Posts tagged with "Groove Armada"

Becky Hill – The Art of Rave

Today, Becky Hill released the third episode of her podcast, The Art of Rave. Over the course of the series Becky discusses rave culture with some of its legendary pioneers, including DJ Zinc, Andy C, Pete Tong, Sister Bliss, Groove Armada, Fabio & Grooverider and more.

In episode three of The Art of Rave Becky and Roni Size cover a wide range of topics including: how the ‘Size’ in Roni Size came from “a dating game vibe”; the 90s Bristol music scene, the evolution of Reprazent and their groundbreaking ‘live’ sound, winning a Mercury Music Prize, why Roni’s first record was released under someone’s else name, how Margaret Thatcher killed the free party (with the criminal Justice and Public Order Act in 1994), ‘digital reggae’ and David Rodigan, how the rave scene has moved on and ravers’ dancing has moved on with it (from “giraffes” to mosh pits).

As with all Becky’s guests on The Art of RaveRoni Size brings along records that mean or say something to him, whether that’s because they’re by an artist that influenced him, remind him of a specific place or time, or feature a beat that defined his sound. These records are:Under Me Sleng Teng” by Wayne Smith, “Pressure Dub” by Ability ii, “Rhythm Takes Control” by Unique 3 and “Wicked Ones” by 3 Way Split with DJ Easygroove.

Meanwhile, Becky selects the Roni Size (& Reprazent) record that exemplifies why she handpicked him as a guest for the series: “Brown Paper Bag.”

While Becky Hill has an irrefutable aptitude for writing chart smashing pop music, her roots are firmly ensconced in electronic music. The Art of Rave provides the perfect platform for Becky to delve deep into the dance music scene she is so passionate about.

Episode 3 of Becky Hill’s The Art of Rave podcast is available here.

FOLLOW BECKY HILL: Instagram | Twitter | Facebook

Becky Hill The Art of Rave

Becky Hill – The Art of Rave

With her new single ‘Heaven On My Mind’ currently climbing high in the UK Official Charts Top 40, hitmaking singer-songwriter Becky Hill releases the second episode of her podcast, The Art of Rave. Over the course of the series, Becky discussed rave culture with some of its legendary pioneers, including DJ Zinc, Roni Size, Pete Tong, Sister Bliss, Groove Armada, Fabio & Grooverider and more.

In episode two of The Art of Rave Becky and Andy C cover a wide range of topics including Andy’s first rave experience (courtesy of his sister), the effect of technology on the “classic” and “happy accidents” in the studio, how a passion for sci-fi (and a disinterest in studying at school) shaped Andy’s early days of making music, setting up RAM records, legendary club nights AWOL and Movement, pirate radio, cutting dubs at Music House, and how the rave scene is in a better place than it’s ever been.

As with all Becky’s guests on The Art of Rave, Andy C brings along three records that mean or say something to him, whether that’s because they’re by an artist that influenced him, remind him of a specific place or time, or feature a beat that defined his sound. These records are: ‘Know How’ by Young MC, ‘Valley Of The Shadows’ by Origin Unknown, and ‘LFO’ by LFO.

Meanwhile, Becky selects the Andy C (& Shimon) record that exemplifies why she handpicked him as a guest for the series: ‘Bodyrock’, which Andy remembers playing for the first time at Movement at Bar Rumba after a drum n bass awards show.

While Becky Hill has an irrefutable aptitude for writing chart smashing pop music, her roots are firmly ensconced in electronic music. The Art of Rave provides the perfect platform for Becky to delve deep into the dance music scene she is so passionate about.

Episode 2 of Becky Hill’s The Art of Rave podcast is available on Apple Podcasts, the Acast app, Spotify, and all other podcast platforms today HERE.


On how Becky & Andy C first met

Becky: “The first time I met you was in some dodgy little cabin at the back of Global Gathering. I managed to sneak my way into your dressing room, and I started gushing about how much of a fan I was of yours and I just saw this look on your face go: ‘How did she get here? Who, did she show her boobs to the security guard?’ I was actually touring with Rudimental at the time and I decided to go ‘Oh I’m the girl that did Afterglow’ and everything changed…”

Andy C: “It all fell into place. And that kind of blew my mind that moment, having played that tune one thousand times by then and being amazed by the vocal and that tune. I thought it was incredible.”

