2018

11 posts

10 Years of DJ Terminates Here – 2018

My first 2018 set was arranged during some rare downtime during my Antwerp trip in the last chapter. The former organiser of Neo-Noir hadn’t been involved with DJ events for years, having focused more on film. The two interests came together when the Deptford Cinema, a low-budget volunteer-run picturehouse, decided to put on a Spinal Tap special. As well as the film, we’d have an air guitar contest and plenty of music. That was my bit. And so my second consecutive gig in South London (only ever played three!) was arranged.

The venue wasn’t quite prepped when I arrived, so I used the ABBS technique of play-an-incredible-long-track-whilst-I-lent-a-hand (what else but Dylan’s “Desolation Row”?) and soon people began arriving. I had plenty of directions to take the evenings music – my original plan for a US-centric “cock rock” set was tweaked when I found the most requested band was Iron Maiden – obviously the mood was for British bands with a penchant for globetrotting. We’d also lost the last member of the classic Motörhead line up a few days previous (Fast Eddie Clarke), so “Ace of Spades” was brought out one more time. Often wondered why people request other Motörhead songs – as Lemmy once said “it’s all the same to me!”.

I ended up going as contemporary as Sabaton (when did the Scandinavians take the metal crown anyway?) and as old-school as The Who and The Rolling Stones. The improvised set-up was true to the spirit of past Terminates Here sets, as was the idea of having a DJ in a cinema, so I like to think I was the right person to do this. A rather misplaced private set took place a week later – the demand was for contemporary pop and EDM and I just don’t play that. In any case, you’ll have to wait until the papers are released under the 20 year rule for this one, but as I only did the early shift, it doesn’t really matter.

I Never Lied, I Never Joked

And that was it for a while. The Spring ABBS didn’t take place due to a mutual case of non-availability, and nothing much else was forthcoming. The people I’d played for in the past were either offering their sets to others or not putting anything on. And my own events? The drive simply wasn’t there. I took one look at my Facebook calendar, saw the number of small-scale events on, and whilst I went to quite a few of them, it only proved to me that London was ‘fully booked’. The idea of cramming in another event merely to have an excuse to play a set no longer seemed viable.

As it happened, the next set to come along was one that also kept true to my “make it distinctive” policy. DJs Translight and Ostfrau (remember Ich Will?) had decided to give the Sunday Evening market a go – with more Sunday DJ hours on the clock that anyone except possibly Scott, I was the obviously choice as a guest for their debut. The basement of The Albany was brought into use. Some small scale scene events had previously taken there, but I mainly remember it from many years previous, where I once got roped in as a judge for a stand-up comedy competition. Doesn’t matter – I was back in the booth.

With the other two DJs essentially on the rock side of things, I could go synthy. I decided to kick off with a percussion-free song – “Castle of Sand” by Kite (a band and song covered in detail at the end of my live memoir from last year), before my first and only brace of tunes from that most fashionably obscure of genres – Witch House. I can’t take any style of music that sounds like a property magazine seriously, but it has produced some interesting pieces and this was the right moment to get them into a set. I upped the tempos a little later, including OMD’s “Maid Of Orleans”. For some reason, I decided to leave the DJ booth and recreate Andy McCluskey’s “Whilrling Dervish-meets-Dad-at-the-disco” dance to said song. In full view of everyone. It was a comical moment at a time when things were getting serious.

2018 was an era of many bitter, vicious online exchanges, and a particularly bad one kicked off on the way home from this very event. I won’t revive the precise subject matter, but it was enough to alienate me permanently from a number of sub-factions within the scene and was another sign that the Terminates Here mission was one that was closer to it’s end than first thought. But as my London prospects began to cloud over, there was the most glittering of a silver linings. My name was put forward to the Darkflower Club. In Leipzig. For the Wave-Gotik-Treffen festival.

STRAFTANZ – IM FLOWER!

Despite all the stories I’d heard about the complicated processes that go on in the process of organising the festival, this deal was done remarkably quickly. I was after all, playing a established club in the city that simply joined the festival for the weekend and not one of the bespoke venues brought into play for four days a year only. I was on the bill with two Austrian DJs – Mike Tzulan and Stromtod. Not having made it as far as Austria myself since a family holiday in 1989, we had no idea who each other were, but an exchange on Facebook shortly before (in English for my benefit only) established what we all played and we are set.

