Bandwagon Mixes #1 — Mr. Mule
The first of our Bandwagon Mixes is by Mr. Mule. A talented English DJ we discovered through /r/mixes on reddit. A proper gentleman and incredibly supportive to others in the scene. As it turned out, a long time ago, Mr. Mule used to be a pirate radio DJ — so we interviewed him.
Thank you for being the first Bandwagon Mix Mr. Mule. Can you tell us, how long you’ve been DJ-ing for?
Too long… actually about 23 years on and off god I sound old already. I am old already, but it’s how old you feel right? But music makes me feel young
Was your DJ-ing kicked off by dance music or did it begin at pubs and weddings?
Definitely dance music… actually to be specific; it was most likely The Prodigy’s fault. I went to see them when I was about 20 and was blown away. Before that I was a classically trained percussionist, drums, timpani, glockenspiel.
Then my girlfriend went to Uni, and I joined in the parties.
I had a mad collection of CDs, lots of dance music and was asked by a ‘guy’ who ran a pirate radio station if he could borrow my music. Then he asked if I would play my music, then I started borrowing records from a friend and then I was asked to start buying my own tunes.
I got on the Tresor and Intec/Ultimatum distribution lists. I was getting records in the post every week.
This was between ’93 — ‘96.
They gave you a budget or you were paying and getting promos also?
I had zero budget, I was paying and getting promos, if I got music through the post I always played it that week. It was a bit of a John Peel like show. But I got to mix. I played pirate twice a week and legit radio once a week and eventually got play at Sheffield underground clubs and free out door parties.
Before this, what were you listening to regularly?
Before this I was listening to Marley, Reggae, Dub and Ragga. Some pop and dance but nothing like Techno.
The parties were Drum’n’Bass and Techno.
Not a massive jump from Ragga to the likes of House and Techno.
It was a natural progression definitely. Carl Cox was a big influence, he always managed to mix in some Ragga, Basement Jaxx type beat in. We used to get guest list for Carl Cox at ‘The Velvet Rooms’ in London. I loved it.
The radio stations, could you tell us a bit more about those.
It started with 2 cd decks and 2 tape decks at the top of a block of flats in Sheffield.
This is the pirate station? What was it called?
Mainline 102FM
The public transport system in Sheffield was called mainline and it was also a dirty drugs reference too. A guy who loved electronics ran it and he also loved dance music. He was a bout 60, called John.
I played twice a week; Thursday evenings and Sunday afternoon. 4 hours each time anything I wanted. No ads, no breaks. It got bigger and loads of listeners, I had guest DJs come in
As a DJ starting out that’s a great amount of freedom to have. You were on that station for how long?
I was on for about 2 years before it was busted. Such fun.
Eventually it was very big, all the local top DJs would have a spot.
Besides losing a beloved station Did the bust have any legal repercussions for you?
Of course, but all good things come to an end.. .and it had its time. The web was starting. Repercussions for me? No… But the guy who was playing when the cops came in through the wall got a real shock!
What about the legit radio station, tell us a bit about that — how did that come about, how did it differ?
Actually, the legit station was also very free. This one started as pirate, and we played as pirates a few times…even broadcast video on the BBC2 TV signal. Very clever guys, they applied for a licence once a year.
I played on a Friday night. We had 55 minute to do as we pleased and a 5 minute news/ad slot. We could just play or play and chat. So we played, laughed, smoked and chatted. It was great fun
What was the name of that station?
That was Radio Freedom in Derby.
During this time between radio stations — were you also playing pubs and parties?
Both house parties and pubs and outdoor parties.
Party party party…
Free parties. Pub gigs that got way out of control. Outdoor parties in the peak District.
We booked Carl Cox for the Octagon in Sheffield (Octagon is the big university event space), I got to play at the after party at ‘The Arches’ with Carl stood behind me.. It was my first gig and my hands were shaking terribly. I learned a lot that night. I watched carl effortlessly hump the DJ booth while he mixed
Where does this gig slot in the time line between Mainline and Radio Freedom?
This fits in nicely at the end of Freedom Radio.
First paying gig or first big gig? What about local nights?
First big gig, I don’t think I ever got paid until I came to the Netherlands.
I played a few nights I set up at the pub, I was also getting the local big DJs in too. As they had the pull of the crowd and then we would also know about where the free house/outdoor parties were.
What were the names of some of the fellow DJs on Radio Mainline?
Tony Askins. Mark Armstrong. Dave the Drummer came once I think, Drum’n’Bass guys, Grasscutter.
