Trap Magazine Outlook Festival Guide 2011

OUTLOOK 2011WELCOME!

DESTINATION CROATIAWHERE EVERYONE’S COME FROM IN 2011

MEET THE DIRECTORS THE MEN IN CHARGE TELL ALL

CROATIA CROATIAOTHER ACTIVITES FOR THE REST OF YOUR STAY

SAYWHAT A ROUGH GUIDE TO SERBO-CROAT

MALA THE DUBSTEP ORIGINAL SPEAKS HIS MIND

A QUESTION OF BASS JOE MUGGS CONSIDERS

WORLD SCENES BASS MUSIC AROUND THE GLOBE

RODIGAN THE GENTLEMAN SELECTOR

ARTLOOKOUTLOOK’S ADDED DIMENSION

ILLUSTRATED SITE MAP

FRICTION THE SHOGUN BOSS STOPS BY

PULA: FORTIFIED THE INCREDIBLE HISTORYOF THIS PART OF THEWORLD

ARENA GUIDE A LOOK AT EVERY ARENA AT OUTLOOK 2011

BOAT PARTIES RAVES ON THEWAVES

LABEL FEATURE

DON’T BE SILLY YOU LOT ARE PRETTY FUNNY SOMETIMES

DOS AND DON’TS

TRANSPORT HOW TO GET AROUND AND GET HOME

ESSENTIAL INFO IMPORTANT INFORMATION FOR YOUR STAY

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WORDS: Jon Cook, Joe Muggs, Natalia Fricker, Noah Ball, Johnny Scratchley.DESIGN & LAYOUT: Andy Hayes courtesy of Trap Magazine.PICTURES: Ashes57, Dan Medhurst, Chris Hoyle, Campbell Keys, Laura Lewis, Poslati, Zoe Lower.

THANKS:We were going to use this space to thank everyone who has helped us along the way but we have brains like sieves,so instead we did a doodle of a smiley face.

Big love and respect to everyone involved in making this event so special, you know who you are. x x

ass music and soundsystem culture seem to have capturedthe hearts of hundreds of thousands of people across theglobe over recent years, bringing a refreshing energy back to

some amazing genres of music and giving legendary artists newgenerations of fans.

Soundsystem culture and the bass music scene have always beenabout pushing real music... underground music... roots music... Hereat Outlook, we’re doing our very best to be respectful to that ethos.

The larger names on our bill are those of authentic legends fromeach genre of music, not the mainstream, more commercial artiststhat are currently making headlines now that bass music is gainingpopularity. Alongside the bigger names on the line-up, we also rep-resent what could be the most wide ranging and in-depth view ofbass music anywhere - whether that be reggae, drum & bass, hip-hop, garage, dub, techno, electronica and, of course, dubstep. Over500 artists in four days... It’s going to be BIG.

We’ve made some changes to the festival for 2011 - we’ve addedfour new arenas across the site that we think will blow you away.Outlook’s capacity has increased to approximately 10,000 this yearso we’re still relatively small as far as festivals go, but this has meantwe can really go to town on the production and line-up. We’re sureyou’ll agree that this year’s is the best Outlook yet.

Full descriptions of the new stages can be found later on in this pro-gramme. The most visible additions are the Harbour and DocksideStages, which are set down on the shipping harbour where the boatparties departed from last year. The Harbour Stage is this year’smain arena, holding up to 7,000 people and has quite possibly thebest soundsystem speci9cation of any stage at any festival in theworld. It’s serious.

D O B R O D O S L I ! W E L C O M E !

BThe Dockside (2,500 capacity) is the second arena in this locationand here you’ll be able to see some of the biggest names in bassmusic clash against each another on two of Europe’s best reggaesoundsystems.

We’ve added the Basketball Court arena for daytime vibes in thecampsite, featuring one of Europe’s largest breakdancing competi-tions and music that represents soundsystem culture in more of abloc party vibe.

Up at the fort we have another new addition, The Moat, which has tobe seen to be believed. Anyone who was at the festival last year willbe aware of Mungo’s Arena. Since 2010 the terrace above Mungo’shas had further work done and this year our festival goers will beable to look down onto the bass-9lled pit below. From up here youalso get a clear view of the city of Pula across the bay; regarded asone of the best views in the region.

In addition to the new arenas, we’ve also massively expanded ourrange of soundsystems and we can fairly safely say that you won’t9nd another festival in the world of our size with such highsoundsystem speci9cations. For the tech nerds among you, youcan read more about the systems we’re using in the pages of theArena Guide section later in this guide.

We’re overjoyed to be back in Pula at Fort Punta Christo. After lastyear’s festival, we knew we’d found our home - the place has a veryspecial energy and we’re glad to be back for Outlook 2011. Outlook2010 was immense, the crowd was a wonderful, smiling dancingcrew that were there for the music and the vibes, and we hope thatall our new friends this year follow suit.

Love and happiness from the festival directors,

NOAH, SIMON, JOE, JOHNNY, JACK &MARK.

“It’s with great pleasure that we welcome friends old andnew to this year’s Outlook Festival.”

CHECK YOURSELFBEFORE YOU

WRECK YOURSELF

Before heading up to the Fort or Harbour Arena each day, make sure you check that you’vegot some decent footwear on. Flip--ops and -imsy sandals are not permitted in either theFort or the Harbour. We would advise that you wear trainers when coming to the festival.

RESPECT DUE

To everyone who has helped bring this event together over the years, it’s been an amazingexperience working with so many people passionate about the music that we represent atOutlook, and whether you’re a volunteer or the head of production, you should feel proud to

have been part of the family.

LOVE CROATIA

We’re certain that you’ll enjoy your stay here - Croatia is a beautiful country and its peopleare friendly and courteous. In order to keep things as enjoyable as possible for everyone,

we ask that you remember to be respectful of the local people and of their beautifulcountry. Pick up your litter and dispose of it in the bins provided. Remember to say your

Molim (Please) and Hvalas (Thank yous).

MANCHESTERHIT & RUN

LEEDSEXODUS

BIRMINGHAMCUSTARD FACTORY

EXETERTHE DEEP END

CARDIFFWELSH CLUB

BRIGHTONVAGABONDZ

OXFORDFREE RANGE

LONDONOUTLOOK

SOUTHENDON SEADUBATEERS

SHEFFIELDTUESDAYCLUB

PARISSKANK IT UP

BOURNEMOUTHDUBNIUM

LYONTOTAL REZ

GENEVATOP RANK

NOTTINGHAMDETONATE

BARCELONARAZMATATZ

GRANADASUB DIVISION

MAIDSTONEDUBBED OUT

BRISTOLMOTION

BRESTSTAND HIGH

LEICESTERKONTACT

CAMBRIDGESTINK LIKE SOCK

READINGRESONANCE

SWINDONDUBSTEK

GLASGOWELECTRICELIMINATORS

AMSTECHEEKY

DESTINATIONCROATIATAKING PLACE IN CROATIA AND

ORGANISED FROM THE UK, OUTLOOK IS ATRULY INTERNATIONAL FESTIVAL, BRINGINGTOGETHER PEOPLE FROM ALL OVER THEWORLD TO CELEBRATE THEIR LOVE OFBASS-MUSIC CULTURE.

In 2011, an incredible 53 launch parties tookplace everywhere from Tel Aviv to Tokyo,promising to make this year’s Outlook the mostinternational festival yet. Check out this map tosee just exactly where everybody will be comingfrom this year!

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BRUSSELSJE M’ EN FISH

AMSTERDAMSONICWARFARE VSLOCKDOWN

ANTWERPUNTITLED

LEIPZIGTHE DISTILLERY

KING

NAPLESOLD RIVER PARK

TUSCANYMUV FESTIVAL

LIVERNONUMA CREW

BOLOGNADROP FELLAS

PRAGUEUNITEDFORCESOFDUB

BRATISLAVAUPRISING

GRAZDISKO404

OSAKASUNSUI

TOKYOPARTY2STYLE

CROATIASEASPLASH

SOFIATRUE BADNESS

THESSALONIKAPONY LICKS

TEL AVIVSUB MOB

STOCKHOLMALL OUT DUBSTEP

MALMOALL OUT DUBSTEP

COPENHAGENOHOI

BUDAPESTBLADERUNNAZ

BUCHARESTARENA DNB

RDAMYMONDAY

AMSTERDAMSWAGGER

MALTASTATIX

BOSNIACONTRA CREW

ATHENSDBAR

KIEVKIEV BASS

I do this because…It keeps me out of trouble.

2011’s most exciting new edition is…Pharoahe Monch.

MyTop 5 must-see acts are..Phaeleh, Jah Shaka, any of DMZ/Deep Medi

Crew, Twinkle Brothers, SubmotionOrchestra.

My best Outlook moment so far was…Falling oD the main stage back in 2009.

What I love about Outlook is…The fact that Eve very diDerent people withcompletely diDerent taste in music who,prior to Outlook, probably wouldn't evenhave looked twice at each other in the pubhave somehow pulled together to produce

Outlook!

I got involved in Outlook thanks to…A series of poor life choices… that might

just have actually paid oD.

OnMonday morning, you’ll find me…Back at the main gate trying to get

everyone home.

Don’t......leave any drink riders unguarded for even

a second; all artists are thieves.

NAME: Jack ‘Vagabondz’ Robinson

I do this because…To give people what they want and becauseif we hadn't done it, a bunch of soulless

promoters with dollar signs for eyes wouldhave ended up doing it and ruining the

scene even more....

2011’s most exciting new edition is…Has to be the Moat! Ever since we Erst laideyes on the fort, we’ve wanted to excavatethe Moat area and drop a heavy system inthere... I can’t wait to see it come to life!

MyTop 5 must-see acts are..David Rodigan, Gentleman’s Dub Club,MJ Cole, Dawn Penn, Ben Hunter &

Marksman (last set Sunday in The Moat).

My best Outlook moment so far was…Watching the crowd from the main stageduring Roots Manuva’s set last year.

What I love about Outlook is…DeEnitely the people. We couldn't ask for abetter crowd - best vibes of any event I'veever seen - no trouble and smiles all round.

I got involved in Outlook thanks to…Being in the right place at the right

time, and a lot of standing in cold doorwaysFyering to a bunch of drunken c*nts.

OnMonday morning, you’ll find me…In The Moat from 5 to 6am. With my

favourite people in the world.

Don’t......expect a comment in response to all ofyour facebook posts during and after thefestival – we’re going to need a small break!”

NAME: Joe ‘Vagabondz’ Barnett

MEETTHEDIRECTORSOutlook isn’t just the work ofone man. And it’s deEnitely notthe work of a massive corporatemachine, out to charge you £7for a dirty burger and bombardyou with advertisingall weekend…

In fact, Outlook is run by a teamof Eve guys just like you and me,hailing from all across the UKand each bringing a totallydiDerent set of ideas,personalities and musical tastesto the table.

Here, we give the men behindthe madness the opportunity tohave their say. Read on todiscover how they got involved,why they bother and whatthey’re most looking forward tothis year…

I do this because…Of the feeling of seeing the crowd’sreaction when that tune drops down.

