Animaux | UK

Animaux: Au Feu


Vous êtes tous des Animaux.

Very very excited (and nervous!) to announce that our next instalment will take place at the historic York’s FIRE STATION! This has been a dream since we saw the For Sale sign above the door for the fire engines. After gruelling negotiations with York’s council and the police, we were finally able to format an event that would make everyone happy.

We are investing heavily into the sound and light aspects of this, in order to truly transform the venue into something you will remember for a while – how many parties at a fire station have you been to? Add on great DJs, art pieces as well as visuals, a cheap bar and a place for those that want to chill and sit, a dance floor for those who don’t and you’ve got yourself an Animaux: Au Feu!

We are running the night in partnership with Blank Canvas, a project to find new and interesting venues in derelict buildings so that artists can practice, have workshops and galleries. Their motto is ‘To advance the education of the public in creative and visual arts and crafts and the techniques and practice thereof’ which we cannot support enough, thus are dedicating all of the profits towards their development. To accomplish this, we are collecting a tiny fee on the door (you are encouraged to donate more!) as well as a few donation boxes across the venue. We wouldn’t be able to do this without their support, so please give back – support the local art!

Cannot wait until you see what we have in store (or FIRE STATION)!

Event on Facebook:

Until Friday,
– Animaux Team

Alga – Aralia EP – Inter-re-view


Available for free on Lost Oscillation’s website, Dan Egdell’s first outing as Alga is a 2 track EP showcasing an original and inventive mind.

Four Tet, Caribou and other associated acts have a lot to answer for when it comes to the current crop of SoundCloud wannabes. Luckily, sometimes the slew of homebrewed imitations and rip-offs is interrupted by tracks or EPs which genuinely develop and respect the fundamental successes of their inspirations. Aralia is one such EP.

By avoiding the temptation to smash random sonic textures together in pursuit of a rich and lush soundscape, Alga sidesteps the type of error a lesser producer would leap headfirst into. Still a student, his promising work thus far has shown him maturing into a canny aesthetic operator. Bringing his skill as a DJ to bear on these tracks, elements transition seamlessly; in fact, it seems like the main aim of both pieces to effortlessly end up far from where they started.

“This Is Your Carnival” spins itself a semi-demented fairground ride out of some propulsive brassy pomp. The selection and deployment of instrumentation is ingenious, allowing the track to retain its character even as the constituent parts are piled up, taken away, demand attention, or subtly change the direction. It pays rich dividends here as the midpoint of the track finds the layered pieces stripped away. The hand drumming, satisfying kick and rising mania of the synths is the highlight of its 8 minutes (and it truly is the better for being that long).

Moreso than simply grasping at sound and texture, Aralia illustrates Egdell working as a songwriter and a selector. The joy of “This Is Your Carnival” is in the details: the slight dissonance of the climax; the interplay of the reverbing horn blasts in the introduction; and the finely woven percussive textures that underpin the whole thing.

“Patina” relies even more heavily on Egdell’s percussion work. However, for much of the track these elements are foregrounded in the mix, rather than underpinning. Synth chords, rich basslines and ethereal vocal samples slowly emerge from beneath and behind them. This inverts the formula of the first track and though it leaves some sections feeling paradoxically sparse considering the variety of percussion instruments present, the payoff more than makes up for it.

At just two tracks (albeit two eight-minute tracks) long, Aralia is a teaser of what’s to come from Egdell. Having emerged from an album containing 8 tracks, it is a little disappointing not to be able to hear more of that body of work just yet.

I sat down with Dan (albeit over Skype) to discuss the EP, his musical history, and his inspirations.

EM: So you weren’t Alga to start with, you started out as Slyside?

DE: Yeah, I started as Slyside about 2 years ago when I was in second year. I just kinda decided to start making music, needed a name, went with Slyside and then released something through Anonymous Records in York. Which was great, I really liked the Slyside stuff, but it felt like I’d finished, and it didn’t seem right with the kind of stuff I was writing. So I decided to start from scratch.