Whilst only a small proportion of my friends were actually attending Leipzig this year, people had cottoned onto the fact that this was a BIG THING. Sure, Facebook got excited, but colleagues of mine were wishing me all the best despite having no idea what the hell it was meant to be playing. Even my dad rang me up the night before we flew to Germany to wish me good luck – he usually only knows of my Djing activities after they’ve taken place! Emotions were unbelievably high. There have been a slew of UK DJs play the event in recent years, though most of them have had a long-standing association with an established club, band, genre or the event itself. An itinerant guest DJ like me with no real affiliations was a rarity indeed.

Retaining the habit of the past few years, we picked up our wristbands on arrive in Leipzig city centre, only this time, I tore open the programme and sure enough, Freitag, Darkflower, DJ TERMINATES HERE was on the bill. And at least point, the festival from this point to the night itself was something of a blur. A couple of bands at the EBM warm-up, a couple more early on Friday at the awkward new Stadtbad venue, and there was no doubt that I was at sixes and sevens throughout, zagging where I should have zigged and a bundle of nerves. This reached extreme when I returned to my hotel room to get my kit, only for my room key to fail. It was only a 5 minute delay to fix but I just didn’t need that.

Things felt better once I was at the venue. It might have been my first and so far only set in a territory where English is not widely understood, but I could marginally tone down my obsessive verbosity (what do you mean you noticed)? and so was happy to talk to Mike about events we’d previously played (Infest 2016 was essential for my kudos here) and Stromtod about the concept of putting film soundtracks into DJ sets (Hans Zimmer, Vangelis or Angelo Badalamenti?). Then soundcheck, and the first clue that I might have been a little out-of-my depth. Two DJs with massive consoles and me with a six-year old laptop. Nightglory had come this far with me, but sounded rubbish through the PA for some reason.

With no time to tweak, I pulled out my 8” tablet, tried a mix through the PA, discovered it sounded great and used it for the night! My setup might have looked pitiful, but all I had to do was make it SOUND good and surely I’d be OK? It had to be as this was no longer the friendly surroundings of the Infest Escape Bar. This was Germany, where this kind of thing is taken very seriously, Running order was agreed. On the understanding that everybody had to do one of the ‘empty ends’ of the night, I jumped at taking the first set and just for once didn’t mind kicking off with an empty room. I had to ease my way in with some downtempo dark electro, which worked well enough amongst the early arrivals.

Then I heard what the other two were doing. This was getting to banging uptempo territory fast, something I’d not heard since I last ventured on the Slimelight industek floor on NYE 2016. The populist genre-mix style I usually do was going on next door with the ‘celebrity’ DJs (frontmen from Covenant, Xymox and two later-day Sigue Sigue Sputnik members). By the time my midnight set came around, our floor was packed. Anything less than keeping them all there would not be tolerated.

So I went in with “Straftanz (Ost)”. There’s a version of this song for each corner of Germany, and obviously I needed the one that referred to the core audience, and even named the club we were in. Chiptune burst with the 600XL mix of “Pong” and I was still in the game. I upset one person who vocally complained about a couple of mixes I did, even bursting into the DJ booth to protest, but the staff got rid of him. As it happened, I nailed a perfect mix between the schaffel delights of “Electronaut” and Seb Komor’s version of the Game of Thrones theme (seems they love it in Germany too!) and I realised I might get away with this. Dragged myself back into old-school EBM territory as my next hour came to a close, having to tweak the gain heavily to make the old songs with pre-loudness war mastering sound loud enough, but the PA here had plenty in reserve.

By now I was exhausted, and I still had an hour left to play. Switched to soft drinks located in a fridge at the back of the booth, spent some time talking to the manager outdoors about various bits of Ost/West history, and finally the home run. Stromtod had worked up a furious head of noisy beats, and I decided to cut myself a slice of the action. Xotox, Punch Inc. and This Morn’Omina and then Feindflug’s “Glaubenskreig” – my favourite track for a bridge in or out of noisebeat, and through the Darkflower PA, it sounded like a bomb had just exploded. Given their militant image, I think that was original intention of the band.