2011’s most exciting new edition is…The Harbour - we have put in so much workto make this the new centerpiece for the

event.

MyTop 5 must-see acts are..Pharoehe Monch, Horace Andy, SubmotionOrchestra, Joe Coseness, David Rodigan.

My best Outlook moment so far was…In 2010, seeing Congo Natty and crewplaying the last set on the main stage.

Nancie and Phoebe singing ‘Notorious’ byTurbulance to end it blew mymind and

my tear ducts.

What I love about Outlook is…The coming together of so many di<erentpeople from all around the world with one

common love - bass music.

I got involved in Outlook thanks to…Noah. He asked and I said yes.

OnMonday morning, you’ll find me…You won't.

Don’t......disrespect our beautiful location.

NAME: Johnny ‘Jila’ Scratchley

I do this because…I like music. And people.

2011’s most exciting new edition is…Barrington Levy.

MyTop 5 must-see acts are..Barrington Levy, Katy B, Magnetic Man,

Skrillex, Travis, Bob Marley.

My best Outlook moment so far was…Falling asleep at the end in a portacabin.

What I love about Outlook is…The New Era caps and home-counties

students. Yes bruv.

I got involved in Outlook thanks to…The artists. They made me do it and I'm

weak willed.

OnMonday morning, you’ll find me…In the local record shop digging for thehottest Balkan turbo folk and Austro-

German Oom-Pah ballads.

Don’t......ever ask me to =ll in a questionnaire three

weeks before a festival?!

NAME: noahfuckinguseatall

I do this because…I get high on stress.

2011’s most exciting new edition is…The new stages beside the seaside.

MyTop 5 must-see acts are..Kyle Hall, Firehouse Sound, Iration Steppas,

Digital Mystikz, dBridge.

My best Outlook moment so far was…Watching one of my festival partners

wander o< to his accommodation, leavinghis MacBook discarded on the >oor outside

the venue.

What I love about Outlook is…Giving the punters an all-in-one festival and

holiday.

I got involved in Outlook thanks to…The fact I couldn’t say no. Beats getting a

proper job.

OnMonday morning, you’ll find me…Waiting for Wednesday to come along so I

can get a decent night’s sleep.

Don’t......piss o< the locals!

NAME: Simon ‘Exodus’ Scott

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1.

FOR THOSE OF YOU STAYING AROUND IN THIS BEAUTIFULCOUNTRY AFTER THE GATES TO THE FORT HAVE BEENLOCKED FOR ANOTHER YEAR, HERE’S OUR PICK OF PLACESTO VISIT AND THINGS TO SEE. FROM ANCIENT MONUMENTSTO IDYLLIC BEACHES AND AN ISLAND FULL OF EXOTICANIMALS, THERE’S A LOT MORE TO CROATIA THAN JUST THEWORLD’S GREATEST BASS-MUSIC FESTIVAL…

1. PULA AMPHITHEATRE

Pula is one of Istria’s most beautiful and authentic cities, speckledwith Roman ruins, centered around the magniGcent Arena. Likethe Colosseum in Rome?Well, this amphitheatre was built at thesame time, during the reign of Emperor Vespasian in the 1stCentury AD.

With stone tiers all the way around, an estimated 20,000blood-thirsty spectators once watched the gladiators Gght to thedeath in the central Hat arena below. The hub for cultural activitiesin times gone by, from gladiator tournaments to medieval marketsin the Middle Ages, this phenomenal architectural feat is still atthe core of Pula’s vibrancy. Host to a wide range of events,including the Pula Film Festival, the Arena also holds many musicconcerts, with a capacity of around 5,000 spectators. Artists suchas Manu Chao, Buena Vista Social Club, Sting, Jamiroquai andCrazy Couzins have all graced the Arena with their presence.

Getting to Pula is easy, take a look at the ‘Transport’ section lateron in this programme for details on buses and taxis into town.

2. BRUJINI ISLANDS

This stunning archipelago consists of two main pine-coveredislands and 13 smaller islets, situated just northwest of Pula, oFthe Istrian Coast. If you fancy getting closer to nature, then this isyour thing. Don’t be surprised if you bump into the oddfree-roaming giraFe or bear - you won’t be hallucinating! This isBrujini, where extravagant Yugoslav leader Tito introduced crazysubtropical species to create a safari park to house exotic animalsgifted to him by world leaders. Many world famous heads of stateand celebrities visited Tito’s paradise, the Grst being EthiopianEmperor Haile Selassie in 1954, who contributed anEthiopian elephant!

Though the islands have been inhabited for thousands of years,Tito gave them fame, spending six months there every year from1947 until he died in 1980. Part National Park since 1983, theislands are covered by meadows, parks, forests and rare plants,such as wild cucumber and marine poppy.

Horseback riding, golf, tennis, sailing, windsurGng, diving andbike/boat rental are all on oFer. Excursion boats leave regularlyfrom the Pula waterfront. Or, if you fancy going independently,take public bus 21 from Pula to Fazana (15KN, 8km) and sign upwith the national park oIce for a tour www.brijuni.hr;tours 125-210KN.

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C R O AT I A C R O AT I A !

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3. ISLANDOF PAG

Like the sepia setting on your camera? Well, you won’t need it tophotograph Pag! Home to Outlook 2009, the island has its ownmysterious, ancient atmosphere - like a setting out of a 1950sItalian Flm - with dramatic barren, rocky landscapes, spotted withpatches of shrubs and a dozen small villages. Despite the almostlunar landscape, the islanders still farm the land and produceSutica, a decent domestic white wine, and Paski Sir; delicious Pagcheese, salty and sharp, soaked in olive oil and aged in stone.Despite its anachronistic feel, Novalja is a carefree, vibrant resortnear the clubbing mecca of Zree Beach! So go check it out!

Just catch a bus from Pula to Rijeka, (around 80KN, 2hrs), thenhop on a boat from Rijeka to Pag’s northern port Novalja(40KN, 2.5hrs).

4. SPLIT

Croatia’s second-largest city, Split’s atmosphere perfectlybalances historic tradition with modern buzz, epitomised by thewealth of thriving bars, restaurants and shops nestled inside thecharming old walls of Roman emperor Doicletian’s retirementpalace. One of the world’s most wow-worthy Romanmonuments(built AD 295-305), this gave Split its fame and is now a UNESCOWorld Heritage Site.

The turquoise Adriatic lulls behind the dramatic coastal mountains,and the vibrant and beautiful city is also a great diving board to thehip islands nearby. Taste the culinary delicacies and stunningbeaches of Vis (car ferry from Split, 54KN, 2.5hrs), laze on the sexybeach of Zlatni Rat, party all night and absorb the glamour at HvarTown’s seafront bars, or visit the impeccable ancient architectureof tiny Togir, central Dalmatia’sWorld Heritage Site.

Buses from Pula to Split run three times a day (387-392KN, 10hrs),or bus it to Rijeka and get a ferry to Split. Once there, visitJadrolinija in the large ferry terminal opposite the bus station formost coastal ferry and catamaran boats to the islands.

5. DUBROVNIK

If you have time to roam even further south, then Dubrovnik isdeFnitely worth the trip. The ‘jewel of the Adriatic’ according toLord Byron and ‘paradise on Earth’ for George Bernard Shaw, thisstunning city does not disappoint. Take a relaxing stroll around theold town and marvel at its magniFcent walls and beautiful baroquearchitecture that transports you back in time.

Dubrovnik is also a fantastic place from which to explore thegorgeous coastline of southern Croatia and the lush neighboringislands: Lokrum, Korcula (with its fantastic white wine and citadel),Mljet National Park, mountainous Peljesac Peninsula and TrstenoGardens. To reach this incredible city, catch a bus to Rijeka, andthen change to a bus to Dubrovnik (13hrs).

FORMORE DETAILED TOURIST INFO - PLEASE VISIT OURHELPFUL STAFF AT ANY OF THE INFORMATION POINTSON SITE.

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SAYWHAT?BECAUSE THEY DON’T SAY GETME, BARE AND FAM IN CROATIA.

“Jebiga”(yeh-bee-gah)

“Fuck it!”

“Mirovaj,prijatelj!”

“Chill mate!”

“Ko ti je cha cha?”“Who’s yourDaddy?”

“Ne brini!”

“Don’t worry!”

“Prošla baka skolačima”

(prosh-lah bah-kah sko-lah-chee-mah)

“;e Granny passed

with the cakes”

(you missed your chance)

“On/Ona/Ono je sjeban/a/o!” - “He/she/it is fucked up!”“Hvala, prijatelj!” - “Cheers mate!”“Volim te” - “I love you”“Hočeš ti plesati?” (ho-chesh tee

pleh-sah-tee) - “Do youwanna dance?”

THE BASICSESSENTIAL VOCAB TO GET YOU BY…

“Hello” - “Bok”“Goodbye” - “Ciao”“Yes/No” - “Da/Ne”“Please” - “Molim”“;ank you” - “Hvala”“Sorry” - “Zao mi je”“How are you?” - “Kako ste/i”

“My name is... - “Zovem se...“What's your name?” - “Kako se zovete/zoves?”“Do you speak (English)?” - “Govorite/Govoris li (engleski)?”“I’d like to buy...” - “Zelim kupiti...”“How much is it?” - “Koliko stoji?”“I want to go to...” - “Zelim da idem u...”

DRINKSBEER – PIVO(RED/WHITE) WINE -(CRNO/BIJELO) VINOWATER - VODACOFFEE - KAVAJUICE - SOK

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MALA IS ONE OF THEMOST IMPORTANT AND INFLUENTIALFIGURES IN THE HISTORY OF DUBSTEP. ALONGSIDE COKI, LOEFAHAND SGT POKES, HE PIONEERED THE DMZ CLUB-NIGHTS AT A TIMEWHEN NOBODY OUTSIDE OF SOUTH LONDONOR BRISTOL HADEVEN HEARD THE GENRE’S NAME, AND LATER HE ESTABLISHEDTHE GROUND-BREAKING AND HUGELY RESPECTED DEEPMEDIMUSIK RECORD LABEL. AS YOU’D EXPECT, MALAWAS PRESENT ATTHE VERY FIRST OUTLOOK BACK IN 2008 AND HE AND HIS DMZAND DEEPMEDI FAMILY ARE BACK AGAIN FOR 2011.

After last year’s full-pressure session in Mungo’s Arena, this year dmz willbe gracing The Dockside on Friday night, and DEEP MEDi will be headingout on the waves on Saturday evening for their very own Boat Party. Readon for the re;ections of a man who really has been here from the start...

YESMALA. WHAT ARE YOUMOST LOOKING FORWARD TO AT THISYEAR’S FESTIVAL?“Running another dmz session. And seeing Barrington Levy live...That should be something to remember!”

YOU AND THE REST OF DMZ HAVE BEEN PLAYING AT OUTLOOKSINCE THE BEGINNING. WHAT DOES THE FESTIVAL MEAN TO YOU?“It’s been an interesting one to watch grow over the years. I remember the:rst 1,000-person Outlook, to the magnitude it is now. I feel dmz hasplayed an important part in helping this festival grow; we’ve always run admz session in the main area, which has helped bring through the :nestcreators of bass-weight. Outlook has a sense of home to it, because theingredients so far have been right. You’ll :nd top musicians in a cross-section of styles that all relate.”

