DSF Interview with Pinch



Celebrating it’s 10th year of existence, Tectonic was an instrumental label in the pioneering years for Dubstep and continues to be regular and reliable leader in bass laden Dance music. He has been instrumental in the creation and establishment of Dubstep throughout it’s early years as reflected in the 10th year of his label empire. He also ran Earwax, brought Joker through, curated the Multiverse labels and in my opinion, made an all time forever classic tune in Qawaali. Top boy.

Sitting down in Pinch’s studio, I remember why this room is dope, the air is so still and the anechoic treatment it’s had makes just talking sound more intense. All questions are submitted by users with me running my mouth a little. LEGGO>>

DSF - @Johnlenham : What do you make of Bristol’s music scene, venues and nights, now compared to back when Subloaded started.

Pinch: It’s not quite as good I guess. There’s less choice, there’s far fewer medium size clubs which I think dictates a course of either big, big events - which are like mini festival line ups - versus those small, very niche venues. I think having those medium size venues, like the Level, meant you could have more nights that fit with a particular sound. There are mid range venues, but the likes of Thekla is owned by Rock City and all these interests kinda turn things a little bit.
Just before Subloaded, Bristol was a Drum and Bass city, and it was just DnB nights everywhere, and I kinda of feel like I’m also a bit older now, so less interested, less impressed - seen more stuff and a bit more jaded or whatever.

Pete: Yeah like Level, I remember Bar Latino being my number one spot, right number of people, great space and sound. Strong line ups. It does feel like the options are a bit more limited.

Pinch: It’s just that, in the medium size venues you could have a whole night of something of the same kind of sound, and in that process you create a community, a vibe of people who are in the room because they all want to be in the room. Very small venues make it too expensive to host a full lineup of bigger artists and large venues tend to need mixed line ups to pull in the numbers through the door. 400-600 capacity venues are perfect for good all nighters with a dedicated sound or vibe and Bristol is lacking in options around that at the moment.
But you know, there’s lots of possibilities out there really and if you’ve got money in your pocket you can still have a good time, you know.

Pete: The only night I’ve been too that really felt like the vibe of Dubloaded at the Croft, was when Hotline and Young Echo had the downstairs room at the Exchange, it captured the mood and, I dunno, created this communal atmosphere, there was always something to look out for.

Pinch: I remember going down there and ended up signing that tune from Ishan Sound, about a year before it came out. Just came down, hanging out, it was my girlfriend Lizzy’s birthday - we were out, it was a party. And I was like, yeah sick, this is still going on, this mood, this vibe. Like you said - it felt very much familiar to me. Heard this track playing and I went up,
“Shit this tune is fucking killer, who made that?!”, and Kahn says
“It’s by Chris, who’s playing it now”, so I asked Ishan Sound
“ Mate, can you send me that one?” I remember thinking, on the Monday when the email pops up - I’m just not going to like it as much; I was just in the mood at the time; it’s just a dubstep tune or whatever… Put it on. That’s banging, I’ll have it on Tectonic please! So, I agree with you there.
I wouldn’t look to equate Dubloaded to be the best thing around. It was a particular night. The interesting thing is… And I am aware it’s maybe self aggrandising to believe they’re stemming from Dubloaded, you have Young Echo nights which took on the slightly weirder shoe-gazing more experimental side of it and the you got Who Cares lot who took on the more Garagey, Grimey and party side. And I felt that wasn’t as much fun as when they were both together.

DSF – @ultraspatial: Thoughts on current retromania surrounding 'nuum sonics and mythology.

Pinch: It’s an extension of of stuff that has always been happening, every new generation of dance music -
which is nearly every 2-3 years now pretty much - you’ve got a whole load of new people coming through getting into music and going out, and because there’s such a wealth of music that’s already been made, so much just get’s ignored, because it’s just impossible to listen to everything. So you get these different sets of ears, cherry picking out things that aren’t as familiar to them but still work and therefore valid and you get a little style rolling out, referencing something. Personally I don’t have a problem with any kind of retro referencing, the problem for me is when you try and disguise it as something new and forward thinking. And then you’re like, “Really? I don’t think it is…” You could also say HipHop started out by sampling funk records and so that’s recycling, but it was the way they did it, that made it different. So now you have, for example, Hardcore, and that’s cool so lets get out the ravey piano stabs, but lifting it and using it in the same sort of context. There’s no fucking skill in that.