On Andy C’s first rave experience and where his musical journey began

Andy C: “My sister’s five years older, and she was going out to all the early raves like Sunrise and Fantasia. I just wanted to be part of her gang… I was nicking mixtapes off her and drawing acid faces and all that… And she took me and my best mate James to an illegal rave in a barn in Essex, which was billed as an engagement party, but it was actually a rave. I was thirteen, and that was the first time I had any kind of experience of a rave. It was exciting, it weren’t that full, but it was a dusty barn with a few lights and some DJs playing.”

Andy C: “I was obsessed with Shut Up and Dance, listening to Pirate Radio… I’d be getting up for school and I’d be listening to Pirate Radio. At lunchtime, I’d have it on my Walkman. If anyone wants to know what a Walkman is, you can google it!”

Becky: “I had one once!”

Andy C: “I was very focused on wanting to be in music and I used to do my mates’ mixtapes. I used to stay up all night DJing, doing mixes at home and used to bring in mixtapes to school and that was my currency at school – sorting out people [with] mixtapes and stuff.”

Andy C on getting together and working with Ant Miles

Andy C: “Ant was a friend of the family, me and my Dad… One day he comes round and he listens to me doing these crazy [things]. I’d sampled three million beats, and basically had them all playing at the same time, chopped up in different ways… He had a studio set up and [said] ‘do you wanna come round? l I’ll come and pick you up and we can just jam and see what happens’… We just hit it off, you know. Loved hanging out. We had a great, likewise passion for like Sci-Fi and geekiness and used to watch Star Trek. Ants a big Treky. So we’d have that on, and we started making these tunes and sampling crazy stuff.”

Andy C on starting RAM Records

Andy C: “I’m 16, just done my exams at school, I think, (I can’t remember doing them). I didn’t pick up the results, my best mate James actually picked up the exam results for me, (bless him). I think he’s still got them. [My sister] was like, ‘why don’t you start a record label?’ and I was like, ‘what do you mean start a record label? How do you do that? What shall we call it?’ So, we were having dinner and we were thinking up all these silly names and she was like ‘well you know you’re an Aries’. And that’s where the name RAM comes from… And she sat down with a felt-tip pen and hand-drew the logo at the dinner table.”

Andy C on the making of Origin Unknown ‘Valley of the Shadows’ and that ‘Long Dark Tunnel’ sample

Andy C: “[Ant and I] just had this magical four or five hours in the studio one night when I was 16 and that’s where ‘Valley of the Shadows’ came from… The lights are off in the studio, Ant’s dancing around by the drinks machine he had in the studio, and the font it had that spelt out ‘drinks’ became the Origin Unknown font and [the name] Origin Unknown actually comes from a line from 2001 Space Odyssey, because we’re Sci-Fi geeks.”

Andy C: “[‘Long Dark Tunnel’] was sampled from a BBC documentary called QED about near-death experiences [which featured a] lady who actually had a near-death experience, you know when you’re going down a tunnel, in childbirth. Her name’s Barbara. Fortunately, she survived. As did the child… And years later, ‘Valley of the Shadows’ was getting played on Kiss I think, and we got a letter to RAM. I can’t remember exactly what it said, but it was something like ‘you don’t know me, but I heard your song on Kiss FM the other week and that lady’s voice is my Mum’s voice.'”

Becky: “Was the person messaging you the child that survived?”

Andy C: “I think possibly, yeah. Amazing. Like no way. So, we ended up getting in contact with Barbara”

Becky: “Was she due any PRS?”

Andy C: “Yeah, absolutely!”

On how technological advances have affected production

Becky: “Producing sounds a lot harder back in the day than it does now”

Andy C: “And out of that, because it was more difficult, mistakes happened, you didn’t quite understand how it happened, but it just sounded cool.”

Becky: “Right, so happy accidents?”

Andy C: “Today you get very analytical about it. So, you sometimes analyse those accidents and you don’t go with them, because in the technical understanding it’s not right.”

