Brad Massive talks shop with Peter Jenkinson and Elliot Eastwick of Manchester’s finest house label – Paper Recordings.
First off, describe Paper Recordings in one sentence.
A rapier like sonic stream of consciousness or musical air cookies.
Who is Paper Recordings? What do you look for in artists you sign to your label?
Pete Jenkinson/Ben Davis/Elliot Eastwick/Miles Hollway are Paper. We look for a certain attitude, energy and a propensity to hold a lot of ale. We are open to anything really but are quite particular what gets put out on the label.
When and how did the label begin? How do you feel about the obvious success you’ve achieved over the past three years?
The label begin in March 1995. We are constantly surprised by the success and international effect the music has had since we’ve started and constantly strive to reach more ears.
Let’s hear about your production style.
As far as making records go we just get there and rock. We’re quite influenced by 80’s synth music at present. We use an Akai S3000, Cubase VST, Roland Jupiter 6, Korg MS20, Roland SH09, Clavia Nord Lead, Roland TR909, Roland TR808, etc. The desk is an automated Yamaha 02R.
Having led the way in what seemed to be an influx of great house music from the United Kingdom, where do you see UK house heading… and where does Paper fit in the grand scheme?
UK house is continuing to produce some of the best music around at the moment and I can see it staying at the same level until there is another house explosion like there was in the mid 1990’s. House for the new millennium. Paper Recordings will pursue whatever it is that moves us.
What other labels and artists do you give respect to? What records of the past year have really excited you?
Labels: Kontraband, Quality control, Guidance, Large, KDJ, DNH. Records: Kevin Saunderson, Moodyman, Acetone, Stereolab, Actionman.
If you could sign any artists around right now, who would it be? If you could remix anyone… who, which track, and why?
If we could sign anyone it would be a supergroup in the mould of the Spice Girls crossed with crossed with Womack and Womack. Other than that, we’d stick with our current signings: Crazy Penis, New Phunk Theory and Salt City Orchestra. As far as remixes go it would be “Roadhouse Blues” by the Doors because the track excites me so much. It’s got the same momentum as a ten-ton truck.
Let’s talk about your DJing for a bit. Where are you guys playing regularly and what’s hot across the pond right now? Where is the best night out in the UK?
Elliot, Miles and Ben DJ weekly at Gatecrasher, Erik Rug (Dirty Jesus) plays across Europe and is resident on Saturdays @ the Rex club in Paris, France. Scott Bradford (New Phunk Theory) is resident at Shindig in Newcastle. Best clubs are Electric Chair on Saturdays in Manchester, NY Sushi on Saturdays in Sheffield, Plastic People on Fridays in London, Sub Club on Thursdays in Scotland, Robodisco on Thursdays in Manchester, Come Correct in Leeds, and Come Shake the Whole in Brixton/London.
What is coming up from Paper in 1998?
Lots of albums in the pipeline and generally lots more full frontal dance floor exposure. An Eddie Flashin Fowlkes track remixed by Rae & Christian.
Last book read? Favorite beer? Favorite non-techno album of last year? Pastimes aside from DJ’ing, producing, or label managing? Type of vehicle owned? Best film of last year? Mixmag, Jockey Slut, Muzik or DJ?
‘Diceman’ by Luke Rhineheart & ‘Touching From A Distance: An Ian Curtis Biography,’ Stella Artois, Radiohead ‘OK Computer’, Playing Instruments, Scooters, Romeo & Juliet, Jockey Slut because we write for it.
Anything else you feel is important…
World peace and freedom of speech. Long live the internet.