WHAT’S YOUR FAVOURITE THING ABOUT OUTLOOK?“Good soundsystems, good music and the people enjoying those things.”

AND YOUR BESTMEMORY FROMOUTLOOK SO FAR?“Too many of those to pick one! I do love the DEEP MEDi Boat Partiesthough! We always set o9 just before the sun begins to set. Being on thesea at that time brings about an energy you can’t feel anywhere else.”

YOU AND THE REST OF DMZ ARE CONSIDERED TO BE AMONG THEFOREFATHERS OF DUBSTEP – HOWDOES IT FEEL TO KNOWYOUWERE SO PIVOTAL IN GIVING THEWORLD THE SOUND?

“Like with all things in life, we are inspired by someone or by something,and by what we experience. So, for me personally, it’s a continuation, thenatural cycle of life. It’s a pleasure to see so many people doing this soundin their own way. I think it’s fair to say that a dubstep-orientated festival likeOutlook can exist because of what a handful of people were doing back inthe early 2000s, so we have to give thanks for this. The sound has givento many people worldwide.”

YOU’RE SEEN AS ONE OF THEMOST CREDIBLE FIGURES INUNDERGROUNDMUSIC. ANY LESS THAN CREDIBLE SKELETONS INTHE CUPBOARD?“All about the riddims you jam in primary school… I’m the eldest of mybrothers and cousins, so I had to do all the exploring and discoveringmyself...”

IF YOUWEREN’T A PROFESSIONALMUSICIAN, WHATWOULD YOU BE?“An unknown musician still making music.”

AS SOMEONE THATWAS THERE AT THE BIRTH OF THE GENRE,WHAT CAME BEFORE DUBSTEP FOR YOU?“The Hardcore and jungle from early 90s are my biggest in;uence.Hearing that sound gave me the :re to want to create music myself.Everything after that has been a massive in;uence on shaping not just mysound, but who I am.”

DOES DUBSTEP STILL FEEL EXCITING TO YOU? DOOTHER GENRESGRAB YOUR INTERESTMORE THESE DAYS?“I’ve never just listened to or liked one thing. There’s so much good musicto be discovered. For me, it’s not even about like or dislike… It’s aboutfeeling. You know when you feel something straight away. That’s whatmusic I’m into. So throw away what you think you like and dislike andexpand your mind.”

AND FINALLY, IF YOUWERE DESERTED ON A CROATIAN ISLAND,WITH ONLY ONE SONGON YOUR IPOD –WHATWOULD IT BE?“Picking just one would be a nightmare, so I’d happily settle for thesound of the sea.”

CHECKMALA AT THE DMZ CLUB-NIGHT TAKING PLACE AT THEDOCKSIDE ON FRIDAY NIGHT, AND THE DEEPMEDI BOAT PARTY,LEAVING SATURDAY AT 6PM.

THROW AWAY WHAT YOU THINKYOU LIKE AND DISLIKE AND EXPANDYOUR MIND.“

PHOTO: Ashes57

A Q U E S T I O N O F B A S S . . .

WORDS: JoeMuggs

IT’S ONLY IN ITS FOURTH YEAR OF EXISTENCE, AND THESECOND IN ITS MIND-BLOWING FORT PUNTA CHRISTOLOCATION, BUT OUTLOOK HAS BECOME A VITAL POINT INTHE CALENDAR FOR THOSE INVOLVEDWITH DUBSTEP,GRIME ANDOTHER UK UNDERGROUND SCENES. IT'S NOTONLY A JOLLY IN THE SUN, BUT THE ONE TIME IN THE YEARWHEN EVERYONE INVOLVED TAKES A BREAK FROMINTERNATIONAL TOURING AND COMES TOGETHER IN THESAME PLACE, A TIME TO COMPARE NOTES AND TAKE STOCKOF THE SCENES’ PROGRESS. OUTLOOK’S ORGANISERSMAKEEVEN BIGGER CLAIMS FOR THE FESTIVAL, THOUGH: THEYSEE IT AS DRAWING TOGETHER DECADES’ WORTH OF“BASSMUSIC AND SOUNDSYSTEM CULTURE”.

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These phrases ‘bass music’ and ‘soundsystem culture’ have beenkicking about increasingly in recent years, and their usage shedsinteresting light on the diverse entangled sounds that make up thebest of current electronic/club music. In particular, they provide analternative to the dominating industry categories of ‘dance’ and‘urban’ with their not-really-even-concealed racial subtexts. In theclimate of fear, suspicion and outright bigotry haunting the countryin the wake of the recent riots, it’s abundantly clear that this is notmerely some micro-genre hair-splitting over where to shelve CDs,but that these categorisations shape our understanding of livingBritish culture and subculture.

Speaking just after the UK riots, but before David Starkey'sunfortunate outburst about “whites becoming black”, Noah Ball ofOutlook proudly told me that Outlook uses ‘bass music’ as acatch-all term for ‘music of black cultural origin’ – placing thefestival in a long tradition of white, mainly working-class, Britishyouth Cnding inspiration in black music, frommods to soulboys toravers. It’s the same wellspring that has fed most of our greatestpop musicians from The Kinks to Culture Club, Madness to Katy B,and which has fuelled our globally admired club culturefor decades.

It’s been standard practice to characterise grime and dubstep –the British innovations of the past decade that form the coresounds of Outlook – as emerging essentially from a lineageextending from the rave explosion of the early 1990s via drum &bass and UK garage. It’s a narrative that more or less equates UKmusic with London music. But the histories of the Cve-manOutlook team in DJing and promoting various clubs around thenorth of England, particularly in Leeds, back up Noah’s assertion ofa much broader context.

Jonathan Scratchley, Jack Robinson and Joe Barnet are theyounger part of the team. Their Vagabondz night in Leeds (andmore recently London and Brighton) has indeed focused on thepost-rave sounds of jungle, grime and dubstep, but has alwaysmixed it with strong elements of both classic dub/reggae and UShip-hop: Johnny characterises their sound as being “good musicacross genres as long as it has attitude.” These are all sounds withintimation – or even explicit expression – of aggression, and whichhave as such suBered negative stereotyping and even persecutionas supposedly promoting violence, when in fact more often thannot they provide cathartic escape from it.

Ball’s own New Bohemia, also in Leeds, focuses on ‘soulful dancemusic’, mixing funk, soul and the jazzy sound of broken beat withBritish hip-hop and some of the more rave-derived styles. SimonScott, meanwhile, is fundamentally rooted (no pun intended)in reggae; his long running Subdub night has been a major outpostfor righteous roots and dub in the north, and more recently hisother night Exodus has been probably the single most importantstaging post for the spread of dubstep outside its foundationalterritories of London and Bristol.

And it’s this multiplicity – representative of how non-purist clubsacross Britain have always deCned themselves – that makesOutlook so valuable and timely right now. As dubstep is spreadingglobally, it keeps risking becoming a monoculture, deCned by oneor two particular sonic tics, so by broadening its remit to ‘bassmusic’, the festival makes a very clear statement about its contextand mongrel nature. DJs such as Benji B (a protégé of GillesPeterson) and Alexander Nut both represent a currently vibrantscene that takes in jazz-funk, hip-hop and manymore stylesoutside the limited rule-set of the post-rave lineage.

�e soundsystem createdindependent zones ofprotection and safetywithin Jamaica’s dangerousurban environments.

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By also including artists from throughout the history of reggae –Mad Professor, The Twinkle Brothers, Janet Kay, Jah Shaka,Horace Andy and the uniquely British DJ David Rodigan – butpresenting them not as heritage acts but as part of the‘soundsystem culture’, there’s a clear sense in Outlook of themusic’s history as alive within it. Scratchley describes this livinghistory as something that encapsulates the earliest principles ofAfrican music - “communication through rhythm, and movementas creativity and expression” - as transmitted via American soul,funk and hip-hop and even more so by the developments ofJamaican soundsystemmusic through ska, rocksteady, reggaeand dancehall with “makeshift generators, turntables andhuge speakers”.

There is an innate positivity and cultural cohesion in the latterstrand that stands counter to the bigoted assertions of DavidStarkey and his supporters that “becoming black” or morespeci8cally adopting Jamaican cultural forms feeds gangsterismand violence. Writers such as Steve Goodman aka Kode 9 (who isplaying live with vocalist Spaceape at Outlook) have longdocumented how the soundsystem created independent zones ofprotection and safety within Jamaica’s dangerous urbanenvironments. And Mala (also at Outlook 2011), who co-runs thedmz club in Brixton, has spoken on the sense of his club’s name as“de-militarised zone”, a musical safe area where con9icts can beleft behind.

Above all, Outlook is a four-day party in the sunshine. But it’samazing what a political statement throwing a really good partycan sometimes be. The mix of artists and attendees, crossingracial, class and generational boundaries, is a slap in the face forthose who would wilfully misunderstand or misrepresent Britishstreet and club culture. And when Scratchley says that the aim isfor “the audience to become involved in learning of the history ofbass culture, to be taken on a journey from the birth of bass cultureto the expansion of it, and understand what it means today,” this isa mission that means a lot more than simply getting them involvedin the music.

It’s amazingwhat apolitical statementthrowing a really goodparty can sometimes be.

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BASSMUSIC IS BOOMING, NOT JUST IN THE UK, BUTACROSS THEWORLD. THIS YEAR, OUTLOOKWELCOMESARTISTS AND BRANDS FROMALL AROUND THE GLOBE ASIT SEEKS TO CELEBRATE EVERY ASPECT OF THE BASSCULTURE THAT LIES AT THE FESTIVAL’S VERY HEART.ALMOST EVERYMAJOR CITY IN THE DEVELOPEDWORLDNOWHAS RECOGNISED PROMOTERS, ARTISTS ANDRECORD LABELS PASSIONATELY PUSHING BASSMUSIC INTHEIR RESPECTIVE COUNTRIES. HERE, WE INVITE FIVEFRIENDS OF OUTLOOK FROM FIVE OF OUR FAVOURITECOUNTRIES TO GIVE AN EXPERT INSIGHT INTO THEBASS-HEAVY HAPPENINGS IN THEIR HOMELANDS.

LOCAL EXPERT: JULIAN (TOTAAL REZ)

“To me, bass music’s popularity in Francehas increased since the end of the 1990swith the explosion of the French dubscene (High Tone, Kaly Live Dub,Improvisator Dub and more). These bandshelped people to be more open, Jrstly todrum & bass and then later dubstep.Although these days neither of thesegenres enjoy the same level of popularitythey might once have had, overall bassmusic is alive and active in France withlots of events every weekend all overthe country.”

LEADING LABELS...7evenJarring EIectsDisturbing Science

NAMES TO CHECK...FloreVon DDirtyphonics

BEST RAVES...Dub Station (Paris)Splash (Paris)EZ! (Lyon)

FRANCELYON

LOCAL EXPERT: SEVI (BUS FESTIVAL,SUNSPLASH)

“It was diKcult to bring styles such asdubstep to Spain. Back in 2005 therewere small crews doing undergroundparties - Surco, Hybrid and Reboot inBarcelona, Impersonal Strikes in Madrid,and La Gallina crew in Zaragoza. Theywere hard times with few followers andlittle money to bring in internationalartists. Everything changed in 2009 withthe birth of the Disboot label, Fundubfestival, and the B-low and The Busparties. You can now see internationalartists every week and the scene hasbecome stronger.”