It was in the bag now – everyone shouted along to the Full Metal Jacket samples of “Soilbleed”, back into old-school territory via “Plasticity” and my last half hour was, at last, the Terminates Here classics – Robo Sapien, Push!, Requiem (Project Pitchfork, not Killing Joke), Smothered Hope and, finally, Figurehead (Plain). Played only to give myself something to dance to at last, my job was done. At 4am CET, I left my new-found Austrian friends to see us through past sunrise, as I could go on no more.

I emerged to the first signs of dawn, delirious (despite having not drunk beer since 1am), the birds tweeting and the city asleep between the club nights still going on. I’d done it. The biggest name-event I was ever likely to play and regardless of whether I was up to the standards of others, in terms of technical ability or reputation, the pure fact is – It Happened. And for the first time, DJ Terminates Here ceased to be a journey. Instead, I felt like I’d reached a destination. The home city of my late grandmother, married to decades to a grandfather who loved his trips to Germany, even if he was always even worse at the language that I was. The circle was closed, the mission complete.

The rest of the festival was enjoyed with a somewhat reduced energy level, though I scored a free beer on the back of my DJ set when heading into Zeromancer on Saturday. By Sunday night, I was swaying to Jesus and Mary Chain and walked back from the tram stop after with legs of lead. The tank was empty. Despite an easier Monday, the weekend had a final sting in the tail with a nightmarish journey home, overbooked flight, delays, missed connection and the labyrinth that is Frankfurt Airport. Was humming The Great Escape theme as our final BA flight to London took off. Home at midnight, but I still immediately unpacked and filled the washing machine in a desperate attempt to get back to normalcy.

I got no illusions of superstardom from my WGT set, and I didn’t need to. DJ stardom is a sickening thing. There’s only so much kudos one can acquire by being a glorified record player operative, and I’m hoping this story, far from glamorizing the hobby (it’s hardly a profession) has revealed that it really isn’t that star-studded after all. Neither does it earn you much (in my case it’s a net loss). If you ain’t in it for the love of the music, get the fuck out and give your space to someone who wants it more. If you ARE in it for the music, though – please, keep doing it, and go off and have an adventure that may or may not be like this one. And then tell the world about it.

Do You Remember Me? Don’t You Know That I Miss You?

The ABBS was back in June. I’d decided that quitting at this point would have been wrong – as if I’d turned by back on those who’d given me my start the very moment I’d nailed that one big set. Cutting my committent to 1 hour was more dignified, as it gave us a chance to try out potential replacements. We originally thought Zaira was closest to my original style and would suit my spot well – unfortunately she wasn’t staying in the UK much longer, but we put her on in June anyway on a now-or-never basis.

As it happened, the June event went well. My one hour set reprised a few of the dark electro tracks I played during the “empty room phase” at WGT plus a selection of tunes from various compilations, bands I’d hoped to try out in the near future having established they’d already got at least one decent recording. It felt a bit “technical” delivering such a set, like I’d needlessly over-prepared, but once we were over at Aces and Eights, the thrill of the open request list process came back and I was once again amongst my own.

Two low-pressure sets in July. The first was the Die Kur EP launch with Toxic Shock in support – with plenty of time spare, this was shared with two other DJs. In the end, I handled the band supports, knowing my own less-obvious selections would fit in better there, giving the bulk of the afterparty over to DJ Translight. The next was a birthday party with a rented PA. Once again with Translight and Ostfrau (also Fil Noir), the greatest challenge was wiring the PA in and connecting to the wrong-sort-of-mixer (we’d got a studio panel instead of a DJ one). With various live musicians and DJs to hand, we got a workable solution eventually.

Actually playing the sets was pretty easy – with the Ich Will pair logically taking the industrial/dark metal, I’d had a remit of 80s rock and glam. Years of Open Request Lists plus that Spinal Tap party earlier in the year and this one was about as simple as it gets. The usual sing-along moments you usually get with such material didn’t kick in though – we had to wait for the last train home for that. England had beaten Sweden 2-0 earlier in the day with a World Cup semi the prize, and hence the footy crowd were in good spirits for once, actually entertaining the train rather than threatening it.