DSF - @wilson In your experience has the general condition of venue’s turntables improved or continued to decline in the last ten years?

Pinch: Ah they’re fucked! I carry my own needles around with me. Buy new tips every 3 or 4 months. And the number of times you turn up at clubs and they don’t even have needles. Or one of the decks has a rusty spoon for a needle waiting to cut your plates up. Decks are generally a bit battered and people don’t know how to set them up properly any more.

Pete: You specify decks in your rider?

Pinch: Technics. Just turn up and I say, look it’s going to be fucked if I can’t play them records because I ain’t got anything else to play.
The worst are when clubs are not used to having people play on vinyl: “ Yeah, yeah it’ll be fine we had someone playing off of Traktor last month”, asking the soundman if he’s sorted out the bass feedback, “It’ll be fine”, put on the first record and BBBBBBBBBBFFFFSSSSSSSSSSSSSHHHHH (sound of needle skating across the record). “Ok…”
So part of my skill set as a vinyl dj is dealing with these problems and minimising them as much as possible – so, for example, you might spend half the time with the bass on 0 whenever a track drops to a quiet part and popping it back in at the right time, when the bass kicks in. There’s lots of little ways around these issues.

Pete: Ever thought about Serato?

Pinch: It’s pointless. Might as well use CDJs. Why bother trying to look like your mixing vinyl, end up carrying all that shit with you. You could just take 2 USB sticks.
Pete: You can still play vinyl though, switch between if problems occur.
You’d just take a USB stick with you. I did go through a period of getting reference cds when I would get my dubplates cut, carrying them around with me, thinking I was being too precious; adapt to the modern age, get used to these different ways of playing music - have a back up plan. I just never ended up playing them, so I stopped getting them done.

https://tectonic.databeats.com/vinyl/tec077 (has vinyl and digi)

DSF – @Johnlenham : How has the rise of social media over the last ten years with things like Facebook and Twitter affected how Tectonic is run, if at all?

Pinch: It means I now have to get my girlfriend to do a lot of that for me!

Pete: It’s Lizzy that controls all that?

Pinch: Oh god yeah, I’ve never even signed in to Facebook, don’t have an account. I do my own twitter and Lizzy runs certain posts past me for Facebook and that…
It’s an essential part of operations now and I have adapted slightly to that change in things, but personally, I hate the neurotic and narcissistic aspects that all of these things bring out in people, including myself. Maybe I would have been more successful if I had opened a Facebook account several years ago, I don’t know. There is a balance there and I’m still trying to work out where it is.

What I would be interested in is developing more community around the label and I’m sort of tried to do that by getting the web shop up and functional and selling TPs (vinyl test pressings) and stuff direct from there. That’s something I’m working on developing further and I’m interested in. But poking your head out on the big wide world of social media is quite alien to me, I don’t fully understand all of it. When people talk to me about it, I kind of switch off and would rather talk about something else.

Pete – Fair enough.

DSF – @Johnlenham: Any people who sent you tunes and you didn’t sign and now wish you had?

Pinch: Yeah I missed out the Martyn remix of Brokenheart on Hessle by about a week or so! Yeah TRG sent the original to me, I was like ‘this is cool, this is cool’, but I never usually make snap decisions when signing a track. And by the time I was like, yeah it’s on. He was like “No it’s gone”. I always wanted Footcrab too, but Tony (Headhunter/Addison Groove) already promised it to Loefah. I thought he was on Tempa exclusive at the time so didn’t ask him for the track. When I found out he wasn’t anymore: “Sorry I gave it to Pete (Loefah) now”. C’est la vie.

SF – @Leo_Watkins : With the UK dance music scene in a state of flux, with a huge variation of genres and distribution methods, how do you see your labels place in that? And has there been a dubstep resurgence of late?