LEADING LABELS...DisbootDiscontinu recordsPendrive

NAMES TO CHECK...CardopusherLoop StepwalkerCauto

BEST RAVES...B-Low (Barcelona)Holly Dubz (Madrid)The Bus (Barcelona)

SPAINBARCELONA

LOCAL EXPERT:MACIEJ ANTCZAK

“Bassmusic is developing intensively inPoland and visible progress has beenmade since 2009, with more andmore scenes and venues appearing all thetime. Widely understood, bassmusic isrepresented in Poland by names such asRadikal Guru, Substep Infrabass, TomEncore, Erionite, ROS, R33lc4sh, Kwazarand Playaman (as well as entire RespectaKru) andmanymore producers and DJs,ranging from reggae/dub to D&B, dubstepand garage. The culture is quicklydeveloping in our country and is becomingincreasingly recognised across Europe.”

LEADING LABELS...NewMoon RecordingsCCTV RecordingsSubtopia Records

NAMES TO CHECK...Radikal GuruCLS &WaxSubstep Infrabass

BEST RAVES...Krzysztofory (Cracow)1500m2 (Warsaw)8Bit (Poznań)

POLANDKRAKOW

LOCAL EXPERT: TRIDENT (PART2STYLE)

“Dub reggae has been popular in Japan for many years withestablished scenes and major dances popping o4 every week allaround the country. However, over the last few years, reggae fansand electronic music heads have come together in Japan,increasingly united by the music they love, and together they arebecoming bass-music fans. The scene and the number of peopletaking part in it are both increasing in size rapidly.”

LEADING LABELS...Part2StyleRudimentsEl Ricallan

NAMES TO CHECK...Goth-TradRub-A-Dub MarketParty2style Sound

BEST RAVES...Back To ChillStrictly Dancing MoodDrum & Bass Sessions

JAPANTOKYO

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LOCAL EXPERT: REGENT

“New York has had a thriving electronic music scene ever since itall began back in the 1980s. With the advent of underground bassmusic, the city has continued to maintain its involvement, buildinga solid pool of artist, labels and club-nights. New York residentssuch as Lion Dub, Cassien, Dave Q and Joe Nice have all beeninstrumental in building up scenes in Brooklyn for dub, dubstep,jungle and juke.”

LEADING LABELS...DFATr-AngleTrouble & Bass

NAMES TO CHECK...Background SoundBrailleBrenmar

BEST RAVES...Trouble & BassTwissupMr Sunday

AMERICANEW YORK

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RODIGANT H E G E N T L E M A N S E L E C T O R

WORDS: Jon Cook PHOTOS:Laura Lewis

For all their myriad influences and disparate strains oforigin, the styles of electronic music collectively knowntoday as ‘bass music’ are forever indebted to one genre –

reggae.Whether hidden deep in their genealogy or blindinglyobvious, it’s no exaggeration to say that without reggae, andits dub and dancehall offspring, there would be no drum&bass, no dubstep, no garage... Our lives would have beenpoorer without the Jamaican musicians who got there first,who realised the importance of bass and placed it at the centreof their musical world.

And within that mind-blowingly rich and resilient genre,one man is respected as having no superior when it comesto knowledge, passion, and most importantly, selection.+at man is David Rodigan, a legendary sage and DJ toreggae fans, and to onlookers a fascinating figure who overa forty-year career has ridden a wave of genuine passionand sheer enthusiasm that’s enabled a middle-class,university educated Englishman firstly to infiltrate andbecome hugely respected in the world of Jamaican musicand then, more recently, experience new-found fame in arealm usually occupied by DJs more than half his age, theworld of dubstep and modern raves.

Beginning his career as a DJ way back in the 1970s, whenthe profession attracted little of the glamour and attentionit does today, Rodigan has never neglected the music hefirst discovered in late-1960s Britain as a teenager.Withover four decades of collecting records to draw from andsome of the most envied dubplates on earth, Rodigan holdsa reputation as not only a peerless selector, but as aninspirational figure to all those who dedicate their livesto music.

24

AS FEATURED IN

“Originally a ‘dubplate’was an exclusive mixof a track that only you had. You’d go toKing Tubby and say ‘I want a dubplate mixof Michael Prophet, ‘Gunman’,’ and Tubbywould do you a mix that only you could play;because he’d do it there and then, cut itstraight on to the acetate. He’d have thefour-track; mix, cut out the bass, put the subtone button in, chase the vocal; he’d give youthe vocal mix, then he’d give you a pure dubmix.3at was a dubplate.

3en in the late-80s, soundsystems likeBody Guard and Stone Love in Jamiaicastarted getting the artists to come to thestudio and voice the same song with theirown name being mentioned in the dubplateby the artist. And that was the beginning ofa different style of dubplate, the customised,personalised dubplate – that’s the way thename was changed.”

�ere was a deafening hush as they realisedthis guy Rodigan from London who they’dheard on the radio was actually a white guy.

Over the many years of his career, Rodigan has developedfrom a mere selector into a unique one-man show, whostands out front on the stage and schools his crowd on theimportance and relevance of each track he plays. It is therecordings of these speeches that have led to a whole newgeneration of bass obsessives discovering Rodigan, as a DJ,a performer and a figure of huge respect, and you’re nowjust as likely to hear the man deliver his impassioned,almost sermonic, monologues at Fabric as you are at a clashin Montego Bay.

It’s clear, then, that beyond his perennial career as a reggaeicon, there is a new Rodigan in town, increasingly lionisedby a whole new audience eagerly lapping up his words, hispresence and, most importantly, his music.

“Yes.Dere is a new Rodigan in town,” he begins in aclear-cut and very English accent, miles from thethickened patois-inflected tones with which he addresseshis audiences at shows, “and I’m very grateful to thedubstep fraternity for welcoming me in the way that theyhave. It takes me back to 1972 when dub music hit theseshores from Jamaica. It was so exciting, it was a revelationmusically. And I can see and hear that same excitement inthis music, dubstep.When dubstep first kicked in, my twosons were seriously into it and made me aware of it.Obviously, I was fascinated by it.Den I found out I wasbeing sampled; speeches I’d made years ago. Don’t ask mewhere those speeches were made because I can’tremember... Breakage’s ‘Together’, was a very importanttrack, it became immensely popular and then there was theNewham Generals version.

“I was absolutely blown away to be getting all this attentionand it was a big surprise when Caspa said, ‘Look I wantyou to be on my album and do the intro,’ and then to beinvited to Fabric to play at Dub Police with his selectors.For me it was fantastic because it enabled me to once againplay these King Tubby, Lee Perry, Joe Gibbs, ErrolDompson mixes – those great engineers in Jamaica whomade this dub music that I wasn’t really able to playanymore. For me to be invited into that world; it’s enabledme to join the dots up musically; there is a direct musicalheritage and lineage that can be traced back to thoseorigins in western Kingston. And some of those KingTubby dubs that I’m able to play in a dubstep sessionconnect completely and utterly with that audience. I cansee it on their faces as the bass drops in or out, I see themgetting it exactly as I got it. So yes, some have referred to itas a ‘career renaissance’ – my career was certainly absolutelyfine, because it was in a world where I’ve been working forover 30 years; reggae. But this new world into which I’vebeen welcomed is fantastic.”

As he talks, the passion that informs Rodigan’s every wordis infectious, and it really is remarkable to hear a man whois, on paper at least, almost triple the age of many of youreading this talk with such verve for what is very much ayoung person’s sound and invention, dubstep. And althoughRodigan is a man who’s played to some of the biggest and,in the early days, most suspicious crowds possible, the

gravity of being asked to play at Fabric and then provide amix for the London club’s world-renowned FABRICLIVEseries is not lost on him.

“De first of my gigs to incorporate dubstep was at Fabric.I walked onto the stage and I could hear whatDe Otherswere playing from the DJ booth across the other side of thedancefloor.De smoke machine started going, it was quitecold, the place was packed and I thought to myself ‘Whathave I done?’And I actually got nervous; I haven’t been thatnervous in a long time. I looked into this very youngaudience and thought ‘What am I gonna play?’And therewas a moment of doubt. And then I thought ‘I’m gonnaplay what I decided to play days ago when I first thoughtabout this gig. I’m gonna play these dubs that I think arerelevant and I’m gonna tell one or two stories that relate tothem and show a couple of album sleeves that connect thisthing up.’ I just did it... And the response was amazing.Delove I got back from that audience; the anticipation, theshining eyes, the smiling faces when the dubs dropped...

“I’d bought out one of my first ever King Tubby dubplatesthat I hardly ever take out the house, I played that and I’dchosen one or two dubstep tracks that I liked, things thatI’d heard that I’d enjoyed. So now what I do, when I’mplaying in those sessions, is I sprinkle a little of the kind ofdubstep that I’m enjoying in. Not too much though,because I don’t want to look like I’m hitching my horse to abandwagon, because I’m not. I’ve been invited into a worldwhere I’ve been very well received and I come in, humbledby the attention, because it is a very special time in mycareer that this should be happening for me.

“I’ve been given the opportunity to play the music I love.We must never forget that as DJs, all we ever want to do isshare our love of music with like-minded souls. And youknow you’ve got the DJ sickness when you’re 14 years ofage, and you’re playing in your bedroom and you look outthe window to see if anyone in the street is taking anynotice. If you’ve ever caught yourself doing that, and peep-ing out from behind the nets curtains to see if anyone’sstopping in the street, in the hope that what you’ve justplayed has excited someone, you have the DJ fever. Andthere isn’t really an antidote to it; once you have that feverof wanting to share, and wanting to endorse and pass on, itnever leaves you. So that’s what’s happened again here; I’vebeen invited into a world where I can share what I think isimportant. And when you get the response back from theaudience, you can’t buy that high. It’s almost illegal; it’s sogood and it’s so rare.”

Sharing his vast knowledge and zeal for the music he lovesis at the very heart of what Rodigan does.Whether to aclued-up reggae crowd at a clash, or to a mostly uninitiatedrave full of bass-hungry students, Rodigan’s uncontrollabletendency to stop the music and introduce each track with astory about its history or impact is what’s made him asuperstar across geographical and musical boundaries. Buthow did this happen in the first place? What droveRodigan to stop simply playing records and take tothe microphone?

“It’s interesting how that developed,” he muses frombehind his spectacles, “because originally when I firststarted DJing there was no talking. Let’s put this incontext, in the 1960s the DJ didn’t have the status he doesnow, he was regarded as the nerd in the corner who had therecords. You had records and you played them on oneturntable. In Jamaica, someone would jive talk while youtook that record off and put another one on.

