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Lewis Boardman


Lewis Boardman is a rapidly rising DJ and producer based up in Liverpool, where he is a long standing resident of Circus and part of the team that runs Chibuku Shake Shake and The Shipping Forecast. As well as an ever growing DJ career that includes dates at Global Gathering, the Warehouse Project and recently, ADE, he is also a fledgling producer that has released on stellar imprints such as NRK and Tiefschwarz’s Souvenir records.   So you’ve been a big part of Circus for the decade it’s been active. Did you know the guys beforehand or did the hook-up come once they had started? No I had never met them before, but I was a huge fan of Yousef from his Cream residency. Me and my mates would sneak into Cream with fake ID and literally be the first people in the Annexe, week in, week out.   We’ve read elsewhere Yousef was a big inspiration for you when you first got into house music. Did you see him at Cream or any other clubs before Circus started?Yeah he was a massive inspiration and still is in many ways, I thought you had to be from the US to be a real house DJ like Sneak or Sanchez, but all that changed when I walked into the Annexe on Bugged Out’s birthday and saw this guy Yousef rip the place apart. And he wasn’t from NYC; he was from Crosby     You must have seen some highlights over the years with Circus, and clubbing in Liverpool as whole. What’s your relationship with the city like and how important has it been in shaping you as a DJ and producer?Through Circus I met Rich, and he introduced me to his other club night Chibuku. And through Chibuku I have exposed to no only so many different styles of music but so many different people from all walks of life. Liverpool’s underground club scene is also and always has been really vibrant, and through it I have made some great new friends and useful contacts. So all these things combined have shaped the music I make and the music we book into our venues in the city.   How has the transition to Circus London gone, and do you see many differences between the two crowds and scenes?Northern crowds are more up for it but London crowds have the staying power, I think we left The Egg around 8am last time I played!   As well as the DJing you’ve recently been making waves in production. Is the style you have when you DJ very much the same for music you make? Do you tailor your sound as well for each individual label?It’s very much what I’m into. I try to make the type of music that I would not only play out but that I’d hunt down in a record shop. How seamless was the process of getting into it; was it difficult at first finding your style?I struggled for many years, I went to college to learn about sound production and was asleep for most of that course because it was so boring, I then struggled on with Logic for years but as soon as I got into Ableton things started to move a lot quicker. I know Logic sounds better but in terms of usability Ableton is the program for me.   And in terms of style, I have always been into all forms of house music. From deep slow weird Peace Division type stuff to Loco Dice style bumpy tech house and more recently techno thanks to new emerging producers such as Blawan.   How did the signings come about with the labels you’ve worked with?Most of them it’s just an email with links to private tracks on Soundcloud, but it’s not really that easy. Relationship’s with labels or DJs take time, for instance I had been sending my music to Souvenir for 2 years before I even got a reply and from that one reply you start to build the relationship. This then led to 2 EP releases on the label. You need to keep persisting.   Do you ever see yourself running your own label like Yousef?Maybe in the future, who knows? But I think it’s important to build a little crew who all share the same vision of a label around you first. Like the Keinemusik crew, Adam Port, Rampa, &ME and David Mayer; they all support and release on their own label and have a really strong concept and artwork for the label as well as great music.   Can you remember there being a specific moment where you thought that music was what you were going to be doing full time?Not really, I’m lucky to be involved in something I really enjoy and I’m passionate about. And I feel what we do, the people who work with us in and around the clubs and venues in Liverpool, ticks so many more boxes. It is not only music and DJing but also fashion, art, design, promotion the list goes on but we are all somehow connected through music and club culture. It’s an inspiring environment.   You’re also involved with Chibuku and the Shipping Forecast; what can we expect from them in the upcoming months.Chibuku is smashing it. Last week we had Nero in room 1, Fake Blood in room 2 and Disclosure in room 3 – the whole club was bouncing with a really cool young crowd. As for The Ship we have stepped it up a gear with some huge booking in October alone; this month will see Mark Ronson, Bicep, Andrew Weatherall and Dj Yoda to name a few.   You’ve just got back from ADE. What’s your experience of music conferences like and what else have you got lined up for the future then?I have been to Miami Winter Music Conference a few times and it’s just a week long party but ADE was a lot more business orientated and very well organised with some great panels and seminars. It was also good to meet everyone from Souvenir and put faces to the names; I think that’s definitely a good focus of the conferences. And coming up I have a new EP coming out in November on Circus Records and just putting the finishing touches to another EP for one of my favourite labels, more on that soon. Gig wise I’ve got some great gigs coming up at Circus in Liverpool and The Warehouse Project in Manchester. You can keep up to date with Lewis Boardman on his facebook and keep an eye out for his next EP release via his soundcloud.

Grahame Farmer

Grahame Farmer’s love affair with electronic music goes back to the mid-90s when he first began to venture into the UK’s beloved rave culture, finding himself interlaced with some of the country’s most seminal club spaces. A trip to dance music’s anointed holy ground of Ibiza in 1997 then cemented his sense of purpose and laid the foundations for what was to come over the next few decades of his marriage to the music industry.

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