EM: Would you say there’s been an obvious progression since your Slyside material? It’s no longer on SoundCloud, so it’s hard to view the material that came before Aralia.

DE: Well yeah, I kinda wanted to ditch the whole thing. Maybe it was a bit of a rash decision looking back but I didn’t want anyone to be able to find out about me and go “oh, you used to be Slyside”; I liked the whole anonymous thing.

EM: Would you change your name again for another project or EP?

DE: Well, probably not because I’ve found a sound and Alga seems to make sense with it. You can still find the Slyside stuff on YouTube. I’m not too happy with that. I like that stuff, but I felt like I needed to progress and it was holding me back to try to sound like Slyside.

EM: When it comes to creating, do you have a procedure? Are there particular elements that you start with, or things you like to have in your mind at the start of a project?

DE: I wish I did! It would make my life a lot easier. No, I don’t. I get ideas when I’m walking around and I record a little bit on my phone, or I find a sample that I like or I find a groove that I like. There’s no real routine, what happens – happens and some tracks dissolve into nothing and others take off.

EM: Were there a lot more tracks that you could have put on this EP?

DE: Yeah, there was actually 8 tracks. I was writing an album in my 3rd year as an equivalent to a dissertation. I handed it in and I was happy with the results but I felt that there were some tracks that could be chipped away and weren’t really needed. And when I sat down it turned out there were 6 tracks that weren’t needed.

EM: Do you do live performance stuff, or do you have any plans to?

DE: I was thinking of getting a band together to do some of the Alga stuff, but now I’m writing again. The plan was to do some gigging but that’s on hold until I have a little more material I think. We might do it after that.

EM: In terms of the EP as a whole, what kind of influences have played a part?

DE: John Talabot, I love the way his tracks progress and his production style and how percussive it all is. I was listening to a lot of his stuff while I was making it. Caribou as well, which is an obvious choice but it was a big influence. Also Nicolas Jaar, even though it doesn’t really sound anything like what I make, it was definitely an influence. And again, jazz, even though it’s not really a direct influence and you might not hear it.

EM: And you play a lot of the instruments on the EP live?

DE: All the drums, all the brass, all the bass is recorded by me. The synth line at the end of TIYC, all the synth stuff was recorded into the computer but the rest was real instruments.

EM: Both tracks are 8+ minutes; did you consciously aim to create a long and smoothly transitioning track?

DE: It wasn’t a deliberate choice, like I didn’t sit down and say let’s create a 10-minute track that’s gonna evolve. It might just be because I’m bad at being concise, I don’t know. It starts with an idea and then I couldn’t end the idea without it changing. I started with it and it was like, this isn’t done yet. I kept going until it felt done and it felt like it morphed into a different song in the second half, but I kinda like that. They both do a similar thing as well which I think works, they both match that pattern.

EM: Thanks for your time Dan.

You can download Alga’s Aralia EP for free from Lost Oscillation’s website.

We have a chat with Longman [Texture]


What is texture?

‘The feel, appearance, or consistency of a surface or substance.’

Loz Waring, better known as Longman among York’s clubbers, is the self-titled “Captain of the Texture ship”. From funky Saturday grooves at Sotano to truly massive events as Texture’s recent collab with Closed Circuit bringing the likes of Hunee, Loz has been busy pushing York’s house scene for the past two years. We managed to pick his brain about the past, present and future of both Longman and Texture.

Texture in action.

Mantas: Hi Loz, let’s get down to it – what are you up to these days?

Loz: Just working for myself. I like to spend my time spread out between music, events, gardening, dog walking & some designing. Just generally try to create a nice balance of all my interests & business ideas that all help pave the way/pay the bills.

Mantas: Could you tell us more about your inspirations? Who do you follow and what makes “the cut” in your sets / production?

Loz: Inspired by people that think outside the box, using new spaces for parties, people that think about the layout & flow of a venue, how the decor can help create a mood, the mix of people, all the things that can combine to create a really good party.

