie Slipperz and MRSA bring their unique strain of bass to The Nest, the crew are back for another night of funk influenced electronica. With a fresh line-up and a secret whisper of a soon come Funk Steppaz collaborative EP, the guys are very much on a creative flex and we’re sure Thursday’s event will be one of the more sonically exciting you’ve been to in a while.

We’ve got hold of two exclusive mixes from the FS camp; both Tom Excell and Low Fro lay down a totally different take on the Funk Steppaz sound policy.

For more information on the Funk Steppaz event this Thursday, click here

So last Friday 2nd September saw the distinctive yearning vocals of Robert Owens that have held such presence in over two decades of dance music descend upon the humble Nest. The night achieved that rare hands-in-the-air euphoria that stays with you long after the lights go up, with Robert taking over the sound system for a 4 hour strong mix of live, violin accompanied vocals and journey through house selections.

The brains behind Kate Boss have kindly given us over an hour of Robert’s performance for download. Probably the most exciting audio you’ll hear all day, we suggest you get your download on. It’s got at least half of the magic that the live event exuded, but that’s good enough for us on a Thursday afternoon…

Robert Owens Live At The Nest by The Nest

In Flagranti are not afraid to make unadulterated dance floor fillers. With the same inherent loopiness they’ve been known for over the years and a percussive, yet intricately melodic disco groove, their formula is always on point. Their production technique is like a long distance relationship, with loops, edits and finished products flying across the Atlantic between the duo’s USA and Europe based studios. They’re on a DJing flex at The Nest this Saturday, so we thought it would be real nice to have a quick catch up with them before the show…

The Nest: Hi guys! Really excited about your set at The Nest this Saturday. What you up to? Where’ve you been? Who’ve you been seeing?

In Flagranti: Hello there. I am at my studio most of the time, been touring a bit in the Americas in spring early June and last weekend I saw my mum.

TN: Do you feel freer and more open doing a DJ set rather than one of your live shows? Which do you prefer? Are there different senses of satisfaction to be sought from the two performance mediums?

IF: Either way, both of the mediums give me a chance to play and hear music, which is essential. When DJing I get the reaction of the crowd from the tracks i play, which are mostly finished tunes, and I pay attention to what works… when doing a live set I get the reaction from people to the individual loops and sounds. A lot of the music we put out came from ideas while doing a live set.

TN: What’s your studio dynamic like as a pair? How does it work with you both living in different countries? Do you have different strengths in terms of production that come together to form a finished product?

IF: We never worked in the studio together. When alex moved from NY back to Switzerland in
early 2002, that was the time when the internet became fast enough to send larger files faster. So he started to send me sound files that he recorded from vinyl and I would then chop up all the samples into loops, sounds effects etc… After coming up with a track I would send him back what I’d done. Sometimes Alex would make an edit and send it back again or with some additional samples… until we both agreed that it was dope.

TN: Your latest album Worse for wear has been celebrated for its beautifully orchestrated melodies. Do either of you possess any classical music training? If so, do you see it as a help or hindrance when it comes to electronic music composition?

IF: Neither of us has any classical training. I’ve played guitar and drums since I was a teenager but have not practiced in a long time. I think ideas for us now come more from listening than playing.  There are so many reference points from all the years of listening to music and technology makes it easy now to put the ideas down.

TN: You place quite a lot of emphasis on the visual especially when it comes to music videos. How far does your art transcend the audio realm?

IF: It’s complimentary.

TN: Is designer lighting important to you in clubs and other gig spaces you perform in? Do you feel like the visual aspect of you performing on stage can help influence the reception of your music?

IF: I think lighting is very important to any nightclub. The lighting can totally complement the music to create the vibe you desire. For us when we project videos, i think it puts the whole In Flagranti sound into perspective.

TN: You said in a recent interview that what interested you when you first heard the Italian “cosmic” music sound in the early 80s was that the beauty was found in the mixing, not the individual tracks and recognising them. Do you take this approach in your own DJ sets? Do you try to build your sets as a whole product, rather than a selection of tracks mixed together?

IF: Yes, I didn’t really care about the track listing, i wanted that mix… Tape # 14. I think my approach is still the same. I don’t pick a record to play because the crowd will know the tune, I pick a record according to the vibe or energy I want next.

