10 Years of Nocturnal presents The Weigh House

This month marks the tenth year for South Coast disco pioneers Nocturnal – and what better way to celebrate than partying in an underground medieval vault?
Over the past 10 years, Nocturnal has hung their disco ball in basement dives, glamorous New York style lofts and even jaunts on the high seas, as they’ve welcomed everyone from Ame to Andrew Weatherall, Mark E to Maurice Fulton and the Unabombers to Greg Wilson.
For this special affair they’ve got their hands on Weigh House, a Grade 2 listed building, with an outdoor courtyard and underground medieval vault that’s perfect for perfect some late night/early morning boogie, disco and house action.

Nocturnal residents Fazz & Lloyd will be playing all night, joining the dots from funk to boogie and house to disco to with plenty of Nocturnal classics from the past 10 years in between.


For more info click here and check out their free mix below to get you into the mood for a medieval boogie.

Review: Super Weird Happenings

Oslo in Hackney, was a damn good place to be alive this weekend. We were reminded of this by Kermit Leveridge’s emphatic performance last night that punctuated the rebirth of his musical career. A rebirth of both the musical and literal sense as Kermit came all too close to death after contracting septicaemia as the result of injecting with a dirty needle in the late 90s.

It was an evening of true celebration, the last series of Super Weird Happenings, curated by Greg Wilson and Kermit Leveridge that have been taking place across the country.

Early attenders were treated to a debate chaired by one of the country’s most prominent writers on black music, Lloyd Bradley (author of ‘Bass Culture’, a Reggae history, and ‘Sounds Like London’). The panel included Greg, Kermit and Daisy Eris Campbell, a playwright who is about to stage her production of ‘Cosmic Trigger’. Amongst things discussed was the concept  that now might be a timely moment for a younger generation to look back on their musical heritage in order to move things forward within the industry.

As topics were discussed the room buzzed with a collection of artists who created hallucinatory live pieces inspired by the counter culture spirit of the event.

Then the music began. Walter Ego kicking off with a mix of both new and old Afro Latin dance tunes and ended with a foray into Garage and bass heavy cuts.

Just before midnight, Kermit Leveridge took to the stage with is new band Blind Arcade to deliver a set flavoured with essence of 60’s motown soul, dubwise and gospel. A knowing audience responded to an electric performance by Kermit and his ensemble, finishing with the lyrically sentimental “Damn, it’s good to be alive”. The epitome of his own journey of redemption.


Finally Greg Wilson took to the decks, opening with a driving re-edit of Stevie Wonder’s Superstitious. An evening that had been swelling with anticipation truly took off.

Super Weird Happenings was an experiment to find if an event could act as an antidote to much of the current scene’s lack of emotion. It was an event that brought some heartfelt feeling back into music. Aligned to the beat of a different drum and veering away from the recent proliferation of music which has arguably lost its soul, it evoked the spirit of positivity that marked out former times.

We can’t wait to hear what Greg and Kermit have in store for us in 2015, but we’re sensing some sort of Super Weird festival is afoot…

Super Weird Happenings with Greg Wilson and Kermit Leveridge

Autumn deepens and something super weird is afoot.

Dance music Hall-of-Famer Greg Wilson and Kermit Leveridge, of Black Grape and Madchester fame, have formed a new musical alliance. Their aim: to challenge the conventions of a typical club night.

These Super Weird Happenings have been cropping up across some of the UK’s most prominent cities and Kermit’s new band Blind Arcade will be giving a live performance on the night along with some super special guest speakers.

The penultimate of the five ‘happenings’ will occur on the 18th October at Liverpool’s Constellations,  with author John Higgs as guest speaker. The final ‘happening’ takes place on the 1st November at Oslo in East London. Lloyd Bradley one of the country’s most prominent writers on black music features as guest speaker to wrap things up.

We managed to grab some precious time with Greg and Kermit to find out what we can expect at these Happenings.

So let’s start right at the beginning. Did you both always want to work in music?

Greg:  Since 1975 I’ve found myself working as a DJ in clubs and I have been involved in music related projects ever since. It wasn’t a case of choosing this path, the path chose me. To be honest, If I didn’t work in music  I’d Probably struggle to make ends meet, let alone find meaning in my life.

Kermit: Yeah I’m the same really. Music and dance have always been such a huge passion for me too. I think that had I not got involved in music, I would have tried my hand at becoming a writer.

What can we expect from a Super Weird Happenings event?

G: A free-flowing gathering in a creative space, which takes in talk, art, live performance, and DJ’s. Something we hope will entertain, amuse and inspire. It’s pretty much a mix between order and chaos, the balance between these giving each night its own unique identity, no two the same.