Soundcloud is a great tool, being able to connect with people across the globe with a similar taste in music is really exciting. I follow a lot of upcoming guys & girls that support each other, play each others music out & in sets and its nice to see. Everyone coming up together…

As for sets, my taste is always developing, but hypnotic grooves really do it for me. When an endless loop can lock you in for 8 mins you know its pretty special.

Mantas: How / why did you start producing?

Loz: Thanks to Fruity Loops (software) and the energy & rawness of grime music at the time, which had me hooked from the age of about 14 (2006), probably started making loops a year after that. First grime tune I was introduced to was:

Alongside this (thanks to my parents) I was in an african hand drumming group. From there I got into more instrumental based music, Idea3 was born and that was the outlet for some of the deeper listening stuff.

Euphoria –

Plus a love for a lot of the 140 stuff.

Silkie –

Mantas: How did Texture start? What are your plans for Spring / Summer?

Loz: It started when I was living in Huddersfield. It was first and foremost just an excuse to get friends together and a chance for us dj’s to play out. I would come over to York on weekends to play at Sotano, and me & Sam (the manager at the time) would share ideas. So we brought Texture over to York a few months later and it went down a treat!

Tex –

Summer plans are loose at the moment, but outdoor spaces are being looked into.

Mantas: What are you up to next?

Loz: Just wanna focus a bit more on production, do bit of travelling and eventually set up shop in a new city.

Mantas: And finally – what is the funniest / most absurd thing you have seen in a gig you either attended or played at (or both!)?

Loz: Not absurd, but it did give us a good giggle… one of the Textures at Sotano we were joined by a random middle-aged man in a suit who got himself stuck in on the dance floor, I think he was doing some kind of squat dance, he made a few friends anyway.

Mantas: Thanks Loz!

You can follow Texture on Facebook they have also just launched a blog!

Animaux presents: Chris I’Anson


Vous êtes tous des Animaux.

We are taking over The Falcon Tap‘s bunker for this and bringing our good friend Chris I’Anson back – who can forget his blinding set at our second birthday?! For those uninitiated, Chris is the man behind Slipstone Records as well as wildly successful night in Leeds – On Rotation. This man knows his stuff so do come and experience some quality music with us.

The Falcon Tap is a proper pub so expect a variety of beers, ales, ciders as well as a new cocktail menu. We will, as always, be showcasing visuals and are bringing a massive rig to the tiny bunker.

We are also running a like & share competition to win a pair of tickets which you can find here. 

Here’s a podcast that Chris did a while back for us:

Animaux Podcast 04 – Chris I’Anson by Animaux on Mixcloud

You can find the event over at Animaux presents: Chris I’Anson. Tickets are £4 via Resident Advisor, Earworm Records, The Nook, Bison Coffee Shop, The Falcon Tap or directly from our reps (numbers are on the event page).

See you on the dancefloor! 🙂

Animaux presents: Troy Gunner


It is good to be back. After wildly successful residents showcase back in October, we are prepping another mad one. I think I can speak for everyone that the basement at Mansion is where we belong and I can barely contain the excitement to see what Troy Gunner will put on for us.

Firstly though, I would like to direct your attention to our newest resident – Habitual. Habitual’s knack for syncopated, tribal rhythms and a sound blending London and Detroit, which proved to be a great start to the night thus he is returning as a main stay for our events. The eclectic beats this boy spins put on smiles on many faces and I hear he is promising us something quite special. He also has a weird obsession with Sophie.

Next, I am very happy to introduce to you TAIM. TAIM is a new solo project from DJ and Recording artist Stevie, who is also one half of Frequency. His immediate success as a teen saw him feature on the likes of Black Butter and Ministry of sound, mix for the likes of Radio 1xtra, and play gigs this summer such as Hideout Festival and Ibiza Rocks, on top of numerous international bookings in and around the UK. What to expect? Expect to be moved from the bassy vibes of Habitual into 4×4 goodness.