“When I first started professionally playing reggae in clubsin London in 1978, it was not acceptable for the selector totalk – the MC talked, that was the tradition, as it still isnow in dubstep and drum & bass. So for me, as a whiteman playing in black clubs in 1978, you had to have a micman.What used to happen was, you’d play the vocal, thenyou’d flip it over and play the rhythm and the mic manwould talk and rhyme to it.Ke selector didn’t speak; I usedto work with an MC called Papa Face, he was my MCfrom the 70s to the 80s.Ken it changed.Ke new style ofdubplate [See ‘Dubplates’ Box] meant you no longerneeded a mic man, the whole business of someone toastingthe flipside began to fade away, and it was all about havingcustomised dubs with your name in them.

“So I found myself not requiring an MC in the traditionalway, but just playing the dubplates. I started telling storiesabout a particular song and soon I found myself almost notable to contain myself in wanting to share something aboutthat moment. It just started to happen, and then peoplewould ask, ‘Why didn’t you talk so much about the musicthis time?’Ken I knew I’d stumbled onto something.I found out that Jamaican MCs were doing impressions ofme on stage ‘If Rodigan was here, let me do it in a Rodiganstyle’, and I realised then it had become something thatpeople expected of me.”

For MCs to be imitating an English-born white man atreggae shows in Jamaica is an indication of just howrespected Rodigan was, and remains, on the Caribbeanisland. His is a reputation built purely on respect for hisall-conquering love of Jamaican music, and in his 30-plusyears of visiting the island Rodigan has not only earned therespect of the crowds, but also that of those at the very topof the reggae industry.

“Ke love I’ve been given in Jamaica, from the first show,has been incredible. I went there in 1979 and cut my firstdubs at King Tubby’s and then in 1983 I did my first radioshow over there. I’d gone to Jamaica to record shows to bebroadcast on Capital Radio where I worked at the time.I asked Barry G, who was the number-one DJ, if he’d do atop ten for me. So he did and said, ‘I’ll reciprocate, comeon my show.’ So I went along that Saturday, he turned tome when the news was on, and said, ‘By the way, ratherthan you just being my guest from England and playingthe top records from there, let’s do a clash!’ I said ‘Kanksfor the warning!’ [See ‘Clash’ Box] It started at 8pm thatSaturday night, and it finished at 2am, and it was the talkof Jamaica. Inevitably, after that radio show, we starteddoing live shows.Ke first I did in Kingston was at theNew Kingston Drive In. I walked on to stage and therewas a deafening hush as they realised this guy Rodigan

from London who they’d heard on the radio was actually awhite guy. And after the initial shock, I was given a wholelotta love, as I always have been since whenever I play inJamaica.”

Jamaica is, unsurprisingly, a place very close to Rodigan’sheart and, as a man almost without parallel when it comesto awareness of the music emanating from the isle, hisviews on the state of Jamaican music today are of realinterest. Having previously gone on the record to expresshis dissatisfaction with so much of the music coming fromthere these days, his opinions on the latest styles andfashions coming out of JA make for interesting reading...

“Jamaican music is forever changing. But it seems to me it’sbecome somewhat obsessed with a new style of music,which I don’t identify as being reggae or dancehall, Iidentify it as a hybrid of pop, R&B and dance. I think theinternet has enabled Jamaicans to see what is going onelsewhere.Kat sounds terribly patronising, but you have toremember that Jamaica is an island, and before the digitalrevolution, it was its own world in a sense; the music beingmade was always very Jamaican, the way they dressed was,it was unique.

“Now, they see and hear Usher, Jay Z, whoever, and think ‘Icould do that’. So a lot of the music has this hip-hop kindof flavour to it as its backdrop; I find that inadequate. Itdoesn’t move me, it doesn’t excite me; it doesn’t generateany passion in me to want to go out and own this rhythm,capture this beat. A lot of it doesn’t have the weight andbottom end and depth of what I would call traditionaldancehall and reggae. Now a lot of the music ishypey-hypey for dancing, but it doesn’t have anysubstantial message or emotion in it other than just funand vibes. And a lot of the topics and subject matters, inmy opinion, leave a lot to be desired. So, I’m bitterlydisappointed by a lot of that, I can’t get my head round itmusically.Kere are new artists coming through, but incomparison with how it used to be in the 70s, 80s and 90sit is not as substantial as it was.Kat would be myobservation. But like everything, you never know what’saround the corner.

“Which is why I find the new world into which I’ve beeninvited by the likes of Caspa so very exciting. Jamaicansaren’t making dub music anymore; it’s not part of theirmusical vernacular. So to be able to play this great dubmusic, which I haven’t able to play for years because thereggae world haven’t been particularly interested in it, isamazing. So for me, going right back to your first question,yes, it’s like the summer of 73 again; I’m 22 again. I’m notsaying that to defend my age, but age really is just anumber.When you have a passion and a genuine love ofsomething, it never leaves you.Music is so important inour lives. And the thing about music is, when it hits, asBob Marley said, you really do feel no pain.”

Rodigan opens the Harbour Stage on�ursday night.

Checkwww.rodigan.com for more info.

“In essence, a clash is amusical battle.

&e idea is you eliminate your opponents

through a series of rounds, by playing a

better selection of songs than them. In more

recent times, it’s been about having

everything as an exclusive dub to you - if

you’re not playing something with your name

it, it doesn’t count. Originally, you could

have clashes by just playing records. But it’s

long since evolved to the idea that you have

unique dubs that havebeen custommade for

you, with your name in them.

At the end of each round the crowd judges

your performance and slowly soundsystems

are eliminated by a voting process, so

ultimately you’re left with two soundsystems

who do what’s known as a ‘one for one’. You

play one, I play one, and usually it’s the best

of ten, eventually a winner is declared. “

Wemust never forget that, as DJs, all weever want to do is share our love of musicwith like-minded souls.

THIS YEAR’S OUTLOOK IS ALL ABOUT CELEBRATING THE EVOLUTION OF BASSMUSIC AND SOUNDSYSTEMCULTURE. ASWELL AS BOOKING ACTS TO BOTH BLOWYOURMIND AND EDUCATE AT THE SAME TIME, THEOUTLOOK TEAMHAS SPENT A GREAT DEAL OF TIME DESIGNING THE SITE TO REFLECT THIS. ART, THEREFORE, ISBEING TAKENMORE SERIOUSLY THAN EVER BEFORE AT THIS YEAR’S FESTIVAL, ANDWE’RE CONFIDENT YOU’LLAGREE THAT IT ENHANCES THE NATURAL BEAUTY OF THE PENINSULA, WHILE ADDING A NEW LEVEL TO THEOUTLOOK EXPERIENCE.

There are loads of artists expressing themselves at this year’s event, in a variety of di"erent forms. Here’s a brief rundown ofsome of the collectives and individuals involved at Outlook 2011 and what to look out for from them...

ARTLOOK’

LAVA COLLECTIVELAVA Collective invite artists from all over the world to participate invisual art and music projects. Since forming in 2009, they’ve stagedover 20 art shows and parties. Previous guest artists includeAshes57, Bruno 9li, Stik and The Krah. Previous guest DJs includeEdan, Loefah, Instra:mental and Benny Ill.

REPLETEReplete indulges in the dark arts of graCti, creeping around derelictenvironments doing illegal makeovers and re-modeling unloved andforgotten spaces to add a spot of colour to the lives of the twisteddenizens who dwell in and around them. A member of theramshackle, proliBc assembly of creative misBts, TPN Crew, whopropel their solvent salvos throughout Europe.

ATGATG (Ahead’a The Game) are a group of friends that form a collectiveof graCti writers, visual artists, musicians and DJs, rooted in Londonsub-culture. ATG have been working with Outlook since the beginningand this year are bringing the full team along to create large scalepieces all across the festival site. They’re also holding one of their‘ATG DoOne’ club-nights on Friday night in Noah’s Ballroom.

SIRENSiren is a UK-born Latino graCti artist, with 20 years experiencebehind him and who holds loyalty to KTF, RAW (UK) and IBM (NYC). Hisnomadic nature has taken him all over the world to paint. From asurprisingly traditional artistic background, at this year’s OutlookFestival, Siren will bridge the gap between the visual and typographic.

SNUBSNUB23 is proliBc and unstoppable, and ultimately synonymouswith a future technology gone bad. As part of the GraBk WarfareCollective and as a solo artist, SNUB23 has exhibited and painted atevents across the UK and Europe, growing a Berce reputation withevery new piece. This year he’s creating a giant ‘boom-box’ in theBasketball Court, and will be painting live during the festival.

EUROCULTUREDThis year we are very pleased to welcome 'Eurocultured' to Outlook,they are curating An Illustrated History of Bass Music andSoundsystem Culture in the clearing, graphically portraying seminalmoments that have lead to the music we love.

Eurocultured is a series of street festivals and linked projects thatcelebrate the diversity of European Culture in all its forms. We likethe idea of people from diAerent cultures coming together in thestreets and getting on with each other as artists to paint, sing,dance and perform around them. We want to introduce ouraudience to new things and to Bre their imaginations. 31

FRICTION IS ONE OF D&B’S BIGGEST STARS ANDWIDELYREGARDED AS BEING AMONG THEMOST TECHNICALLY GIFTED DJSIN DANCEMUSIC. AFTER SMASHING HISWAY ONTO THE DRUM &BASS SCENE PRIMARILY ON THE STRENGTH OF HIS DJPERFORMANCES ALONE JUST OVER A DECADE AGO, THEBRIGHTON-BASED SELECTOR AND HIS SHOGUN AUDIO RECORDLABEL AND CLUB-NIGHT HAVE GROWN TO BECOME ONE OF THEMOST CREDIBLE AND POWERFUL INSTITUTIONS IN DRUM & BASS.

His position at the forefront of the scene, playing out every weekend allaround the globe, has enabled Friction (and therefore Shogun) theinsight and opportunity to snap up many of the most interesting andrespected producers currently creating music at 174bpm. With Alix Perez,Icicle, Rockwell and, most recently, The Prototypes all exclusively signedto the label, few could argue that Shogun is one of D&B’s mostvital operations.

Playing on the main stage in the Harbour Arena on Sunday night, and alsoholding a Shogun Audio takeover on Saturday night at the DocksideArena before dragging the rest of the Shogun family out onto the wavesfor a Bnal-day boat party, you’ll get plenty of chances to hear Friction playat Outlook this year. We caught up with the man himself for a quick chat...

EZ FRICTION! SO... ARE YOU EXCITED ABOUT PLAYING AT THISYEAR’S OUTLOOK?“Yeah, can’t wait – there’s a lot of us out there this year, so it’s gonnabe good!”

ALTHOUGH YOUWEREN’T HERE YOURSELF, ANYONE THAT CAMETOOUTLOOK 2010WILL REMEMBER THE REST OF THE SHOGUNAUDIO FAMILY DESTROYING THE OUTSIDE ARENA AND THEIR BOATPARTY... WHAT HAVE YOU BEEN TOLD TO EXPECT?“All that anyone has told me about Outlook is great things. Croatia is sucha beautiful place - I played at Hideout festival a couple of months backand that was in the same part of the world, so I really can’t wait to checkout Outlook and Bnd out if what I’ve been hearing is true!”

