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Hot Since 82: “Those are the moments when people really let themselves go in a club”

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Hot Since 82 has been the single hottest act to rise through the ranks in house music this year; interestingly though, he’s been around for a fair while longer than people might realise. Leeds-based producer Daley Padley has a history in DJing and production that goes back nearly 15 years, with early successes taking him as far afield as residencies in Ibiza. 

The classic house sound that defined his early career ultimately led to him disconnecting, as his passion for the music waned. However, the creative fire was reignited several years ago when he was lured back by the charms of underground house and techno. Hot Since 82 was born.   

It’s not hard to understand why he’s stood out so much in 2013. Padley’s sound is an extremely polished variant on modern tech house, though the appeal comes though from how direct, punchy and laser-focused his grooves are; it’s underground house engineered for the big rooms. And it was showcased to full effect on his Little Black Book release; an album/compilation fusion that came packing with a fresh stash of Hot Since 82 peaktime destroyers that have crawled their way into the record boxes of a vast number of DJs.

As Padley himself puts it (though without even a hint of cocky self-assuredness): “Guy Gerber plays them, Sasha plays them, Steve Lawler has played them. Pete Tong plays it. I can’t think of any DJ that hasn’t been playing at least one of the records”.

When Data Transmission speaks to Padley, he conveys an air of relaxed contentment, as an artist who’s achieved what he has just by doing what comes naturally; rather than via any kind of calculated path to fame. “All I can say is that I’m in a very, very good place. In my career, financially and personally as well. That’s something that money can’t buy,” he said.

Data Transmission finds out more about the massive year that’s been had by Hot Since 82, and what he’s got coming up in the next 12 months including his hotly anticipated performance alongside Sasha and Ellen Allien for Last Night on Earth at London’s Brixton Academy this New Years Eve.   

What’s your schedule like at the moment?

Thursday I was in Madrid, Friday in Edinburgh, Saturday I was at the Warehouse Project, and Sunday I was in Dublin. I got home last night and I’m pretty exhausted. It’s been like this for a good year now. The problem is this weekend I partied a little bit, so it took it out of me [laughs].

It’s all happened really quickly, but at the same time I’ve been doing this Hot Since 82 thing for nearly three years now. It started off quite calm and gradual, but the past year has been pretty mental. I think the key is to keep plugging away, and just to keep making good music. I’ve never had a secret formula for taking over the world or anything like that. I’ve just been looking to keep the momentum up with putting good music out there.

Your history as a DJ/producer goes a bit further back, though the adoption of the Hot Since 82 alias marked somewhat of a transition for you?

I’ve been playing music for 14 years; I’m 31 at the minute. And I got into playing house music, the classic sound of Kerri Chandler or Roger Sanchez back in the day. It was only around 2004 when I first went to Circo Loco in Ibiza that I started getting into more underground sounds. Deep house, tech house, techno especially. So I had another couple of years playing my classic sound, but I was listening personally to techno and going to techno clubs, while still making more of a classic sound in my productions. And it just got too much at the end of the day. As you get older as well, your sound does mature, and I’m a big music guy anyway, I’m just a music head in general. And I just wasn’t enjoying the music I was making or DJing anymore, and I’m the kind of person where if 100 percent love is not involved, then there is no point.  So I took a couple of years out, found a new sound and then here we are now.

Continued on page 2

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