The main attraction is of course Troy Gunner. Plaudits and support has been forthcoming from some of the most influential voices of the moment, with plays coming from the legendary Laurent Garnier, Mary-anne Hobbs, Tom Ravenscroft and Gilles Peterson, who released Troy’s remix of Gang Colours’ ‘To Repel Ghosts’ on his Brownswood imprint. While wary of comparisons, Radio 1’s Gill Mills’ summary of Troy’s sound as having the “warmth of James Blake and the ominous brooding quality of, say, Burial” certainly comes close to the mark.

With collaborations and releases forthcoming on labels such as Blackbutter Records, as well as a genre-defying and dancefloor-destroying EP on Akkord’s EMF imprint (after featuring on Akkord’s debut album for Fabric sub-label, Houndstooth), Troy is cementing his reputation as a unique force in an already healthy scene. Very very excited to have him down before he becomes too big for York to handle.

And finally I will provide the closing hour of stompers. This is looking to be one of the best we’ve put on so far, so get your tickets early!

Facebook event can be found HERE.

Tickets either via Resident Advisor or via our promoters (check the event).

Sub:Terranea 1st Birthday with Buckley Review


It seems strange to think that Sub:Terranea, a night dedicated to the sound of deep house and techno, has only just celebrated its first birthday. The house heads of York filled the champagne lounge of Mansion, where residents Rory Flynn and Dan Jackson spent the first two hours opening the night with upbeat vibes that fashioned a slightly playful atmosphere right from the start.

When the clock struck twelve, Buckley Boland took over the decks. After what Subby:T called “smashing it” last September, Buckley’s return was well anticipated on all accounts. As a well-respected DJ that professionally began his venture in ’92 – the birth of acid house – there is something undeniably original about Buckley’s performance. Maybe it’s his collection of compact discs that’s thick enough to stun an ox; maybe it was incredibly smooth transitions that explored all different moods house music can inspire.

The sound that arguably made Buckley distinct from previous sets I’d seen at Mansion was the tinge of something Latinate in house beats. I got chatting to the music machine after he’d finished up and learnt that he’d recently spent a chunk of time in Costa Rica and Ibiza – I can only wonder if this experience gave Buckley an innovative edge to the recognised sound of acid house. After chatting to Mr. B, he told us about his own technique to the sound of his set: “for me, the key is to be able to try and play as many different flavours as possible, but blend them together, so it doesn’t sound disjointed.” The spice of life, some might say.

Speaking with Buckley not only gave an insight to his method in the music, but the procedure and all the work behind his shows. “There are two types of records: Country and Western. Good or bad. I either like it, or I don’t. I’ve spent so much time listening, even just as a collector, never mind as a DJ. You spend all week and so much effort listening to what will get spat out in two hours. It’s never-ending – it’s a lifestyle. After all these years, I always want to be the best that I can be.

“Some people do it for money, that’s fine. When I first started, there was no money in it for me; there was only love.”

Where, then, does a man who had been DJing long enough to inspire himself get his innovations and muse?

“If I ever find myself stuck, I’ll just go back to old mixes. I’ll think, what the fuck’s that? That’s ace. It’s so easy to be in the moment. I didn’t play one old record tonight; I played records that had references to older records. Everything I played was new.” Bar two, all of what was revealed to Subby:T’s crowd was played for the very first time. Buckley’s mature approach to Saturday’s set may have involved recent releases, but with the nature with which he plays has an authentic feel that is still deeply rooted in the 90’s underground music scene. Even after 10 months away from the decks, where he calls himself “well rusty”, his skill is potent and shines through.

So what advice does a veteran of house music give to those aspiring to take to the decks themselves and help find their own sound?

“Listen to as much music as possible. And not just house music – I listen to all kinds of stuff, but then I’ll find traces or references from something that maybe your parents might listen to, whether its early disco, whether its something from when I was a kid – maybe I’ll hear that sample in a track. It’s about playing as many different styles as possible, but the way you mix them […] creates a wall of sound.” The collection of CDs Buckley had come armed to Sub:Terranea with was spectacular, showing a readiness for anything.

