Congratulations on the 20th anniversary of Darkroom Dubs! Can you share with us the journey of the label over the past two decades and some key moments that stand out to you?
Many thanks, it’s appreciated. Where to start? There have been many fine moments. One of the things I’m most happy with is the Darkroom Dubs mix compilations over the years. They were a joy to put together and a chance to showcase the music.
Darkroom Dubs has been a significant player in the electronic music scene for quite some time. How do you think the label’s identity and mission have evolved since its inception, and what values have remained constant?
It’s hard to believe now with the way electronic music has grown in the last twenty years. However, the label was launched mainly as a reaction to the over-commercialisation of the scene at that time. We were disillusioned and craved for a more underground sound. Also, our name comes from the traditional technique of manipulating photographs combined with the name given to a B-side on a record without a vocal. Darkroom Dubs is also our more stripped-back, dubbed-out remix name. So, it seemed like the ideal name for the label. I think now there is less anger about the situation and more love for the music.
How did you approach curating the tracklist, and were there any specific criteria or themes you wanted to highlight?
Some of the tracks are from artists who have previously released on the label. Other tracks are from artists whose music I have been playing in my DJ sets. The majority I approached were very enthusiastic about getting on board for the compilation. It meant a lot. As with our previous compilations (like Darkroom Dubs Vol. 1 -5), I always envision the tracks within a DJ club set. I was pleased to find that all the tracks in this compilation reached 80 minutes exactly, which was the maximum time for your classic CD DJ mix compilation.
Do you have any entertaining anecdotes or memorable experiences with the artists who contributed to the label?
I have partied quite a lot this year with some artists, especially at the 20 Years of Darkroom Dubs. Dina & Max from Local Suicide are good fun. I caught up with them at Urban Spree and then Renate. Also Alvaro Cabana in Bogotá & Antwerp. Great times! The most memorable experience, off the top of my head, was in Murmansk with Freska, who lives in Barcelona now. He invited me with his friends for a proper Russian sauna. The sun never sets at that time of year in the Arctic Circle. So it was a little surreal sweating it out naked, eating dried, salted fish, drinking vodka while being whipped with a birch. Even travelling across the border from Norway, I saw a polar bear. The gig that night was crazy, too!
Running a label for two decades is an impressive feat. What challenges have you faced along the way, and how have you navigated the ever-changing landscape of the music industry?
I would say the most challenging time was around 2006-8. The first wave of digital was taking hold, and it was a Wild West of illegal downloading. We went from pressing and selling maybe 10,000 vinyls for a release to nothing. Many distributors went out of business, and we lost everything. In truth, many friends told me to call it a day, but we struggled and went digital-only for many years. It may sound like a cliché, but we’ve never followed trends. I’m interested but never influenced by what other labels are releasing or what other DJs are playing. The best way forward for a DJ and a label is to play and release the music you truly love and believe in.
The compilation showcases the diversity of Darkroom Dubs’ sound. How would you describe the label’s sonic identity, and how has it evolved over the years?
I would describe it as Dark House Music. When we started the label, the influence was more the sound coming from New York, Chicago and San Diego. The direction now is a similar spirit but is more European and Latin American towards post-punk and new-wave.
The electronic music community is known for its strong sense of collaboration and connection. Are there any artists, producers, or peers who have had a particularly profound impact on your career?
Without question, Glenn at Soma Records, Dave Clarke and Slam. As Silicone Soul, we released five albums on Soma, and they supported us massively for years. Now, we are just great friends, and it’s always a pleasure getting back to Glasgow and catching up.
As someone deeply rooted in the electronic music scene, what are your thoughts on the current state of the industry, and how do you see it evolving in the future?
Digital platforms have globalised the scene, and that’s fantastic. It is better for artists from the non-traditional electronic music hubs in Europe and the US, and I love how much easier it is to find that music. Also, I’m intrigued by how DJing from a cloud-based collection in the club progresses and how vinyl gets on.
Looking ahead, what are your aspirations and plans for Darkroom Dubs and Silicone Soul in the coming years? Are there any exciting projects on the horizon that you can share with us?
I’m enjoying the Darkroom Dubs 20th Anniversary right now! But there will be new Silicone Soul music and some collaborations in 2024, too.