On cutting dubs at Music House

Andy C: “[Music House on] Holloway Road was where we went to cut our dubs. So the DJs would get in the queue and [it was] first come first served, unless Jah Shaka turned up and he was having a Soundsystem battle, in which case you were straight to the back of the queue and he’d be cutting 3 million dubs and you’d probably wait two weeks… It was kind of a hierarchical system. There were the dons, (Rider, Fabio, Frost), and naturally there’d be a sort of eco system where you’d sort of think “I thought I was third in the queue and now I’m sixth.” But it was all good. We’d just go for food runs and go get everybody food and drink and stuff. It was cool. What a community. You could turn up there at midday and still be there at one in the morning, but all you’d be generally talking about was music, tunes, raves, what’s coming up and all the DJs.”

On music discovery, then and now, and how that has affected the “classic”

Andy C: “[There used to be] the buzz of hearing a tune on Pirate Radio, [when] they didn’t say what it was and you’re dialling the studio [to] be like ‘what was that tune you just played three tunes ago?’, or recording it on your TDK tape machine and wearing that tape to the ground now. The difference is, we could be sitting here now and I could be like ‘do you remember this tune from 1994?’ and you’d be like ‘what?’ and I’d be like ‘boom, YouTube.’ It just exists. Is that worse? I don’t know. Is it better? Does it accelerate music faster? Does it mean it’s more throwaway? Possibly, because of the nature of this, it’s harder for classics to take hold. Because of the fast turnaround of music these days, a few potential classics haven’t become ‘classics’ because they haven’t been given the chance to breathe and grow and naturally [and] lay down their foundations. Whereas, back in the day, tunes would have to exits for 6 to 12 or 18 months before they was even obtainable. So, they became classics by the sheer nature of that.”

On how raving has changed for the better, Glastonbury and drum n bass today

Andy C: “Rave has changed massively, because now the access to it is so much easier. More organised choices. You wanna go to an overseas festival, well you’ve got multiple [choices]. You can pick and choose, you can try one every year. That’s a beautiful thing… So even though raving has changed in a big, big way… I think that raving is the best it’s ever been. I think that now people purposely organise stuff that’s a bit more grimy, so you can have that experience. We’ve all got Glastonbury, if we wanna get grimy, it’s right there for us and the British weather will provide it… We’ve also got the small grimy clubs… Drum n bass is so healthy right now with the influx of new producers.”

Becky: “Yeah. You’ve got this whole thing about horns now, in drum and bass rollers…”

Andy C: “That is where the real shit’s born and that’s where the next generation and the next decade will carry forward… I honestly think I see people having fun in so many different places, whether it be at the gigs I’m playing at, or whether it be that I come across stuff on Instagram, which looks fantastic, ‘cause I vibe off of that as well.”

Becky: “That’s amazing! I don’t feel like I’ve missed out anymore. I feel like I can go to raves now and live the best rave life that there has ever been.”

About Becky Hill

Renowned for her show-stopping vocal prowess and her credentials as a hitmaking songwriter, 25-year-old Becky Hill is one of Britain’s most in-demand musical exports of the moment.

Following a killer 2019 with the release of three hits – including ‘I Could Get Used to This’ (with Weiss), and ‘Lose Control’ (with Meduza and Goodboys) – Becky Hill closed the year as the 2nd most listened to British female artist on Spotify in the UK.

Becky has not only notched up over 1.5 billion streams but also 18 million monthly Spotify listeners. She has an impressive string of hits to her name, having written and performed on nine singles which charted in the top 40 of the UK official singles chart, including the recently released ‘Better Off Without You’ (which spent 5 weeks in the Top 20 of the UK Official Singles chart), the chart-toping, number 1, (‘Gecko (Overdrive)’ with Oliver Heldens) and two top 10 singles (‘Wish You Well’ with Sigala and ‘Afterglow’ with Wilkinson).

Over and above this, she has collaborated with the likes of Rudimental, Matoma, Lil Simz, and more, while her songwriting skills have been enlisted by artists ranging from MK, Tiesto, Jax Jones, and Martin Solveig through to MNEK and Little Mix.

Follow Becky Hill: Instagram | Twitter | Facebook

Must-See Performances 2018


From the biggest Ibiza opening parties to the summer’s most hotly-anticipated festival shows, here’s 6 unmissable music performances for 2018.