YOU PLAY A LOT OF FESTIVALS AROUND THEWORLD.WHAT’S BEEN YOURMOSTMEMORABLE EXPERIENCE?“Playing b2b with Zinc at Exit festival in 2008 was probably one of thehighlights of my career so far. We went on at 2am and played untilsunrise to a huge crowd. Big vibes!”

ANDWHAT ARE YOUR THREE ESSENTIAL ITEMS FORWHEN YOU’REON THE ROAD (OR IN THE AIR!)?1. Bose noise-cancelling headphones.2. Laptop.3. Vodka.

OUTLOOK ISN’T JUST A FESTIVAL; IT’S A HOLIDAY FORMANYPEOPLE TOO... ANY HOLIDAYS FROMHELL YOU’D LIKE TO SHARE?“We got stranded in LA on holiday last year for a week because of thevolcanic ash from the eruption. It was really bad because I was missing myson so much, and I couldn’t make it to Bve shows, but, then, it was alsogreat as we ended up having an extra week’s holiday in Los Cabos!”

TALKING OF BEING STRANDED, IF YOUWERE SHIPWRECKED ON ACROATIAN ISLAND, WHAT THREE THINGSWOULD YOU NEEDTO SURVIVE?1. SKY Sports.2. A personal chef with an unlimited supply of food.3. My studio.

ONCEWE ALL GET BACK HOME, ANDWE’VE STOPPED FEELINGDEPRESSED THATWE’RE NOT IN CROATIA ANYMORE, WHATSHOULDWE BEWATCHING OUT FOR FROM SHOGUNOVER THENEXT FEWMONTHS?“There’s too much to mention! Release wise, we have The Prototypes newsingle ‘Taking Me Over’ followed by an amazing new Shogun compilationalbum, that will feature tracks from Alix Perez, Spectrasoul, dBridge, Break,Icicle, Rockwell and more. And on top of that we’re doing Shogun Audioshows all around the world!

FRICTION PLAYS THE HARBOUR ARENA ON SUNDAY AND YOU’LLFIND THE ENTIRE SHOGUN AUDIO FAMILY TAKING OVER THEDOCKSIDE ARENA ON SATURDAY NIGHT.

FORTIFIED’PULA

OUR TRAVELS AS A FESTIVAL OVER THE PAST FOUR YEARSHAVE TAKEN US FROM THE RAINY BRITISH ISLES TO THEWONDERFUL COUNTRY OF CROATIA. OUR FIRST VISIT WASTO A CHARMING RUSTIC FISHING VILLAGE IN DALMATIAWHERE THE MUSIC DIDN’T QUITE SUIT THE SENSIBILITIES OFTHE LOCALS (DUBSTEP WAS REFERRED TO AS “THE DEVILSMUSIC”). FROM THERE, WE MOVED ONTO A BEACH CLUB ONAN ISLAND FAMOUS FOR ITS CHEESE, BEFORE WE FINALLYHAD THE GOOD LUCK TO MEET AN AMAZING CREW OFCROATIANS WHO BROUGHT US TO THE HOME WE NOW FINDOURSELVES IN.

The Outlook team would like to take this opportunity to thank thecrew from Fort Punta Christo and Seasplash for beingfundamental in the creation of the good vibes you’ll )ndyourselves settled in to. We’ve been incredibly lucky to have beengiven the privilege to hold a party within the walls of the fort andits surroundings; there aren’t many places like this on earth wherethis is possible. Where else would you be able to rattle the walls ofa national heritage site?

We arrived here thanks to a meeting of music lovers, some ofthem based in Pula and some from di(erent regions of the UK.However, we wanted to )nd out a bit more information about thecity of Pula, so we asked the locals to )ll us in...

The remains of an early human (hominid) were found in a cave in thearea that date back to around a million years ago, but the rapiddevelopment of the city didn’t take place until after the Istrianpeninsula was conquered by the Romans in 177BC.

The city grew to a population of 30,000 (it’s around 60,000 today)and iconic structures such as the Arena and the Forum were builtduring this time. The Arena is the most complete amphitheatre inthe world.

Following the collapse of the Roman Empire, the city of Pula, likemuch of Croatia, became the possession of various con7ictingempires and rulers such as the Byzantine Empire, the Slavs and theRepublic of Venice. The city su5ered greatly under the changing ofrulers, often the result of large battles that caused great destructionto the city. By the middle of the 18th Century, after years 6lled withwar, malaria, typhoid and the plague, Pula was close to extinctionwith only 300 inhabitants left.

At the turn of the 19th Century, rule was taken by the AustrianEmpire (later Austro-Hungarian Empire) and it was during this timethat many of Pula’s Forts were built. By the middle of that century,Pula was the main naval base of the Austrian Empire and was alsoappointed its main ship building centre. During this time, the portwas heavily forti6ed - 6rst by a ring of tower forts (of which FortPunta Christo was one) followed in the 1880s by an outer ring ofdetached artillery forts.

WORDS:Noah Ball

There are 49 forti>cations in the region of variable condition.Many of these forts are interconnected by a network of tunnelsrunning underground and under the sea bed.

Fort Punta Christo, Outlook’s new home, was built in four stagesbetween 1836 and 1883 and during this period it was the biggest,most armoured fort in the Austro-Hungarian defence system. TheFort was built from locally quarried stone and the moat washollowed out of the solid rock in the ground surrounding it.

Situated 45 metres above the sea, the Fort o=ers a breathtakingview of the entrance to the Bay of Pula (best seen from the terraceabove Mungo’s Arena) as well as the island of Brijoni where EmperorTito kept a herd of elephants given to him by Haile Selassie.

During the third stage of its construction, two lateral wings werebuilt (Fort Arena 1 & Mungo’s Arena) giving it three courtyardsthrough which to enter the underground areas of this magni>centstructure. In addition, a rotating steel dome with two large canonswas placed over what is now Noah’s Ballroom.

The Fort has as many as 270 spaces and secret passageways thatcan be found over its area covering 10,000m2. On the 22 February1945 during World War 2 the Fort was badly damaged by alliedbombing and from 1945 through until 1980 it was left abandoned.

Back in 2001 our friend Dado, who has now become the Fort’sguardian, started cleaning the site with a few friends. By this time, ithad fallen into major disrepair and was becoming completelyovergrown. In 2003, they established the charitable organisation‘Association of Friends of Coastal Fort Punta Christo, Stinjan’.

In 2003 and 2004 the >rst and second Seasplash Festivals wereheld in Punta Christo and from that time a solid relationship wasforged between the Fort and the Seasplash Association. Seasplashhas been running for eight years now, and had brought a number ofgreat reggae and dub artists to the region long before Outlook waseven a drunken idea in our minds. It was through some mutualartists and friends that we connected with the Seasplash crew andwe haven’t looked back since.

Since our >rst visit, the constant regeneration of the fort has beenamazing and we can’t imagine just how much work it has takenDado and his team over the years. We are eternally grateful to himand his crew for rescuing such a beautiful building and not onlybringing it back to life, but bringing events like ours to it.

Once again we’d like to say thanks to Dado, Maja and all of the FortPunta Christo crew for all their work and to Vedran and Djuro fromSeasplash crew for making any of this possible in the >rst place. So,when you’re overwhelmed by the good vibes and the wonderfulsetting, give a little dance for the Croatian team who broughtthis together for us.

THE ISLAND OF BRIJONI IS WHEREEMPEROR TITO KEPT A HERD OF ELEPHANTSGIVEN TO HIM BY HAILE SELASSIE.

”

A brand new edition for 2011, the Harbour Arena will play host to Outlook’s live and headline acts across all fournights of the festival. Situated down below the fort and adjacent to the sea, this is where you’ll +nd the likes of

David Rodigan, Skream, Foreign Beggars and Submotion Orchestra doing their thing on the main stage.

With a truly world-class soundsystem, stage and light show, the Harbour represents a major step-up in productionvalues for Outlook, providing an ideal setting for 2011’s musical centrepiece. With idyllic views stretching out acrossthe Bay of Pula, this arena gives you the opportunity to dance from sunrise until sunset to some of the most exciting

and legendary names in bass music.

001 HARBOUR

DON’T MISS...DAVID RODIGAN, JAMIE XX, BENJI B, IRATION STEPPAS,SUBMOTION ORCHESTRA, TWINKLE BROTHERS, CONGONATTY, TENOR FLY, PHAROAHE MONCH, GENTLEMAN’SDUB CLUB, FOREIGN BEGGARS, BENGA, HATCHA, JOHNNYCLARKE, SKREAM, SHY FX, FRICTION.

SOUNDSYSTEM:MARTIN AUDIO LONGBOW

The Harbour Arena’s sound is provided by RG Jones SoundEngineering and utilises the Martin Audio Longbow system,as used on Glastonbury’s Pyramid Stage and Reading andLeeds’ main stage. Promising the best sound qualityavailable, the system is arranged to ensure everyone in thecrowd gets their fair share of that all-important bass!

SPEC:Martin Audio Longbow 8own array.Synco-designed MA triple 18-inch sub-bass system.Broadside cardioid array sub arrangement.

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Another new arena for 2011, the Dockside opens during the day and rolls all the way through until dawn. Sat next tothe Harbour Arena, the Dockside shares the same production value as its big brother but di*ers in its dedication

towards the heavier side of this year’s line-up.

By day, the Dockside will witness a spectacular selection of Soundclashes between some of the biggest names atthe festival, utilising the massive reggae soundsystems provided by OBF and Blackboard Jungle. Then, after night

time falls, expect to see some of bass music’s biggest club-nights and artists ripping this arena apart.

With shipping containers for walls, the ocean as a backdrop and more soundsystem than the fort can handle,we’re sure that the Dockside won’t disappoint.

002 DOCKSIDE

DAYTIMEDON’T MISS...OBF SOUNDSYSTEMVS BLACKBOARD JUNGLESOUNDSYTEM DAILY SOUNDCLASHMungo’s Hi> vs Firehouse Sound / Hessle Audio vs Swamp81 / Congo Natty & Chopstick Dubplate vs Kenny Ken &Liondub / OBF vs Blackboard Jungle

SOUNDSYSTEM:BLACKBOARD JUNGLE

French soundsystem Blackboard Jungle are renowned forhaving one of the heaviest sounds in Europe. The crew nowrun their own label and produce their own dubs with whichto test their rig's massive 30kW of power.

SOUNDSYSTEM:OBF SOUNDSYSTEM

OBF also hail from France, producing their own riddimsto play to crowds across Europe on their lovingly builtsoundsystem, tuned for maximum bass pressure.

NIGHTTIMEDON’T MISS...VAGABONDZ, DMZ, SHOGUN AUDIO, SUB:STANCEFEATURING...Plastician, Newham Generals, N-Type, Distance, Loefah,Digital Mystikz, Goth-Trad, Alix Perez, Rockwell, PearsonSound, Scuba, Shackleton, Martyn.

SOUNDSYSTEM:MARTIN AUDIOW8LC LINE ARRAY

By night, the Dockside’s sound is again taken care of by RGJones, promising the same levels of sonic excellence as theHarbour Stage. The custom-built system uses an all-horndesign for superior bass impact, paired with Renkus Heinz18-inch subs to get the ground really shaking.