Pinch: I’d say, in the manner of a teacher marking student’s homework: “Tectonic could do better!”
Cold Recordings, the sister label, is without distribution. We do it all ourselves, cherry pick which shops to sell to, only dealing direct. The problem is the balance between being visible and doing what you want to do. Unfortunately, in my experience, those two things don’t always match up. I would much rather a situation where I didn’t have to bother with any social media at all - build up a great email list of people who are genuinely interested in the label, so you aren’t bothering anyone unnecessarily. Build a community around it and sell direct. Do digital worldwide but only sell the physical direct to people. That’s what I’d like to see, but it doesn’t quite work like that yet.
On the Dubstep resurgence, I get this impression there’s a load of younger generation just wising up to the fact the stuff we were into is still cool and the stuff that passed through most people’s attention was more relative to a fashion at the time - which has gone out of fashion now. Sometimes I think it’s a shame that you can’t have that interest focussed at more appropriate times – like, when a lot of that aspect of the creativity was more impulsive excitement and genuine.
It’s another retro thing. There’s value in enjoying anything and everything from the past, and in order to appreciate what is really new you have to have an understanding of what has already happened. Those two things are inseparable really. The very best music is timeless though.

DSF- @swerver: Do you consciously avoid producing or signing the more traditional 140 stuff these days?

Pinch: Kind of. The last straight up Dubstep 12 was the Namkha EP with Ishan Sound and the Kahn remix - which I really like and still gets played out regularly. I saw that as something in a traditional vein but a very rare example of sounding quite unique and fresh so it still fits with my impetus for releasing music, which is more about what’s fresh and exciting than maintaining pre-existing standards. I think that that will be something I will be hoping to continue throughout because stagnation is self indulgence. They are the same thing.
You can’t expect to move forward with a perpetual reinvention of everything every time you make a new record. But there’s moments where things build up to a point and it’s like, this beat pattern, for example the half-step beat pattern, was mind-blowing when it happened, when I first heard it. Unfortunately now, I have heard it so many times it’s just a bit fucking boring. I don’t really want to go perpetually celebrating that great moment. I would much rather find new ones, which is a bit more work, a lot more risk and doesn’t always yield such successful results, but I think it’s a more honourable path to pursue.

Pete: That leads nicely into:

DSF – @RKM: Do you think half-step beats have become cliché and halted development in the genre?

Pinch: I would say yes. Anything that becomes overly familiar loses the excitement spark, the magic that comes from hearing something fresh. Of course that’s going to be true to that extent.
Halting it’s progress? It’s the more the fact that it became such a template, a defining aspect, that people started thinking if things didn’t have a half-step, it wasn’t Dubstep. That’s the deeper issue in my opinion. Which is to say that the perception of the music transformed it into a caricature of what represents it and then it becomes a self fulfilling prophecy.

Pete: Pinch. Deep. We’re going in.

DSF – @jrkhnds : What’s the future for Tectonic and Cold looking like? How are the labels connected and what’s their function in your musical vision?

Pinch: Tectonic is the mothership, Cold Recording is the little reconnaissance shuttle that goes out exploring. I started it because I wanted to create a new platform for some of the more bass-and-techno variations of the things I was enjoying and playing. I felt that it would be important to establish a new identity to do that. I realised when I was initially putting this kind of stuff out on Tectonic, there was an expectation of what that label should be releasing. It didn’t do as well as I well as I would have liked it to. At the same time, the two things feed between each other because I’m A&Ring both.

Pete: Is there a crossover of artists or do you try and keep the separate?

Pinch: I set out thinking I was going to have all the separation in mind or whatever and then I just thought ‘fuck it’. There’s no rules and I’m not going to start making them for myself. I have kind of decided more recently that Tectonic is going to be the main impetus for release side and I’ll keep Cold as a platform for 12s. I don’t see it as a platform for artist albums yet like I do with Tectonic.

Pete: You will still do compilations?

Pinch: Yeah, the compilations are a way of some contribution to the digital realm whilst maintaining preferential treatment to vinyl buyers.