It was possibly appropriate that my last track of this stint was Alice Cooper’s “Schools Out” as it certainly was in a DJ sense. The Summer Slump was here again. Yesterday’s Shadow had lost their venue earlier in the year, I’d “had my go” at the other events that would take me, and of the other things that were going on, well, they were taking place in a different loop to the one I was in. I’d learned as far back as 2013 that “cold calling” isn’t a viable method of getting sets. Those people who say “It never hurts to ask” – you’re wrong. It makes you seem desperate, even a nuisance. And now I wasn’t desperate any more.

Save Me – Save Me From Myself

By the time we came round to the September ABBS, I’d found another new DJ in my style – Chelle Helle. Both of us with East London accents and a taste for industrial and EBM (hers slightly more in the club-friendly direction but essentially the same). There was also something to be said for giving a chance to female DJs at a time where they still remain a minority in almost every genre. I wanted to make sure the chances went to those that weren’t already established on the scene, the objective being to break the glass ceiling rather than help the few who rose above it anyway, and also that it was given to those showing a real passion for the music they were playing.

As it happened, I put in an hour of my own around the middle of the event, and I admit this was one of the most phoned-in sets I ever played. No complaints from anyone, I just didn’t enjoy it much, even with such joyous tunes as KLF, Utah Saints and recent Infest hits Elegant Machinery (now thankfully minus the Farage-lite presence of Richard Jomsoff). Chelle did a great job with the kind-of-things-I-used-to-play with plenty of projects I never went near.

The afterparty over the road certainly DID get my adrenaline flowing. Of all the events I still play, the Open Request List formula remains the one where I’m most likely to step up and really play to my strengths. This one dealt up a lot of personal favourites, including the rarely-heard “Human Crossing” (Project Pitchfork) and a request for something to mark Mexico’s independence day (Hocico’s “Tiempos De Furia” was the best I could muster at the time). But there was a problem lurking. Me.

My exhaustion during WGT was mistakenly put down to my Friday DJ set, and my lack of ability to recover in the following weeks down to the heatwave that came that summer. At Infest, where I had no special duties, I was clearly struggling to keep up. And it carried on like that through September. Sweating even when it wasn’t hot, dizzy on my feet and various other symptoms. It came to a head in early October when I stood up at a work event and promptly fell immediately to the floor. Something was wrong. Urgent doctors appointment, blood test and the wait for results.

It eventually became clear that whilst I was spared the onset of Type 2 Diabetes (for which I had most of the symptoms), I still had to both lose weight and cut my meat and alcohol consumption. The idea of becoming a teetotal vegan, whilst a choice for some, was neither necessary nor, on a personal level, sustainable for me – after all, I had to focus on health, not ethical purity. My aversion to ‘fake meat’ (itself not likely to help this particular problem) meant learning to love the chick pea, black bean and lentil, but one Facebook post unlocked a plethora of good recipes, some of which I’ve since personalised and have become regulars. Weekday and daytime drinking is also over, even when there’s a gig on.

I Am OK, If AmoK, You See?

This occupied me for a few months and hence I didn’t seek out any DJ action where the old habits may return. But I had to do something to mark an anniversary I’d marked some time ago. 30th November 2018 marked the 10th anniversary of my first set at the Alternative Bring’n’Buy Sale, it fell on a Friday, and was thankfully a day free of major scene events. Unfortunately, Aces and Eights was booked that night and I’d lost contact with all other venues. To the rescue came Ays Kura once more, putting me in touch with the Nightclub Kolis manager Arno, someone I’d managed to miss during their original Archway phase but was very happy to finally make contact with!

The club had recently moved to Camden, with two dancefloors and we quickly came to an agreement for me to use one of them for my event after the bands that night. I decided to DJ solo. I knew I had enough music, and with my renewed health (8kg lighter and no longer falling over), I knew I could last the night physically, too. Only downside was my now-ageing DJ laptop Nightglory and associated controller. Whilst not in daily use, she was definitely showing her age at this point. But two more sets wouldn’t be too much to ask? Yes, two (more on the second in a moment). All that remained was to do as much promotion as I could in the three weeks available. No time for a flier run, but plenty of online activity would follow.

I hit upon the idea of posting one track from every set, in order, with a story about each, like a TL;DR version of this thing. My main concern was about the viability of a night based purely on my own reputation. No 2nd DJ and no overall theme meant my two usual method of upping the selling points weren’t an option – it was all down to what kind of promotion I and the Kolis management could muster online.