SPEC:Martin Audio W8LC Line Array.All-horn design.Renkus Heinz STS RR 18-inch subs.

After climbing the path to the Fort and passing through the festival entrance, you’re immediately struck by thetowering 20-foot walls that encase the Fort Arena. Used as the main arena for 2010’s festival, the relegation of this

enormous 2,000-capacity space to third on this year’s roster is evidence of just how much Outlook has grownsince its last instalment.

With a huge stage, epic light show, a soundsystem that throws the bass right to the back of the arena, and aspacious raised area from which to watch the stage and crowd below, the Fort Arena is one of Outlook’s most

unique and evocative spaces.

With music running from late afternoon until 5am, the Fort Arena will deliver many of this year’s most excitingnames and takeover parties from some of the UK’s leading club-nights and labels.

003 FORTARENA

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HYPERDUB

NEW BOHEMIA

CLUB AUTONOMIC

DUB PACK

The roo,ess Mungo’s Arena was one of the highlights of Outlook 2010. With its metre-thick walls and regularshape, this atmospheric space enables the legendary Mungo’s Hi+ system to provide a quality of sound you’ve

probably never heard on an outdoor rig.

Outlook are proud to invite Mungo’s back for this year’s festival to take care of what is now ‘their’ arena, and so onceagain the Glasgow-based collective will be driving their chest-rattling system all the way from Scotland to Croatia.

Tucked away at the back of the Fort, this area is where you’ll +nd dub, dancehall, reggae and bashment blasting outof Mungo’s colossal cabinets and shaking the faces of the 1,000 people packed inside.

004MUNGO SARENA’

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DON’T MISS...MUNGO’S HIFI, THE BUG & DADDY FREDDY, HEATWAVE,RSD, BRACKLES, OBF, VIBRONICS, PRINCE FATTY,CHANNEL ONE, JAH SHAKA.

SOUNDSYSTEM:MUNGO’S HIFI

The Mungo’s Hi; rig delivers the sort of bass only a systembuilt for playing reggae ever could. With a depth of low-endthat literally makes your septum quiver, and clarity of soundthat never falters no matter how hard the system is pushed,make sure you spend some time stood in front of thesespeakers at some point this weekend.

SPEC:Home-made 18-inch Super Scooper subs.Adapted Void Stasys 3 mk2 mid-top boxes.All speakers horn loaded.

DANCEHALL SCIENCE

RUFFNEK DISCOTEK

SUBDUB

The moment the Outlook team *rst laid eyes on Fort Punta Christo, they hatched a plan to take over the moat oneday and transform it into the long, stretching venue it has now become for 2011.

After plenty of work clearing the dense undergrowth, this uniquely shaped area is set to be one of Outlook’s mostimpressive arenas, providing yet another brand new space for 2011.

A few people actually managed to fall into the Moat last year, so to all those that couldn’t wait until we actuallyopened this as an arena - there will be stairs this year! Make sure you plunge down into the 100-metre-long strip ofthe Moat and soak up the bass reverberating from the *ve-metre high walls that tower over DJ and crowd alike.

005 THEMOAT

DON’T MISS...BENNY PAGE, NICKY BLACKMARKET, TC1, SURVIVAL,S.P.Y, LOXY & INK, PINCH, ZED BIAS, ONEMAN, KENNY KEN,LIONDUB.

SOUNDSYSTEM:NOISE CONTROL AUDIO

Noise Control Audio systems have played a pivotal role insoundsystem culture, powering raves and reggae showsacross Europe since 1990. NCA systems nevercompromise on design and aim to deliver the purest qualityof sound possible, a fact proven at 2010’s Red Bull CultureClash at the Roundhouse in London, which saw ChannelOne win convincingly using an NCA system.

SPEC:Noise Control Audio system.Bespoke design.Ultra-pure sound.

AUDIOWARFARE

MOMENTUM

SWAMP 81

Situated just outside the walls of the Fort, the tree fringed open-air space of the Outside Arena is the closestOutlook gets to a ‘normal’ festival stage.

Surrounded by nature and with grass underfoot, this arena o(ers a completely di(erent atmosphere to anywhereelse at the festival, giving you the opportunity to roll around in bales of hay while listening to some of bass music’s

most cutting-edge stars.

Those who came last year will remember the road-block D&B session on the Friday night, where the Outside Arenaeasily pushed its 1,000 capacity to the limit and established itself as one of the best places to rave at Outlook.

006 OUTSIDEARENA

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DON’T MISS...JEREMIAH JAE, TEEBS, KIDKANEVIL, BROKE ‘N’ ENGLISH,TROPICS, KORELESS, SPACE DIMENSION CONTROLLER,KYLE HALL, FLOATING POINTS, ROSKA, MARCUS NASTY,MOSCA, BOK BOK VS L-VIS 1990, GIRL UNIT, MJ COLE,NIGHT OWL.

SOUNDSYSTEM:NEURON

The team behind Neuron live and breathe bass musicculture and have provided soundsystems across the UK’snorth-west since 2001. Look out for the big red rig, which inthe last year was voted third best =oat system at Notting Hill,and sent o< SubDub at Leeds West Indian Centre in style onNew Year’s Eve.

SPEC:Void Acoustic Stasys Primes.RMS power: 36,000w.Predicted continuous SPL at 1 metre: 151dB.

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Make your way along the darkened passageway that leads

from the Fort’s inner entrance and you’ll 5nd yourself in

the 350-capacity Courtyard. Surrounded by walls and with

stars twinkling in the sky above, this open yet intimate

space delivers a perfectly chilled, constantly bubbling

atmosphere to the very heart of the festival. Expect plenty

of reggae, dub and experimental beats, and some of the

most uplifting vibes you’ll 5nd at Outlook.

DON’T MISS... SEASPLASH CREW, ARP 101, SEIJI,ALEXANDER NUT, FALTY DL.

SOUNDSYSTEM:PURE DEADMAD

Pure Dead Mad are taking care of the sound in threearenas at this year’s Outlook, driving three stacks all theway from England to give you massive amounts of basspressure from their A.S.S. rig.

007 THE COURTYARD

This long dark tunnel curves round on itself to provide the

perfect place for Outlook’s more upbeat rave sets.

The arched shape of The Dungeon evenly funnels the

bass from the two central stacks, to create an epic sound

that reaches every inch of the room. With a capacity of

just 300, it’s one of the site’s smaller arenas, and when you

step inside you can’t help but feel you’re not actually at

Outlook at all, but in a nightclub buried deep underground.

DON’TMISS... TRANSITMAFIA, REDS, GUSTO, CAPTAINKRUCH& REEPSONE, GOLI & ASHBURNER, HOPPA, BENHUNTER, MARKSMAN, SOUTH BOUNDHANGERS, DJMADD.


As in The Courtyard, Pure Dead Mad provide the rig for TheDungeon, drawing on 21 years’ of experience insoundsystems to turn the entire space into one big bass box.

008 THEDUNGEON

One of Outlook’s most evocative arenas, Noah’s Ballroom

has to be seen to be believed. A circular pit with a

soundsystem dropped in, this was many people’s

favourite space at last year’s festival.

We can’t tell whether it reminds us more of something out

of Gladiator or Silence of The Lambs... “It puts the lotion

on its skin, or else it gets the hose again...”

DON’T MISS... BUNZERO, CARDOPUSHER, RUCKSPIN,RACKNRUIN, RATTUS RATTUS, JAY 5IVE, PHAELEH,PHONETICS, RISKOTEQUE.


Noah’s Ballroom is the third arena at this year’s Outlook takencare of by the team at Pure Dead Mad. Just wait until you hearwhat they do with their system with no UK EnvironmentalHealth around...

009 NOAH S BALLROOM’

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When you’ve been partying all night and the heat of theday begins to build, there’s no better place to be than TheBeach. Located on the edge of the festival campsite, justa few hundred metres down the coast from the Fort, TheBeach serves up strictly sun-soaked sounds from DJsand live acts every day, noon until sunset.

The perfect place to swim, sunbathe and shake o; thathangover, The Beach will help you recover from the nightbefore... and then get you raring for the one ahead.

DON’T MISS... STEVE BEDLAM, KELVIN BROWN,EVERGREEN & LANDLORD, SAMMYDREAD,CHIMPO, TROJAN SOUNDSYSTEM, REGGAE ROAST,NICE UP SOUNDSYSTEM.

After the massive success of last year’s daytime sessionson The Beach, the Outlook team knew they had to addsomething extra for 2011. This year sees the launch ofThe Basketball Court, where you’ll <nd daytime raving,great food, a cocktail bar and beautifully designed seatingwith extra shade.

When the sun sets, this arena will become a cinemashowing in=uential <lms inspired by reggae andsoundsystem culture. When your raving feet are tired,make your way here.

DON’T MISS...ML-WIZ, MOSAIX, CAPITAL R,BREAKDANCE BATTLES, REGENT, DUBSMUGGLERS, HERBAL SESSIONS.

010 THEBEACH

011 THE BASKETBALLCOURT

BOAT PARTIES

As anyone who has ever been before will tell you, theBoat Parties are an essential part of the Outlook

experience. This year, there are more parties than everbefore, throughout the day and evening, giving you the

chance to feel the breeze in your hair and the sun on yourface as you bob through the waves to a bass-heavy

soundtrack provided by many of the best actsperforming at Outlook.

Taking place across all four days of the festival, and witheveryone from RinseFM to Renegade Hardware, CircusRecords to Deep Medi, no matter what your preferredform of bass, there’s de)nitely a Boat Party for you.

Please note that to board the Boat Parties you must havepre-bought your tickets before the festival began, andmake sure you arrive on time as the boat will leave

without you.

SCHEDULE:

THURSDAY 1 SEPTEMBER

BOAT 1 HIT&RUNBOAT 2 HOT WUKBOAT 3 TUESDAY CLUB VS NEW BOHEMIABOAT 4 MUNGO’S BOAT

FRIDAY 2 SEPTEMBER

BOAT 5 HESSLE AUDIO VS HEMLOCKBOAT 6 TRUE TIGER VS VAGABONDZBOAT 7 CONGO D&BBOAT 8 HOT FLUSHBOAT 9 RENEGADE HARDWAREBOAT10 DETONATE

SATURDAY 3 SEPTEMBER

BOAT 11 RANKIN RECORDSBOAT 12 UKF VS CIRCUSBOAT 13 SKREAM & PLASTICIAN’S “BOOZE CRUISE”BOAT 14 DEEP MEDIBOAT 15 SUBDUBBOAT 16 DISPATCH

SUNDAY 4 SEPTEMBER

BOAT 17 CHANNEL ONE VS REGGAE ROASTBOAT 18 TECTONICBOAT 19 SIN CITYBOAT 20 SHOGUN AUDIOBOAT 21 FOREIGN BEGGARS & FRIENDSBOAT 22 SWAMP81

MAFFI

A SUBSIDIARY OF JAHTARI RECORDS, MAFFIMAKES DIGITAL DANCEHALL RIDDIMS, 80S STYLE.THE LABEL IS DOMINATED BY INDEPENDENTARTISTS, ANDMAINTAINS AN ETHOS OF KEEPINGTHINGS “SIMPLE, ROUGH AND CHEAP”. MAFFI’SJUNIOR TELLS USMORE...