DSF – @Johnlenham: Any collaborations he wished he could do or haven’t had the chance to do?

Pinch: I’ve been pretty lucky to be honest with you, I’ve worked with a lot of people I do genuinely respect. I’ve fallen into a lot of the ones that have happened from meeting people, chatting, hanging out and deciding to work on some tunes together. Off the top of my head, I’d quite like to do some rhythms with Arca, I think he’s a sick producer. Vocalists - well I’d love to work with Beth Gibbons from Portishead. One of my favourite female vocalists.

Questions for interview: Addison Groove & Joker
Questions for Pinch - INTERVIEW NOW UP
Questions for Pinch - INTERVIEW NOW UP

DSF – @Creamlord: Any word on some new Deleted Scenes material?

Pinch: Yes.

Pete: Give us some details!

Pinch: A different tempo than you might think and that it’s very good. That’s all I’m going say.

DSF – @Ultraspatial: Plans for solo material?

Pinch: I’m on and off with this idea that I should probably present another solo album soon. I keep going round in a circular argument - the album should make sense in it’s own right. I have been sat around accumulating bits and pieces.

Joker rings Pinch

Joker: Can you get broccoli?

Pinch: Yes mate, I can manage that. I’m just doing this interview with Pete.

Joker: Tell him to come to dinner.

Pete: Sweet.

Pinch: My plan is to stop planning for it because every time I plan for it - it never happens! Maybe if I stop planning, it’ll just happen…

Pete: I remember you saying to me, maybe 3 months before your first album came out, you were worn down from the pressure and expectation of delivering the album.

Pinch: Since the moment I finished that album, I was just itching to make 12’s, because you don’t have to have a narrative that binds everything together, you can push out a bit further, a bit more experimental, maybe more dancefloor. I did the collaborative album with Shackleton which had a certain process that helps create the narrative with the music, same with Adrian. I guess the answer is probably. Maybe.

DSF – @Jizz : Thoughts on working with Shackleton would be cool. A lot of those tracks sounded like they were being done with an emphasis on structure and progression, not just bangers for the dance, really nice to see in a dance based scene.

Pinch: I don’t know if Shackleton or myself are massively focussed on producing dancefloor anthems anyway…

Pete: Ah you’ve done a couple.

Pinch: I’ve done a couple every now and then - when you get the itch to make a rewind tune. I don’t think Sam’s ever really aimed for that sort of thing though.
We hung out and I spent a lot of time in Berlin in his studio. He’s got quite a good studio work-ethic and those were just the moods that we came out with at the time. Always when I’m collaborating with someone, I think the best scenario is when you find a shared sonic space. There’s certain things I would put in tunes that Sam wouldn’t, so they’re all out the window. Certain things Sam might put in that I might be less into, so they’re out too. There’s this unspoken middle ground that’s left between you that becomes that space. So we just made deep rolling tunes cos that’s something we both like. A couple of the tunes were made with specific ideas, but otherwise it was more about just catching a vibe.
For me, certain things just write themselves after a certain point. You get a bunch of ingredients together and then you just know this makes sense - having this particular hi-hat pattern and then take it out here and moving it. Just go with what feels natural.

DSF – @epiccentipede6942 : Will ‘Grump’ and ‘Red Eye Indians’ get a release?

Pinch: God, what even is ‘Red Eye Indians’. Oh that was, I can’t remember it was called now, it had Rudey Lee sang on it, and came on the Soul Jazz compilation, Box of Dub 2. That was an instrumental that started out as ‘Red Eye Indians’.
‘Grump’, I made that in two hours for Bloc 2011 because I didn’t really have anything new of my own and I have played it about 3 times ever. It’s what I need to start doing with all my tunes - not release them and then people will want them!

DSF – @Samuel_L_Damnson : Do you ever lose it with a tune and just scrap it after just a few hours of being a sixteen bar loop.