On the night, we had quite a good attendance, with a particularly strong Eastern European contingent. I did everything I could to fit in as much of my remit into the evening as possible, focusing on the danceable tracks where possible. A short speech in the middle part of the night, a request friendly second half and by 3am the job was done. I ended the evening with the same band with which Terminates Here began, concluding the night with Laibach’s “WAT”. The small profit I made was split amongst the door and venue staff and the rare luxury of a taxi home.

I was back on the Djing two days later. The December ABBS was on, and this time Scott and I returned to the two-DJ format. There were reasons for this – there was a gig on in the Aces basement, including Terminal Gods and Cold In Berlin (the latter a Scott must-see). Meanwhile, I was wanting to see Leæther Strip in Islington. There was no way our usual DJ gig would have worked anyway – my laptop began to fail on more terminal basis towards the end of my set and I had to play the last few songs from tablet.

And that was the end. With talk of some early 2019 events already underway, hopes are high that I can continue Terminates Here into it’s second decade. Maybe not with the activity level of times past – most of my objectives are now completed (though another crack at rhythmic noise would be welcome) and I’m going to be focusing more on music writing, having revived the art earlier this year. But for now, I’m happy enough to go into Christmas without a clear idea of what will come next.

Time for The Last Word.

Intro / The EOL-Era / 2008 / 2009 / 2010 / 2011 / 2012 / 2013 / 2014 / 2015 / 2016 / 2017 / 2018 / The Last Word / The Facts / The Credits

Alternative Bring’n’Buy Sale – December 2018

No snow this year, just Scott and I handling the music for London’s long-running alternative market.  My 10th anniversary of first playing the event (and hence DJing all over the place since) – marked not only by a party a couple of days previous, but back to playing a full three hours here.   This also meant almost every style in my remit (omitting only power electronic, mittelalter and a few extreme metal genres) made it into the weekends DJing.

Apologies that we weren’t available for an Open Request List afterparty this time, but you don’t keep me away from Leæther Strip and you don’t keep Scott away from Cold In Berlin!

10:30am-11:45am – Ambient to Minimal/Melodic Synth

Jeremy Soule – Nerevar Rising
Angelo Badalameni – Twin Peaks Theme
Zoviet*France – Angels Pin Number
Carter Tutti – Sudden Dreaming
Second Decay – Das Regenleid
Voice Farm – Modern Things
Sleep Museum – Porcelain
Units – Warm Moving Bodies
Executive Slacks – 30 Years
Fehlfarben – Grauschleier
Tuxedomoon – No Tears
Siglo xx – The Naked and The Dead
Poésie Noire – Come Pjutr Syntax Error
ADULT. – Contagion
Warren Suicide – Warren Suicide
Led Er Est – Woman in a Cafe/Communication
Golden Boy & Miss Kittin – Rippin Kittin (Glove Radio Edit)
Schmoof – Chocolate Boyfriend
Spray – Anthologised by Cherry Red
OMD – Sailing on the Seven Seas
La Roux – Bulletproof

1pm-2pm – Futuresynthpop and EBM/Industrial

Lionhearts – The Ardents City
Technique – The Price Of Lies
Future Lied To Us – Falling
NoyceTM – Panique
Imperative Reaction – Never Tomorrow
#366;A Life Lived – We Live In Trenches
D:/fe.at – Resist
Acylum – Born To Be Hated
Terrorfakt – A.L.F.
Aesthetische – Red Trackers
Leæther Strip – Lady Shave (Fad Gadget Cover)
Front 242 – U-Men
Turnbull ACs – We Can Drink Without Having Fun
Front Line Assembly – Iceolate

3pm-4pm – The Things We’d Normally Play Over The Road

With a late technical interruption….luckily I’d brought backup.