And on Radio Freedom? We didn’t know anyone at Freedom. We didn’t even meet any other DJs. We had the studio to ourselves it was very funny.
Mainline yes… it was a big party on a Thursday or Sunday
Friday nights at Freedom… only the radio station owner was there.
What about the local nights and such — what were names floating around at that time
Sheffield Sound System Curfew. Mark Armstrong. Dave the Drummer. Tony Askins. Chris Duckenfield.
We also booked a lot of big names to come play with us. Aphex Twin, Autechre, David Holmes, Marshall Jefferson, Carl Craig, Dave Clarke, Slam, Justin Robertson, Derrick Carter, Jeff Mills, Surgeon, Stacey Pullen etc. And Carl Cox.
Was the Carl Cox gig at the Octagon just the start or a once off?
It was in the peak of our underground events. When we took it mainstream.
I think Carl at the Octagon was about 1996 or so… The time of Tribal gathering.
Maybe 1998.
This was the big push. We had a big university following, but we wanted them all. So we took it to them instead of them coming to us.
We also played the Leadmill in Sheffield. Gatecrasher had just started and some friends played there as it was less dirty.
I meant to ask, what were you called?
We went as ‘Covert-Ops’. Sometimes I played with Curfew. Too many names we made up for nights. The boy logo I use is the old covert ops logo.
Club night names included; Lifemind, Smokescreen, Headcharge.
All this started on tape decks and cd decks — how long before you were on the vinyl?
Actually within a few weeks of me borrowing a real DJs records, which was after about 2 months of Pirate Radio.
How did you find vinyl and learning to DJ that way? Did tape decks & CD decks remain a part of the set-up with the vinyl?
I loved it… It was very tactile and my friends used to let me practice on their decks.
What were the first set of decks you owned?
We got some turntables at the radio station. They were Marantz belt drives, you couldn’t touch them, too much wah and wobble, made you work very hard.
Technics were easy after that baptism of fire.
Any stand-out or even hilarious or bizarre stories from running the pub gigs?
One night we made a mushroom cordial, as it was ‘that’ season. It was also the end of the free party. The cordial was passed round about a hundred people… I mean it was usually a bit crazy… but that night was hilarious. People dancing on the pool tables, we had lights, it was like the big finale. It had gotten too big for the pub. We hosted a MegaDog too.
Any other stand out stories, memories from those days?
Drinking Carls Red Stripe Rider in his dressing room, when he hadn’t even arrived yet. General messing around and in he walks, he was very cool about it.
Chasing around the peak district in the middle of the night. Trying to find THE field or THE quarry. Where ever the party was.
Also the two sets of county police turning up to a free party we set up UNDER the M1 motorway… It was on the border and we had the farmers permission… the police didn’t know what to do. So left telling us to tidy up after.
What about big name bookings? Any particular memories?
Jeff Mills was my highlight. He really influenced me, his rough style, fast and carefree. But so in tune with the crowd.
Aphex Twin. a very messy evening, but very gritty. It kind of opened your ears to new musical dimensions. Gayle San surprised me — my first girly DJ crush and Stacey Pullen was so melodic. Just watching all these professionals perform was huge and such a great education.
Did anyone take you aside in the early days — show technique, or was it watching people — learning that way?
Tony Askins was my mentor. I used to go climbing with him too. He was the one who lent me the records for the radio station, he also played out a lot at club nights. He did university radio and free parties and was great to learn from. He would encourage me to play free, mix up styles, scratch that techno and experiment.
You also mentioned Jeff Mills — how did that influence you, and who else was there?
Jeff just blew me away, raw untamed energy, fast paced and techno back then was like 140BPM. Not the 125 you get now, he used to double mix the same track on the half beat and scratch between them with big backspins.
My early mixes really reflect this style, full of energy, no exact science, no harmonics, just your ear and if it sounds good. I have always said — if its got the funk — it’s in the bag. As in I don’t really mind what kind of music it is. If it makes me wiggle, I’m playing it. I’ve also never really been interested in the money. Not that it ever paid, except for a few times in Amsterdam
I love the music and if my passion can be translated through my DJing then hopefully it comes across as something listenable.
So when did the DJing in the UK stop — you moved away or a career happened?
My DJing in the UK stopped 11 years ago when I moved to the Netherlands for work. I was making computer-based exams for an International Company and I was asked if I wanted to do the same thing in NL. I bit their hands off and moved. Expat life is very different.
Many gigs in the Netherlands during that early period or a tapering off?
Not many to begin with, after a couple of years it took off again, colleagues with contacts. I played with the Supper Club guys.