K: We liked the idea of a multi-media event, something that included a variety of creative aspects. The term ‘Happening’ relates back to the often spontaneous arts events of the 60’s, so we wanted to evoke some of that energy.

Would you say that the current UK clubbing scene lacks a bit of this energy?

K: More the culture than the scene as such. On the surface we live in an era of TV talent shows, corporate events and hipster posturing, where, more often than not, it’s a case of style over substance. We just want to connect to the ethos of expressive eras like the psychedelic 60’s and the acid house 80’s, where people broke the mould and re-wrote the rulebook.

G: Yeah, I mean I believe that the technical has been dominant in recent times and that there’s a need for a shift back to the emotional, especially given the turmoil and austerity of the age we’re living in – a more human touch is needed as the antidote.

The ‘scene’, wherever it is, boils down to passionate individuals enthusing others, and, by nature, is constantly changing, everything cyclic. You look at the history of music and you’ll find that this is always the case. For example, the whole Motown sound of Detroit couldn’t have happened without the vision of an individual, Berry Gordy. We assume that all these great Soul artists just happened to pop up in the same city at the same time, often within a few blocks of each other, but there were other extremely talented artists in other cities who never got a break because there wasn’t a Berry Gordy to knit the whole concept together.

K: I think with the club scene it’s about the promoters, with the support of the right DJ’s, of course, who, by perhaps taking risks others wouldn’t, create the next phase.

I think predictions are for someone younger than us, someone fresh and energised by new ideas. All I know, as previously stated, is that we’re entering a new cycle, and I believe this will be more about the emotional – more heart than head.

Did this ethos contribute to the creation of your new label Super Weird Substance?

G: Totally. The idea of the ‘fools leap’ is a central tenet for us. As the comic writer Alan Moore put it; 

“Quitting my day job and starting my life as a writer was a tremendous risk. It was a fool’s leap, a shot in the dark, but anything of any value in our lives – whether that be a career, a work of art, a relationship – will always start with such a leap. And in order to be able to make it you have to put aside the fear of failing and the desire of succeeding.”

I suppose the ethos is to do with stepping out of the comfort zone and taking a chance.

So what’s the plan after your five shows across the UK?

G: Well in addition to releasing music on the Super Weird Substance label, we’d like to continue to hold one-off Happenings in interesting spaces, whilst taking the event into festivals next summer. 

So let’s talk music. What tune would you play to help you reflect on life?

G: Perhaps ‘Time’ by Pink Floyd, with its theme of mortality, especially the lines; “The sun is the same in a relative way but you’re older, Shorter of breath and one day closer to death”. These words, of course, resonate each time you hear them because of the truth they embody – the more so the older you get.

K: ‘Many Rivers To Cross’ by Jimmy Cliff’.

The sun is shining, life is good. What tune do you listen to whilst you strut down the street?

G: ‘Sun Is Shining’ by Bob Marley & The Wailers’, of course.


K: Cody ChestnuTT ”Til I Met Thee’

What is you stone-cold guaranteed booty-shaker anthem?

G: James Brown ‘Get Up I Feel Like Being A Sex Machine’

K: ‘One Nation Under A Groove by Funkadelic…

Or Richie Spice ‘Youths Dem Cold’.

And finally gents, what will your epitaph read?

K: ‘You have to do what you have to do  for you’.

G: It’s got to be ‘One more tune’.

We’ll be at the final Super Weird Happening in London on the 1st November. We’ll be sure to give you a full run down of the strange goings on. If you want to check it out for yourself info on the next Super Weird Happening events are below:

Constellations, -39 Greenland Street, Liverpool, L1 0BS

Saturday 18th October – buy tickets here

In conjunction with Oxjam / Freeze

Oslo, 1a Amhurst Rd, London E8 1LL

Saturday 1st November – buy tickets here

In conjunction with Heavenly.

Featured image from left to right: EVM 128 (Blind Arcade), Greg Wilson and Kermit Leveridge. Photography by Elspeth Moore.

Steve Hope – Leaving (Teenage Mutants Remix)

Kittball Records are a small indie label from Germany who have been releasing House and Tech House tunes since 2005. A typical release for these guys contains “deep bass and a tiny pinch of irony”.  Kittball’s latest release is Teenage Mutant’s remix of the Steve Hope tune ‘Leaving‘. Teenage Mutants continues to secure Kittball’s reputation for delivering deep bass whilst allowing some of the catchy vocals from the original to remain. If you like it and you want it, the tune is available to download tomorrow.

Take a listen for yourself and let us know if you can spot the irony.