House music didn’t arrive in the UK as some overnight revelation – it seeped in, record by record, club by club, shaping a generation long before anyone realised it was happening. For those who lived it from the start, the culture wasn’t a trend but a pulse, carried from soulboy dancefloors to acid-soaked basements and beyond. In this conversation, we trace that journey with someone who didn’t just witness the evolution of British club culture but helped write it, one night, one record, one fanzine page at a time.

WWD: You were there from day dot. What’s the moment or club night that truly flipped the switch for you and made you realise house music was going to be your life? 

Those who grew up dancing at underground clubs already had the DNA of Chicago House & NY club music in their bones. House was simply new imports coming into the stores that sounded raw and exciting. There was a drip-feeding into the floors at the best clubs rather than a ‘year dot’. Evolution rather than revolution. Ecstasy turbo-charged that though, late ’87 / early 1988.

WWD: How did the soulboy scene and its fashion, attitude and rituals shape the DJ and selector you eventually became? 

The 70’s London soul / funk scene was about what you wore, how you danced and how you and your crews were different from the rest of the country. I loved that.

WWD: You’re a bastion of acid and deep house history. What’s the biggest misconception people still have about that era? 

Maybe that was one scene. London had dozens of ‘acid house’ scenes from west London / west end to east London / Essex, not forgetting SE London & Kent. Mainly the same records but definitely self-contained with their own DJs.

WWD: Boys Own didn’t just document the culture – it dictated it. What was the original spark that made you, Weatherall, Cymon and Steve decide to start a fanzine? 

Both Andy and myself loved fanzine culture, and we decided we needed one for our mates. Acid house was not a thing and it was just about what ‘our lot‘ got up to. Very self-indulgent 🤣

WWD: Andrew Weatherall remains such a towering figure. What’s a moment with him that still resonates with you today? 

Andy was a lovely lad who could be both inspiring and infuriating. Memories of chasing him to finish his ‘Outsider‘ editorial because the rest of the zine was at the printers, and Andy scribbling it in his now iconic handwriting, is a memory in itself.

WWD: You’re now seen as a curator and archivist of UK dance culture. How consciously do you carry that responsibility? 

I don’t see any responsibility, I simply like getting shit correct, especially when it comes to our Faith fanzine.

WWD: You and Pete Heller created some of house music’s most enduring records. What made that partnership so creatively potent? 

Pete and myself adored that tough NYC sound. Pete is a very musical person – great on keys and drum machines – while I’m like Andrew was, an ideas man. We both needed the right person to bring those to life and Pete’s perfect at that.

WWD: You and Wade Teo have built a strong studio chemistry. What does each of you bring to the table that the other doesn’t? 

Wade – like Pete – seems to like my daft ideas. But he’s Arsenal. Pete Heller is a Spurs supporter so that nonstop sparring helps keep the flow going. We also share a taste in House which is super important.

WWD: You’ve lived through every technological shift. What’s the biggest difference between making records in the early days and making them now? 

The way music / remixes can travel across oceans within seconds rather than a DAT being posted to New York and taking days. It does create problems though with artists / labels wanting tweaks and changes that weren’t possible when you were booked into a big studio on a daily rate.

WWD: What grabbed you when you first heard ‘Don’t Doubt Your Power’? 

First reaction was immediately ‘we know what to do with this song’ but then Wade played bass, I played him an 80’s boogie track, and off it went!

WWD: Martyn Ware is a synth architect with a huge legacy. How did it feel to reinterpret a track produced by someone who helped shape entire eras of electronic music? 

Martyn is legendary and we couldn’t out-synth him, so we turned the mid-tempo vibe into a more organic one.

WWD: The NYC Club Mix has that warm, looping, timeless feel. What was the guiding idea behind that version? 

The House mix – we were thinking more 90’s deep house, kinda FK / Wave music. The House Vocal Mix has more bite.

WWD: Corselette’s vocal is strikingly pure and expressive. How did her tone influence your remix choices? 

Her vocals are ethereal and beautiful; we didn’t want our music to compete with her beauty.

You’re known for old school values. Which of those still matter most in today’s scene?

Old school values? I’m not sure what they are. Just be honest and nice and make / play music you truly love.

You’re praised for educating as much as entertaining. How do you strike that balance in a set? 

I like playing old music to younger dancers and new music to ‘grown’ crowds. That’s rewarding when it works. It’s important to share new music.

WWD: With your role as both creator and curator, what’s next on the horizon for you? 

Next on the horizon. Well, there’s a rather exciting project I can’t go into at the moment, but to keep on playing / sharing music with crowds who share my love of music both old and new.

WWD: What’s the one piece of advice you wish every new DJ would take to heart? 

I can’t advise new DJs because the game’s changed. In my early days the way to go forward was start your own party with your crew which generates interest from other promoters. TikTok generations and DJs on big agencies won’t want to touch that initial graft and unavoidable disappointments.

WWD: That it has! Thanks for the chat 🙂