Pink Floyd – Comfortably Numb
The Doors – People Are Strange
Wishbone Ash – Blowin’ Free
Aphrodite’s Child – The Four Horsemen
Faust – The Sad Skinhead
Neu! – Neuschnee (should have played this last year….)
The Velvet Underground – All Tomorrows Parties (Mono)
Television – See No Evil
Joy Division – Warsaw
The Vibrators – Automatic Lover
The Lurkers – Shadow
Cockney Rejects – Bad Man
The Offspring – Self-Esteem
Twisted Sister – Oh Come All Ye Faithful
Vixen – Edge of a Broken Laptop
Quiet Riot – Quick Black Cadillac
Heart – Barracuda

DJ Terminates Here – 10th Anniversary Party

To mark 10 Years of DJing, I held a party in the new Nightclub Kolis.  Usually I prefer to DJ with one or two others, but just this once,  I decided to play the whole thing myself.  The first half was a run through as much of my genre remit as I could fit into 2 hours, the second half more request-oriented.  From 11pm to 3am, here’s the story.

Johnny Cash – Hurt
Bleak – Run For Cover
Wendy Carlos – Title Music From A Clockwork Orange
Der Blutharsch – Time Is Thee Enemy II
Puissance – Grace Of God
In Slaughter Natives – Angel Meat
Wumpscut – Thorns (Distant Vocal)
Kirlian Camera – Eclipse (Anniversary)
The Crüxshadows – Tears
Star Industry – Nineties
The Sisters of Mercy – Vision Thing
Bauhaus – Dark Entries
Joy Division – Transmission
Fad Gadget – Collapsing New People
Depeche Mode – Photographic (Some Bizarre)
Nitzer Ebb – Let Your Body Learn
Skinny Puppy – Assimilate
Covenant – Figurehead (Plain)

<Leæther Strip/Machine Rox Promo>

Leæther Strip – Strap Me Down
Project Pitchfork – Timekiller
Funker Vogt – Gunman
Suicide Commando – Hellraiser
P.A.L. – Gelöbnis
NIN – Wish
Rammstein – Feuer Frei!
Type O Negative – My Girlfriend’s Girlfriend (Cheese Organ Version)
Metallica – Enter Sandman
Nirvana – Smells Like Teen Spirit
Tool – Stinkfist
PWEI – Ich Bin Ein Auslander
Prodigy – Omen
Underworld – Cowgirl

<10th Anniversary Speech>

VNV Nation – Joy
Front 242 – Tragedy >For You<
Apoptygma Berzerk – Love Never Dies Pt.1
Sebastian Komor – Game Of Thrones Theme (after this, most were requests or tracks used to mix between them!)
Aesthetic Perfection – Spit It Out
Cubanate – Oxyacetylene
Die Krupps – Robo Sapien
New Order – True Faith ’94
Gary Numan – Are Friends Electric?
Depeche Mode – World In My Eyes
Killing Joke – Requiem
Sex Pistols – Pretty Vacant
Siouxsie and the Banshees – Hong Kong Garden
Eurythmics – Sweet Dreams (Are made of This)
OMD – Enola Gay
David Bowie – Sound and Vision
The Sisters of Mercy – Alice
The Cult – She Sells Sanctuary
Clan Of Xymox – Jasmine and Rose
Diary of Dreams – AmoK
Diorama – Child of Entertainment
The Eternal Afflict – San Diego (Tragical)
Soft Cell – Sex Dwarf
Laibach – WAT

DJ Terminates Here vs DJ The Scot – September 2018

And after the ABBS, across to Aces and Eights for our Open Request List special.  All but the first few and the last phase were requests.

Set 1

Chrome – Firebomb
Freebass – Lady Violence
Spencer – Until She Walks On By
HIM – Wicked Game
Type O Negative – Christian Woman
Dio – Don’t Talk To Strangers
Iron Maiden – Run To The Hills
Slayer – Angel Of Death
AC/DC – Highway To Hell
Journey – Don’t Stop Believing
The Cult – Fire Woman
Paradise Lose – Embers Fire

Set 2

Rammstein – Links 234
Diary Of Dreams – Butterfly Dance!
Deine Lakaien – Return
Project Pitchfork – Human Crossing
Seabound – Poisonous Friend
Aesthetic Perfection – The Great Depression
Covenant – Ritual Noise
Front 242 – No Shuffle
Light Asylum – Dark Allies
Kraftwerk – Das Model
Depeche Mode – Wrong
Beborn Beton – Ambush
Second Decay – I Hate Berlin (2002 Remix)
Wolfsheim – Once In A Lifetime

Set 3

This DJ set sums up how much open request list can do….even a tribute to Mexico’s Independence Day.