There is substance to Buckley Boland that’s more than being an acclaimed DJ today. Yes, there was the two-hour seemingly seamless set. People danced – not just a slight bopping to the music, but dancing. Still, something engaging and thought-provoking is in what Buckley has to say, not to mention his music. The fact that his DJ name is his actual first name suggests something personal and humble. And what’s more, when you get to the point of having to Shazam your own mix? I guess that’s what 23 years of DJing will do for you.

Mr. O’Donnell at Sub:terranea


As I walked into Mansion, and ventured down those very narrow stairs, I could feel the bass creeping up on me. I opened the door, and BAM – the bass hit me. There was Mr. O’Donnell, already on the decks from before midnight, swaying about. It was my last night out in York before I left for home, so I had knocked back (unintentionally?) quite a few drinks… But there were some truly unforgettable moments, even to me in my relatively intoxicated state!

Disclaimer: I shall also be referring to Bobby O’Donnell as Mr. O’Donnell, because he was just THAT good, and also because it just sounds way cooler – he deserves it for being the suave cat that he is.

By half-past midnight, he had stopped twiddling with his hair (which by the way, is lovely to look at) and began bombarding us with smothering bass-lines. Now these smothering bass-lines did not come in the form of the generic house beat that most people are familiar with. The beats extended to tribal-like sounds encouraging the crowd to dance like they were all part of a cult or tribe in a jungle; and yes, that does include myself also. The etheric synths accompanying the beats were just the cherry on top of the cake as everyone swayed together, and some even held hands. Of course then people started hugging, and although I could suggest that some may have been otherwise inebriated or intoxicated, I think I’ll stick to my own opinion and say that Mr. O’Donnell evoked all those feelings with his music.

It is now quarter-past one and Mr. O’Donnell isn’t finished with us yet. By that point, I was certain viagra en france that I was dancing (and sweating) like a maniac, not because I had a couple of drinks, but because he was just incredibly good at leading a crowd. Mr. O’Donnell had overtaken the power of our feet and bodies and made them move in the most sultry and seductive ways. Then, I heard something I recognised… something I loved… Something I never ever thought I’d hear in the UK. Oh yes, he was indeed sampling, on the spot, one of the sexiest songs that ever existed – Universe by Aquarius Heaven. In that moment, I turned into the ‘overly excited girlfriend’ and began prancing around the DJ box trying to grab his attention. I screamed at him ‘OH MY GOD AQUARIUS HEAVEN, OH MY GOD!’ and to my surprise AND pleasure, was greeted with a euphoric smile on his face and a very sturdy high-five/handshake!

Mr. O’Donnell was, in fact, one of the friendliest DJs I had ever met; as oppose to some very arrogant and pompous assholes I had met in the past that would simply ignore the fact that you were praising their music selection. I even ran into him on the way out of Mansion and was greeted by a long and warm embrace/hug!

For the last half hour of his set, he blasted us with even more hard-hitting bass, and turned us on our heads by bursting acid bass-lines. Hands were in the air, people were jumping around, but damn, where was the crowd? I suddenly came to the sad realization that throughout the entire night there must have only been 80 people around. My housemate, who rarely dances when he is sober (and he was dancing at this moment despite his sober state), turns round and tells me ‘They are really good, but there’s no crowd and it’s a shame’. Indeed, it was a shame. I hadn’t heard music like that in York for, at least, a good month. It appears that the over-saturation of the electronic music scene in York had finally taken its toll. Either that, or most people into this kind of ‘underground’ scene, had already gone home. Nevertheless, despite my awareness of the ‘lack’ of crowd, the people who were there had a fantastic time, and by that point I felt privileged to have even been there.

To end the night, Phil Warner came on, toning it down a notch to a more melodic experience – an apt end to the night after most of us had spent the last 3 hours jumping about. The crowd resulted to moving like waves and everyone began making their way home, chipper like they had all just had the best roast dinner of their lives. It was my first Sub:terranea, and after an experience like that, it certainly won’t be my last.

You can follow Sub:terranea on Facebook here ( as well as Soundcloud (