This Thursday sees the launch of DJ Krust’s latest brainchild, music imprint Rebel Instinct. Previously known for his game changing drum and bass productions including the Coded Language LP and the seminal 90s track, ‘Warhead’, Bristol born Krust’s focus has shifted in favour of championing a new generation of sounds and artists. With the mindset to release only the most engaging, timeless and unique material, while heading up the workshop and mentoring project ‘Music Mastermind Tour’, Krust is dedicated to keeping the scene bubbling with exciting output. The Rebel Instinct launch is set to bring the bass on Thursday with a heavy-weight bill of up and coming artists in the realms of drum and bass, experimental hip hop and downbeat.

His studio set up has stayed virtually the same for the past 20 years, but Krust welcomes the advent of the digital era in that his week-long stints of sampling, arranging and mixing have now been reduced to a matter of hours. This fact seems to speak for his current outlook on the scene; maintaining musical integrity, taking his craft ultra-seriously while staying impressively open-minded to the changing pace of the drum and bass sound.

Rebel Instinct with DJ Krust, Benjamin One, Mark Day, Square Wave and Mr Toots is not to be missed this Thursday. Check out Krust’s latest mix for Loopcast for a little of what to expect on the night.

Loopcast 01 – Krust (DJ Mix) by loopmasters

Sheffield born duo Shake Aletti have been churning out credible pop bangers with a nu disco twist for a few years now. After touring with early label mates, Fenech Soler, playing the BBC Introducing stage at Sónar last year and remixing the likes of Tinie Tempah and Ellie Goulding, Shake Aletti’s stock couldn’t be higher.

Their latest single, Inside Out, on Moda Music is all warm synths, bouncy bass and intricate percussive lines, and the video features a lovely collection of dancing super babes. It’s definitely one to check out, and will probably leave you eager for future album and single material planned for the end of the year. We caught up with the Shake Aletti ahead of their live set at this Saturday’s Lemonade to talk disco, vintage hardware and the art of DJing…

The Nest: Hello Shake Aletti! How’s your album coming along? Any stand out tracks you’re really excited about? Is your sound taking an interesting new turn?

Shake Aletti: Hey there! Yes indeed, we’re putting the album together at the moment! It’s nice to be in the studio so much. We have some amazing stuff; we’re really hyped about it all really. I think we’re looking to put out another single before an album though so eyes out! The music will always have the same routing, but yeah, I think its maturing a little recently. We’ll never lose the cheek completely though.

Shake Aletti: Inside Out (Toy Tigers Remix) by itsmodamusic

TN: I’ve heard you’re vintage hardware geeks. How does your dedication to such a studio set up influence your production techniques and the overall sound?

SA: Yeah, hands up we’re utter geeks when it comes to audio equipment.  It’s not to be snobs about it, it’s just what we like. It’s the feel and sound of old equipment, which can’t be replicated with software. It’s funny, we had a guy come into our studio the other day who was a techy at Real World Studio’s back in the day. He was like a kid in a sweet shop looking round at our kit saying he hadn’t seen half of it for years. I think most things in our studio are older than us!

TN: You played the Radio 1 Introducing stage at Sónar last year; was that a defining moment in your career? Most artists I’ve spoken to who’ve played the festival say it’s one of their fondest memories…

SA: It was epic.  It’s maybe the biggest crowd we’ve ever played to, and the reception we got was amazing. I can confirm the fond memories!

TN: Your name is famously inspired by disco legend Vince Aletti. What other disco/soul legends would you say have influenced your music from day one?

SA: Rodger Troutman has to be maybe the biggest influence in the beginning. He is, for me, one of the most creative and original music makers of all time.

TN: What’s your preferred music to party to?

SA: It depends what mood we’re in I think! We love such a varied selection of stuff, and most of it can be partied to… Our Pajama Party mixes are a pretty good cross section of what we like, new and old.

TN: Your Pajama Party mixes are pretty popular. Do you enjoy DJing as much as performing a live show?

SA: Yeah we love to DJ. In some ways it’s better than doing live shows. It’s far less hassle, and you get to play what you like. It will never be the same though as the buzz you get from actually performing your music and getting a great reaction.

James Murphy gives an amazing quote on the Soul Wax DVD about it. He says that all DJs should have to be in a touring band for at least a year in order to fully appreciate what it is they do! True words!

TN: Slightly morbid, but let’s say your gig at The Nest on Saturday was the last party you’d ever play as DJs. What five tracks would you be absolutely compelled to drop?

SA: Wow. Luckily we’re playing live! Well, if it was the last ever party we’d play then we would have to play whatever we liked, and not care whether it was current or not.

Five definites would be…

Zapp & Rodger – I Can Make You Dance

Wasabi – Real Fonky Time

Skee- Lo – I Wish (don’t judge us)

Grace Jones – Slave To The Rhythm

Hall & Oats – Out of Touch