Childish Gambino‘s “This Is America” video amassed close to one million views in the first hour on YouTube and has now racked up more than 115 million views, becoming one of the most watched videos on YouTube this year. Donald Glover’s alter-ego will be making one of only two scheduled European performances at Bilbao BBK Live festival in Spain this July.

Taking place from 12-14 July on Bilbao’s Kobetamendi Mountain in the heart of the Basque Country, Bilbao BBK Live’s 2018 roster also include Gorillaz, My Bloody Valentine, The xx, Florence & The Machine, The Chemical Brothers, Jungle, Sophie, James, Friendly Fires, Mount Kimbie, Avalon Emerson, Ben UFO and many more. Find out more at


There are many, many gems on Oasis festival’s 2018 line-up, but one in particular that stands out as one of this year’s most-anticipated performances is rising Korean selector Peggy Gou. The name on everybody’s lips this year, Gou has impressed with performances at Berghain and London’s XOYO, releases on Ninja Tune and Phonica, and a killer Essential Mix which dropped earlier this year.

Taking place from 14-16 September at luxury music resort, the Fellah Hotel in Marrakech, at the foot of the Atlas Mountains, this boutique music festival features today’s top electronic music talent, including Ben Klock, Carl Cox, DJ Koze, George Fiztgerald, Honey Dijon, Jessy Lanza, La Fleur, Octo Octa, The Black Madonna and more. Add in tropical gardens, palm trees, cacti and sun soaked swimming pools all backed by breath-taking vistas and you have one of this year’s must-visit festivals. Find out more at


Eric Prydz is a giant of the contemporary dance scene thanks to his immaculate productions and rare understanding of dance floor dynamics. The Platinum selling producer responsible for some of the biggest progressive house and techno tracks in the last decade and he continues to innovate the boundaries of live performance, nowhere more so that Hï Ibiza, where he launched his debut Ibiza residency in 2017.

Returning for Year 2, Eric Prydz and guests will be taking over Tuesdays at Hï Ibiza from 10 July – 25 September. Expect more of the same immersive spectaculars as Prydz treats crowds to a blistering and inimitable blend of house and techno along with a visual and audio experience like no other. Find out more at


The xx bring their acclaimed Night + Day festival to Bilbao BBK Live this year, curating a week of music, cinema, radio and afterparties in the city streets and cultural hotspots. From 6 to 11 July, the city of Bilbao will be host to a diverse range of cultural activities, including a performance by Jamie xx and special guests from the world of electronica on two stages outside the city’s most iconic background: the Guggenheim Museum Bilbao.

The xx will also headline Bilbao BBK Live during the festivities. Taking place from 12-14 July on Bilbao’s Kobetamendi Mountain in the heart of the Basque Country, Bilbao BBK Live’s 2018 roster also include Gorillaz, My Bloody Valentine, Childish Gambino, Florence & The Machine, The Chemical Brothers, Jungle, Sophie, James, Friendly Fires, Mount Kimbie, Avalon Emerson, Ben UFO and many more. Find out more at


Belgian DJ-producer Charlotte de Witte is one of the biggest names in techno right now, thanks to her thundering DJ sets and productions on labels such as Novamute, Turbo and Suara. With an Essential Mix and Resident Advisor mix already under her belt this year, as well as a packed tour schedule with stops at Awakenings, Pukkelpop and Bestival to name just a few, this summer is shaping up to be her busiest to date.

Don’t miss her debut appearance at Sónar by Night on Saturday 16th June, which has the makings of something special indeed, with the Brussels native stepping up after Richie Hawtin for the closing set of SonarClub.


Glitterbox’s 21st century disco, with its extravagant production, flamboyant performers, and dancefloor hedonism has made it one of Ibiza’s most talked-about parties. This season’s roster is another disco and house-fuelled delight, with Chicago native Honey Dijon stepping up to work her magic on Friday 6th July. A regular at many of the best nightlife spots around the globe including, Panorama Bar, The Block and Smart Bar, Honey’s meteoric rise over the last few years is a result of her unique DJ and production style that has captivated dancefloors around the world.

Returning to its home at Hï Ibiza this summer, Glitterbox Ibiza’s Friday night residency will host acts including Armand Van Helden, Groove Armada, DJ Harvey, Greg Wilson, Horse Meat Disco, Nightmares On Wax, Derrick Carter, Kenny Dope and many more. Find out more at