Pinch – I get a bit too sentimental to just bin stuff if I’m honest with you. So things have to be put aside and I have a habit of just trying to make it work. More often than not I’d be better off starting a new tune.
One thing I’ve learnt over the years is the art of knowing when not to go in the studio. I realised there were times I was working on tunes when I wasn’t in the right mood and just fucking them up. Ruining the mood and then losing interest in it. I’m now self aware enough to know if I’m not really feeling that creative so if I still want to go in the studio, it’s mixdowns, fine tuning something. Save the creative stuff for another day. Go watch some telly and forget about it.

Pete: Good advice, I never really got. I went in the studio when I had time and I would just have to switch it on. Made a lot of shit as a result.

Pinch: You got to split up the work load into different things when you’re in that headspace. Get in, mix something down, get it sounding super tight or whatever, little edits. Then when you’re feeling in the mood, do the creative shit and don’t worry about that side of things.

DSF – @Gatineau: Approximately how many tunes do you make per month or year? Has this changed over time?

Pinch: Not enough. And part of the reason you see so many collaborations from me rather than solo tunes over the last few years is because when I’m working with someone else there’s more of an impetus to finish stuff and to make sure it gets out, because you don’t want to let someone down.
I don’t make enough music and I do feel guilty about that because it’s supposed to be my job, but there’s always been a part of me that’s very reluctant to see it like that. For me, still, I take an absolute pleasure in sitting down at night, making some music and I have a very self indulgent approach to that. I know that if I ruin it, I worry I wouldn’t be able to get that back again. It’s still a hobby for me.

DSF – @Gatineau: Approximately how many tunes do you finish a year and what portion make it to release?

Pinch: I’d say 70-75 percent of them get finished and probably released; close to 80 percent of what I’ve finished. Like I say, I get sentimental with things, and there’s occasionally things like ‘Grump’. Even then, I’ve got a dubplate version of that at 160bpm with Tenor Fly and TopCat which I use in the live sets with Adrian. I think it’s nice saving some dubs and versions just for the dance.

DSF – @jamesyo : Any plans for the Memories remix to come out?

Pinch: Well you could probably tell that story.

Pete: Haha of course.

Pinch: After Neil’s ( Kymatik )tribute rave I gave that to you and then my computer committed suicide and I lost every thing on the hard drive.

Pete: Hold up, I might be the only one with that tune?!

Pinch: Nah you gave it back to me.
That’s another one of the few that I imagine will stay unreleased. I am planning a special release to commemorate the 10 years of Tectonic which might include some lost dubs, but there’s only going to be ten of these things available…

Pete: What. In the whole world?

Pinch: Yeah. There will be some versions and collaborations and bits of pieces that never came.


DSF – @Johnlenham: Outside of the music you release and produce what other music are you really into?

Pinch: I must admit my sphere is predominantly experimental dance music, but I do occasionally buy some shoe-gazey droney folk stuff. I’m terrible with names, I could show you the records. Of all the music I’ve ever bought, to this day, I’ve never bought or illegally download an MP3. I still buy pretty much everything on vinyl or cd.

Pete: What music do you play in the car?

Pinch: It used to be that the car was somewhere where I would always have music running and have Passion FM when it was still broadcasting on air, mixes online, radio shows of old jungle and garage mixes. Roots and Dub. And then I went through a phase of retro checking lots of similar stuff I was into when I was younger, getting old albums out, triphop stuff and weird muddy dubby influenced things. And then I kinda went through a phase of doing all the A&Ring in the car, burning them to CD and putting them on in the car.

Pete: That was always my favourite place. If it got me hype in the car I was sold.

Pinch: It’s still now the last point in the process - when listening through tracks for an artist album on Tectonic. Working out the order and stuff like that. But now I don’t actually listen to that much music in the car anymore. Partly because you appreciate quiet more as you get older. So put that down, my favourite thing to listen to at the moment is quiet!

Pete: I will need to see some names of these shoe gazey bands, for my own curiosity.

We get up out of studio and move to spare bedroom with decks setup and records everywhere. Pinch searches through classic and unknown dubplates, essential releases in Dubstep and DnB.

Pinch: There’s a wicked tune on this, called Smearian Mother by Mo Kolours. I also bought the Rabbit EP called Baptism on Triangle. It’s probably the last thing I bought…

Pinch searches for mystery folk-drone record

I wouldn’t say it’s all that great but it’s just what I happened to buy recently.