How has the hardware changed? Gone digital or still doing vinyl gigs?
I’m a digital boy now. I still have my vinyl, which I dig out once a month and play to keep my skills honed. But digital has opened up an extra dimension of being able to remix, bend, stretch and extend. I also use time-coded vinyl. Because who doesn’t love to play with decks?
Traktor or Serato?
Traktor. The native hardware is great. It was a tricky decision and Serato is expensive. Hawtin was a big Traktor DJ and I do love my Richie Hawtin/Plasticman/Minus. I can spend more time with the music, it’s not just start to end. It’s looping and experimenting. I’m not enjoying harmonics. I’ve always had an ear for harmonics, but digital makes it easier and yes, I use the sync button. Then I can concentrate on the mix, the energy and the movement of the tracks. It’s also bloody helpful when you’re running out of track time.
I’m adding my own loops, bass-lines, and definitely percussive elements.
I try not to plan my mixes too much. To go with the feeling and to keep an element of surprise. Finding tracks is also much easier and I can carry my full collection in just 1 laptop. No lugging around heavy record cases — yay.
What is your controller set-up now?
I have a Z1, X1Mk2 and an F1, Traktor Scratch and a pair of 1210markIIs — keeping it simple. I’m not invested in my music for a long time, buying vinyl and the like, so it was long overdue.
Buying digital tracks?
Indeed, I use Beatport mostly and Juno Records. I do miss my white labels though. Nothing like the smell of new vinyl and writing on that label with a big black marker.
But I’m also responsible for my family now. My wife of 10 years (dating since we were sixteen) and my twin boys aged 6 and my Systems Administrator Career.
Between kids, work, sleep and killing zombies in video games there’s not much time left to sleep, never mind DJ.
I went to my first club night in 6 years not long ago. I was the only person there not on drugs. It was an after party and started at 6am I danced all morning.
I love hearing music through a good sound system.
You don’t need drugs to enjoy your music.
Would you say your percussionist past has been a serious boon?
Definitely. I like a good beat I love percussive elements.
Tribal heavy and dark, you can really hear that in your mix. Is there anything you’d like to tell us about the mix you did?
I usually play as the main event, big builds and drops. But I wanted to be the ‘resident’, I wanted to be the other guy. I wanted to express my love for percussion. My enjoyment of the odd pop, squeak and noise. I like to get down and dirty and experiment with the dark side.
I’m enjoying acid again (music, not chemical) and with riding bass lines.
I had a vision of a dusty warehouse hangar. Some effects I’m using give that impression of a big space
Any other influences outside dance that work your DJing? Films? Art?
Hieronymus Bosch — chaos and insanity with acute attention to detail. Space Odyssey 2001 (actually this was my late Fathers favourite film). The future was in 1968. But I’ve never been a follower of mainstream — I’ll question the truth.
How do you feel about Soundcloud and Mixcloud? Soundcloud getting adverts and heavy handed with take-downs?
I went pro with Soundcloud as last year it seemed to be the de facto resource for musicians. I also opened a Mixcloud account at the same time. Now I get good traffic through SC. But recently MC has been gathering more and more users. I like the tagging of tracks and of course it’s free even for full length mixes, so I’m swaying towards Mixcloud now. I really hope they grow. I’ve been getting a few more hits there, and I’m sure they have plans. So SC until my account is up for renewal then I’m moving. I’ll keep some short sample there but I think I’ll move
Is that because of the heavy handedness — coming commercials or just an over all growing dissatisfaction?
It’s damn expensive, I’m not sure the cost is justified. Commercials, if they arrive I’m so gone. I will not be an advert.
€99 a year?
I don’t mind paying that much for hosting all my pics, docs on Google or my own website, this first year as pro was a trial for me. I’ve got some followers which is great and I’m very thankful for every listen/like I get, but I still think it’s too much. Where’s the non-profit discount? I dunno…. its tricky, like leaving Facebook. It’s introduced me to some amazing people.
Thank you Mr. Mule, for the mix and the interview. And for taking time out of a busy Wednesday night to sit for so long on Skype.
It’s been such a pleasure. I really love what SWAM404 have been doing.
Thank you! Deeply appreciated. We’ll see how long the wheels keep on the cart ;)
Update to original Bandwagon Piece
A small update to the original piece. Youtube video of Mr. Mule live on Radio Freedom in Derby 1998 was recently upped, check below for vintage Mule.
Mr. Mule, Radio Freedom, Derby, 1998
Originally published on November 23, 2014.