The Presidents of the United State of Amercia – Dune Buggy
Weezer – Island In The Sun
Korn – Blind
Rammstein – Engel
Hocico – Tiempos De Furia
Combichrist – Intruder Alert
Assemblage 23 – Drive
Nitzer Ebb – Getting Closer
IAMX – Spit It Out
Gary Numan – I Die:You Die

Tag Team Finale

Scott’s Tracks are in italics

Agent Side Grinder – This Is Us
Preoccupation – Espionage
Crash Course In Science – Cardboard Lamb
The KVB – Leaning
Weird Candle – Regeneration
She Wants Revenge – Written In Blood
Fad Gadget – Collapsing New People
Killing Joke – The Wait
The Outcasts – Just Another Teenage Rebel
The Clash – The Guns of Brixton
Kilburn and the High Roads – Rough Kids
The Specials – Too Much Too Young

Outro: Ramin Djawadi – Game Of Thrones Main Titles

Alternative Bring’n’Buy Sale – September 2018

After a few months off DJing, back to the Tufnell Park Dome.  Scott was there as ever, as was ABBS newcomer DJ Chelle Helle, playing much of the music I used to.  That gave me the chance to play this.

KLF – 3am Eternal
Utah Saints – Power To The Beats
K-Nitrate – Automatic Killer
Axiome – La chute du guide téléphonique
PlatEAU – Grasshopper
Empirion – Ayahusca
Qual – Cupio Dissolvi
Sebastian Komor – The Dragon
Formalin – Above The Sun
Encephalon – Rise
Zynic – Powered By Death
Elegant Machinery – Save Me
Michigan – The Nomad
Felix Marc – Give Me Back The Moments
Shock Therapy – Hate Is A 4-Letter Word

Birthday Party Set

Actually been a while since I did one of these, a friends birthday party in central London.  4 DJs, with my remit being ’80s rock and metal’.  As ever, one doesn’t always keep completely to the plan when DJing a party, but for once, few surprises will follow!

8:30pm-9:00pm

The Cult – Fire Woman
Deep Purple – Fireball
Black Sabbath – Evil Woman
Judas Priest – Living After Midnight
Anvil – Metal On Metal
Metallica – For Whom The Bell Tolls
Megadeth – Symphony Of Destruction
AC/DC – Back In Black

10:30pm-11pm

Nirvana – Smells Like Teen Spirit
Skid Row – Youth Gone Wild
Iron Maiden – Run To The Hills
Motörhead – Ace Of Spades
Motley Crue – Shout At The Devil
Twisted Sister – We’re Not Gonna Take It
Kiss – Shout It Out Loud
Alice Cooper – School’s Out

Die Kur EP Launch

Die Kur have constantly featured in the Terminates Here story, and tonight they played a free gig to launch their new EP.  Toxic Shock came in as support (thanks for the Requiem cover!), whilst DJing was handled by DJs Translight, Baron and myself.  Here’s what I played.

Toxic Shock Support

Lord of the Lost – Die Tomorrow
Gothminister – Hatred
Auger – Right Here Right Now
Girls Under Glass – Ohne Dich
Earth Loop Recall – Optimism Creeping In
Sulpher – You Ruined Everything
Cubanate – Oxyacetylene
Zeromancer – Photographic

Die Kur Support

Anthrax – Antisocial
Serj Tankian – Lie Lie Lie
A Perfect Circle – So Long and Thanks For All The Fish
NIN – The Wretched

Aftershow

Skid Row – Youth Gone Wild
Bush – Machine Head
Smashing Pumpkins – Today
Radiohead – Paranoid Android (1st half – x-fade to DJ Translight)

DJ Terminates Here vs DJ The Scot – June 2018

A return to the Open Request List ABBS afterparty…all but the first few and some ‘link’ tracks are requests.