Pinch flicks past a Ghostface Killah release

Pete: Ooooh, Ghostface, Saw him and the Wu perfom at the O2 a couple of weeks ago, was actually surprisingly fun. They still got it.

Pinch: I saw Kanye at Glastonbury on telly. It was fucking awful, such an ego fuelled show, him, no band, basically doing karaoke covers of his own tunes through a fucking vocoder. And I can’t stand some of those vocoders.
Ah fuck, I dunno what I have done with that release… Oooh, this is the most expensive records that I have bought.

Hands over Reese – Incognito – Just Want Another Chance / Rhythm Tracks

That is where Drum and Bass got that bassline sound. The ‘Reese bassline’.

Pete: Oh says it’s from Detroit as well.

Pinch: Yeah it’s Kevin Saunderson, 1980-something.
The Different Circles stuff is good too… What the fuck have I done with it…?

Pete: Mate, you need to sort out some kind of categorisation.

Pinch: It was all organised and then you start pulling stuff out, and then you got stuff you put on the deck recently and stuff that’s still on the shelf and then it becomes impossible to find anything.
Those are worth checking out.

Pinch hands me the Bristol Reggae Explosion*

The recent Kerridge album I got, that’s quite good and – ahh here’s the weird shoegazey thing – it was ‘Mike Shiflet & High Aura’d, “Awake”’. I quite like the Bug’s last album. And The Swans, I quite like the last couple of albums, The Seer is really good.

DSF – @epiccentipede6942 : Why did you call yourself Pinch?

Pinch: When I started DJing, I was playing DnB and Jungle and I called myself DJ Fume and I met Clipz - in 2002 or 3 - about the time that J-Spot 12 came out and I was bigging him up for that and saying I DJ’d under the name ‘Fume’. He said,
“Are you the one that’s tagged all over London then?”
“What you on about?”
“London’s tagged with ‘Fume’.” I remember going home and just feeling like ‘Awwww FUCK’. Someones had that bloody name, they’ve done it and I’ll look like a ■■■■ having it now. But it coincided with the time when I literally stopped buying Drum and Bass and started mixing Basic Channel, Grime, Garage and early Dubstep bits.
Pinch was supposed be, in my mind: ‘a pinch of this, a pinch of that’, but also just because it was short, easy to remember and no-one else had it.

DSF – @jaydot: Do you lurk on DSF?

Pinch: Genuinely no, I haven’t been on that site in about 4 or 5 years.

DSF – @No_Long_Ting : Of all the artists you know personally who have you enjoyed seeing grow musically the most and is there anyone you wish that would be more recognised?

Pinch: There are SO many people I wish were more recognised. Definitely. I think a very good recent example of progression would be Mumdance, who reinvented himself and literally, through nothing more than hard-work, perseverance, training his ear and forging a fresh different path forward from where he came through. He’s done a really good job of expanding and touching all different sides of various genres and bringing them together in a really good way. Good for him, he deserves every minute of praise he’s had in recent times.
So many artists too, from that early Dubstep era, like Distance was making killer, smashing, big room rhythms which should have had much more resonance in America than it did. And I hear a lot of stuff like, I won’t name names, that made Distance-style tunes - but not as good, but who’ve made probably a million pounds in that time and don’t bloody well deserve it. They wouldn’t have had that sound if it wasn’t for people like Distance making it before. But they are perfectly comfortable adopting it as if they came up with the ideas in the first place rather than just tweaking other people’s ideas slightly.
You know, over the years, I got to watch all the peers from that 2004/5 era grow and everyone grew from total obscurity to whatever situation they’re in now. It’s been very interesting seeing how some people did much better than others. For instance Cyrus was a Dubstep founder but he’s never mentioned in any of these recent articles on dubstep. There’s lot’s of people that have had a huge impression on the sound and sonic and who, because they aren’t playing the self-marketing game, they just disappear into the background.
Everyone on Tectonic could be doing better! And let’s give em a push.

DSF – @westside4life : What was the second to last Grime tune you played at Melkweg a couple of weeks ago?

Pinch: Aw, for fucks sake. Absolutely no idea. Obviously a good one.

DSF – @Abhinav_Agrawal : Do you see the 140 scene reemerging with the level of originality it had or do you feel that that tempo has had it’s day?

Pinch: I don’t think a tempo can go out of relevance any faster than a heartbeat can. It’s a bit of an oxymoron asking that question though, it’s a bit like saying “Can something that was innovative be as innovative as it was by being itself again?” Probably not.

DSF – @RKM: Definitive Bristol Dubstep tune?

Pinch: This really gets my goat: I’d get asked in interviews all the time about the ‘Bristol Sound’. Alright, you tell me what is the common denominator here: a Joker tune, a Jakes tune, a Headhunter tune, a Peverelist tune… There’s such a breadth of sonic, I don’t think you could sum it up in a tune. I wouldn’t want to, so I won’t answer that.

Pete: Okay, let me ask a different question, your favourite Bristol Dubstep tune? If you say Qwwaali, I couldn’t disagree.

Pinch: Since that tune has come out, I think I only ever played it once.
I would have to go with something by Joker probably. I mean, in many ways, he’s written better tunes, but ‘Tron’ was the most significant one for me. I remember when he gave me Tron and I cut it and was like, “Liam, this is it, you’re going to really start stepping up now.” And straight off that tune, he just started elevating.

Pete: Interesting choice I wouldn’t have gone there, maybe Pev, maybe a Joker tune and I did love Tron off that album.

Pinch: See if you can spot what this is…

Pinch plays his own, previously unheard Tron remix, it’s an all out woozy bassline hammer

No-one’s got this, never cut it, gave it to Liam, he wasn’t interested.

DSF – @RKM: What is your favourite spot in Bristol?

Pinch: My local pub.

DSF – @jrkhnds : What do you think the ingredients of a good night are? What do you expect from promoters? What steps have you taken to get the best out of the artists you have booked for your nights?

Pinch: It’s very dependent on what you’re looking to get from that situation, there’s lots of different kinds of nights. Personally I’ve always just made sure that it sounds really good.

Pete: One of the things I’ve really appreciated at your nights over the years, is the superb sound and the minimal lighting, giving everything a very personal and intimate touch.

Pinch: I suppose it encourages a more introspective experience, but in doing that it also encourages you to pay more attention to what’s going on musically, instead of mindlessly waiting for something to entertain you.
I’m happy if the decks are working, no feedback and there’s a killer sonic in the room. And then it’s a question of people being nice and respectful to each other. I think I built up a lot of relationships through the fact I was very respectful and understanding with people. Generally in life, if you listen to people and don’t just look like you are, you get further and you get more out of that relationship, whatever it is.

DSF – @tabasco : What does Adrian Sherwood smell like?

Pinch: Ummm, that’s a very strange question.

Pete: Innit.

Pinch: Like a well oiled dub machine… Is that it? We can’t end on that?

Pete: It’s the only way this interview can end.


Big up Pete + Pinch! :facepunch:


well i got slewed lol



Really good read, big up Pete & Pinch!



It was only ever going to end that way.


Haha sick read, big up pinch.

@that last question, should’ve asked pinch if he knows what essential oils mala uses


good read!!


So what did you guys have for dinner @pete_bubonic , and who’s the chef out of you lot?


That was great, big up both of you.


Great read but am I misreading what he said about the 10 years of tectonic… only 10 copies available? WOT


yeah what’s up with that. :confused:

anyway big up @pete_bubonic for putting this thing together and writing everything down - must’ve been a chore! certainly there’s still some parts of Pinch’s “Tron” remix left on your recording device… :wink:
Thanks man, enjoyed the read.


I told him he should use his tru head status to blag one track like this off each person and we can put out a compilation in a year :wink:


Big up guys


Tron Pinch remix? :octopus:


This is great. Thank you @pete_bubonic for doing this interview, really made my evening.


Great read :+1:


will there be more:?