Set 1

Chris Connelly – Stowaway
Broken Links – Within Isolation
Deathboy – Slip
Marilyn Manson – Tainted Love
Laibach – Tanz mit Laibach
Japan – Life In Tokyo
Chameleons – Second Skin
Fields Of The Nephilim – For Her Light
Theatre Of Hate – Do You Believe In The Westworld?
The Damned – New Rose
Metal Urbain – Panik
Revolting Cocks – Beers, Steers and Queers
Sheep On Drugs – Motorbike

Set 2

Siouxsie and the Banshees – The Killing Jar
Adam Ant – Goody Two Shoes
B-Movie – Nowhere Girl
The Human League – Being Boiled
Absolute Body Control – Figures
OMD – Messages
Project Pitchfork – I Live Your Dream
Rammstein – Sonne
Interlock – Skinless
Rob Zombie – Dragula
Alice Cooper – Poison
Metallica – One
Black Sabbath – War Pigs
David Bowie – Scary Monsters (and Super Creeps)

Set 3

Rammstein – Links 2 3 4
Stream Of Passion – Embrace The Storm
Cranberries – Zombie
Lene Lovich – New Toy
The Dresden Dolls – Coin Operated Boy
Malaria! – Geld
Light Asylum – Dark Allies
Aga Wilk – Driving Me Mad

Final Tag-Team

As usual, Scott’s tracks are in italics.

Chelsea Wolfe – Carrion Flowers
Cabaret Voltaire – Just Fascination
Propaganda – Dr.Mabuse
Blancmange – Living On The Ceilig
The Cure – A Strange Day
Wire – I Am The Fly
Nick Cave – Stagger Lee
Depeche Mode – Ice Machine
Gary Numan – Metal
Wolfsheim – Once In A Lifetime

Outro: Ennio Morricone – Gabriel’s Oboe

Alternative Bring’n’Buy Sale – June 2018

The Alt Bring’n’Buy had a break in the Spring, but it came back today.  As far as the DJing goes, I had originally planned to stop last December, but the break allowed me to find some fresh things to play, so whilst Scott and Zaira handled the bulk of the music, I still put in an hour 1pm-2pm.

Kloq – You Never Know
Alien Vampires – You Wish Me Dead Get In Line
Studio-X – To Hell
Syrian – Enforcer
Code 64 – Without You
Dupont – Solid Life
Lederman DeMeyer – A Tribe Of My Own
Növö – Groupe 8-2 (Extended)
Klinik – In Your Mind
Tribantura – Lack Of Sense
Finkseye – Deadweight
Forma Tadre – Looking Glass Men
Second Disease – Desire
2nd Face – Instinct

I did considerably more DJing over the road afterwards.

Wave-Gotik-Treffen 2018 – Darkflower Set am Freitag

Wave-Gotik-Treffen, the biggest scene festival in the world, takes place in Leipzig every Whitsun.  Many of the cities venues participate, including the legendary Darkflower nightclub.

I played a set on the Friday night.  Joining me were DJs Mike Tzulan and Stromtod from Austria. This now means I’ve played DJs sets at both my favourite music festivals (WGT and Infest) and in both of my favourite countries to watch live music (Germany and Belgium). It was also a good chance to finally get in another out-and-out club hours set – it’s been a while!

9:15pm-10pm

32Crash – Slow Crash
Haujobb – Dead Market
Velvet Acid Christ – We Have To See, We Have To Know
Placebo Effect – Slashed Open
Seven Trees – Going Down
Second Disease – Desire
Forma Tadre – Looking Glass Men
Finkseye – Deadweight
Suicide Commando – See You In Hell!
Acylum – Crazy

12am-1am

Straftanz – Straftanz (Ost)
Eisenfunk – Pong (600XL Remix by Xotox)
Noisuf-X – Toccata Del Terrore
Tactical Sekt – Xfixiation (:SITD: Remix)
Funker Vogt – Machine Zeit
VNV Nation – Electronaut
Sebastian Komor – Game Of Thrones Theme
Front 242 – Tragedy >For You<
Armageddon Dildos – East West
Agrezzior – Hardcore Generation
Klinik – Moving Hands
Spetsnaz – Apathy
Nitzer Ebb – Join In The Chant

3am-4am

Xotox – Eisenkiller
Punch Inc. – Arm Against
This Morn’Omina – One Eyed Man
Feindflug – Glaubenskreig
Grendel – Soilbleed (v3)
Front Line Assembly – Plasticity
Cat Rapes Dog – American Dream
Leæther Strip – Antius
Die Krupps – Robo Sapien
The Invincible Spirit – Push!
Project Pitchfork – Requiem
Skinny Puppy – Smothered Hope
Covenant – Figurehead (Plain)