WHO’S INVOLVED?“MaD is a subsidiary of Jahtari, run by the Jahtariposse, Jan and Christoph, outta Leipzig, incollaboration with Moog and myself from Copenhagen.We make the riddims in Copenhagen, Jan andChristoph run the label, and Jan usually does themixing of the tunes.”

WHENWAS IT ESTABLISHED?“We started planning the MaD label as early as 2006,but the Crst 7", Mikey Murka’s ‘Downpressor Man’ hitthe streets in 2008.”

WHYWAS IT ESTABLISHED?“We met over Myspace. Initially we were deeplyimpressed with the Jahtari productions, which wethought were very close to our own sound, exceptmore professional. We Crst met Jan during summer2008 - until then everything happened online. Jahtariis extremely well connected, very professional and webasically owe them everything. If it weren’t for Jan andChristoph, MaD would probably still be someobscure internet project heading nowhere.”

WHAT IS THE KEY RELEASE THAT YOU FEELEPITOMISES THE LABEL?“I think we all have our diBerent favourites, but for me,it’s Solo Banton’s ‘Talk to Me’. Simple, tough, catchybassline and good lyrics - plus an arp. That’s all I need.”

WHAT’S BEEN YOUR BIGGEST RECENT RELEASE?“For MaD that would be the newest Pupa Jim 12".”

DISPATCH

DISPATCH RECORDINGS SPECIALISES INPROVIDING CREDIBLE, FORWARD-THINKINGMUSICFROM SOMEOF D&B’S MOST RESPECTED ARTISTS.LOVINGLY RUNWITH AMANDATE OF QUALITYFIRST, THE LABEL DEMONSTRATES EVERYTHINGTHAT’S GOOD ABOUT THE GENRE. LABEL BOSS ANTTC1 FILLS US IN...

WHO’S INVOLVED?“Dispatch was originally set up by myself, Ant TC1, andlegendary Metalheadz artists Hidden Agenda.Nowadays, I take care of the label.”

WHENWAS IT ESTABLISHED?“The label was established back in 2011, ten wholeyears ago!”

WHYWAS IT ESTABLISHED?“Dispatch was originally established by Hidden Agendaand myself, with my responsibilities primarily helping outwith the management of the label and its day-to-dayrunning. Stress Level and I had our Crst release on thelabel in 2002.”

WHAT IS THE KEY RELEASE THAT YOU FEELEPITOMISES THE LABEL?“A tough question! I would say the track that covers allangles, while still paying homage to Hidden Agenda’ssound is more of a recent one ‘Go Back’ by Survival &Paul T. It’s a deep track and you don't hear this soundtoo often these days; it’s a real strike out. Also, HiddenAgenda’s ‘Daylight’ is another of my all-time Dispatchfavourites.”

WHAT’S BEEN YOUR BIGGEST RECENT RELEASE?“We have what seems to becoming one of ourbiggest-ever tracks on the way - Octane & DLR’s ‘BackIn The Grind’ (Cern & Dabs Rmx). Andy C said it’s one ofthe best tracks he’s heard all year. The crowd seem togo mental for it every time I play it. This could be theanthem of the boat party at Outlook!”

L A B E LF E A T U R E

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BLACK BOX

BRISTOL-BASED BLACK BOXMAY BE A RELATIVELYNEW LABEL, BUT IT’S MOST DEFINITELY HERE FOR THELONG TERM. RENOWNED FOR TURNING OUT THE VERYBEST THAT DUBSTEP HAS TOOFFER, BLACK BOXOWNER DJ THINKING ANSWERS OUR QUESTIONS...

WHO’S INVOLVED?“The label is run by myself, with the help of my colleague IanBlackacre who handles the manufacturing and thepublishing. I get to make all the fun decisions like who andwhat to sign and Ian helps with all the boring jobs. I do relyon his advice quite a bit though, and I bounce things oG himall the time.”

WHENWAS IT ESTABLISHED?“Planning for the Black Box label started over two years ago,although the Hrst release actually dropped in November2009.”

WHYWAS IT ESTABLISHED?“I work at Chemical Records as a buyer, and I felt that I hadenough knowledge of the dubstep scene to A&R a labelwell, and with Chemical behind me, I have the time to run itproperly and eIciently. For me the artists are the mainpriority - being an outlet for someone's creative work is abig responsibility and one which I take very seriously.”

WHAT IS THE KEY RELEASE THAT YOU FEELEPITOMISES THE LABEL?“So many to choose from, but I think it’s the very Hrstrelease - DJ Madd’s ‘Someone’ / ‘Someone’ (Breakage'sUnspeciHed Remix). Both sides of the 12" epitomise whatI’ve set out do with the label, and each track has thequalities I’m always looking for - they sound timeless, Ht intoso many diGerent kinds of set, and have DJs returning tothem time and time again.”

WHAT’S BEEN YOUR BIGGEST RECENT RELEASE?“There’s a lot to choose from, but maybe Kryptic Minds’s‘Can’t Sleep’ LP. We were really excited to sign the album asthe Kryptic Minds’s sonic aesthetic really Hts with the vibeand look of Black Box as a label. It’s a masterclass inproduction and mood, with big anthems like ‘The Fifth’ and‘Can't Sleep’ balanced by moments of incredible depth.”

DEEP MEDI MUSIK

REGARDED ASONEOF THE FINEST RECORD LABELS INBASS-CENTRICMUSIC, DEEPMEDI LEADSWHEREOTHERS FOLLOW. RUN BYMALAOF DIGITALMYSTIKZANDDMZ FAME, THIS IS AN IMPRINTWITH A HEARTAND SOUL ALL OF ITS OWN. THEMANHIMSELFEXPLAINSMORE...

WHO’S INVOLVED?“DEEPMEDi Musik was set up bymyself, but for a year or so,no one knew this fact. I wanted the music to speak for itself.Tunnidge illustrates all the producers so they get a MEDihead. He’s an old friend of mine and as kids I alwaysadmired his art, so he helped put my artwork concept intoreality. Since 2009, Kris Jones has been working for MEDi aslabel manager.”

WHENWAS IT ESTABLISHED?“The Hrst DEEPMEDi release came in 2006. It wasKromestar’s ‘Kalawanji’ featuring Cessman.”

WHYWAS IT ESTABLISHED?“I was doing youth work in the early 2000s in Croydon,running music workshops for youngsters aged 11 to 19. Atthis time dmz was alreadymoving and I was beginning to getsent so much music from all over the world. The reason Istarted the label was to oGer a home for producers toexperiment and expand. I’m not into owning and controllingpeople. DEEPMEDi is about progression.”

WHAT IS THE KEY RELEASE THAT YOU FEELEPITOMISES THE LABEL?“DEEPMEDi doesn't mean one thing - it’s not a Hxed point.It’s something that’s alive and moves, depending on theartist that records for the label. So every DEEPMEDi releaseis a key and an insight to the label and the many possibilitiesof universal vibration.”

WHAT’S BEEN YOUR BIGGEST RECENT RELEASE?“Silkie’s ‘City Limits Vol. 2’. This is the follow up to Silkie’s Hrstalbum that came out two years ago. Since then, he hasgone from strength to strength, remixing and producing forother artists… Silkie’s musicality and ability to keep thatrudeboy element in his music makes him a proliHc producer.He stands Hrm at the top of list when it come to number ofMEDi releases. Serious Levels from the youngWestLondoner!”

THE ROLE OF RECORD LABELS CANNOT BE UNDERESTIMATED IN UNDERGROUNDMUSIC OF ANY KIND, A FACT NOWHERETRUER THAN THEWORLD OF BASS MUSIC. AN UNKNOWN PRODUCER CAN BE ELEVATED TOMAN OF THE MOMENTWITH THERELEASE OF JUST ONE TUNE ON THE RIGHT LABEL, AND, LIKEWISE, A MUSICAL GENIUS CAN GO UNNOTICED IF HIS TRACKSONLY EVER APPEAR ON THEWRONG ONES. HEREWE TALK TO THE PEOPLE BEHIND FOUR SCENE-SHAPING RECORD LABELSTO FIND OUTMORE ABOUT HOW THEY STARTED ANDWHERE THEY’RE GOING...

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DON’T BE SILLY...For the team behind Outlook, the year-long process of organising the festival hasthrown up many challenges... If you think the last-minute cancellation of aheadline act due to visa issues would cause major headaches andun-imaginable stress for you or I, spare a thought for the members of the Outlookteam who, on top of all their other worries, have been answering all your emails andendless Facebook enquiries about every detail of this year’s festival.

From the mundane and moronic, to the weird and hilarious, you lot haveprovided the guys in the Outlook o"ce some of the most mind- challengingmoments of the whole year. Many of the best ones were lost when the Outlookserver crashed, but here we present a few memorable correspondences from overthe last few months...

D O S & D O N T S’

SIMPLE ADVICE TOMAKE SURE EVERYBODYHAS A SAFE AND (FAIRLY) SENSIBLE OUTLOOK…

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PHOTO: Ashes57

DRUGS

The Croatian authorities take a very strict stance on the useof drugs. We STRONGLY advise that you do not bring drugsto the festival or try to buy drugs here. There WILL be astrong police presence at the festival, both uniformed andplain clothed. If you are caught with drugs or caught clearlyunder the in<uence of drugs you will be arrested and takento police station and at the very least you will spend thenight in a cell and be given a hefty ;ne. Croatian Drug lawpolicy is a lot stricter than in the UK or other Europeancountries, so as a minimum expect to spend the nightlocked up and in court the next day with a €300-600 ;ne ifyou get caught by the police o: your head or in possessionof drugs.

NO FOOD/DRINK

Food and drink may not be brought inside the festival site,including bottles of water, but there are several water pumpsinside the site.

NO FLIP-FLOPS/SANDALS IN FORTOR HARBOUR

Flip-<ops/sandals are strictly forbidden inside theFORT/HARBOUR. You must be wearing trainers or someother form of sturdy shoe in order to be allowed entrance.This is for your own safety as the ground isn’t suitable forunprotected feet and we do not want hundreds of stubbedtoes, bruised heels and sprained ankles!

NO SPRAY CANS

Anyone caught with spray cans will have their wristbandtaken o: them immediately and will be escorted away fromthe festival by the police. Gra=ti of any sort is absolutelyunacceptable either in or around the festival. It’s vandalismand will jeopardise Outlook being able to return to thisbeautiful site.

NO PROFESSIONAL RECORDING

Unauthorised professional cameras and video/audioequipment are prohibited. Live video/audio recordings madewithout the permission of the artist/promoter are prohibited.

TIDY-UP.There are bins provided

USE THEM!

There is no excuse to leave litter everywhere. Clean up afteryourselves, don’t leave it to someone else - takeresponsibility for yours and your mates’ rubbish, pick it upand take it to a bin so this beautiful festival site stays thatway and can be enjoyed by everyone else as well.

BE COURTEOUS

Please be respectful and courteous to all those around you,sta: and fellow festival-goers, visitors and Croatians.

STICK TO PATHS

Please don’t wander o: into the undergrowth and try tokeep to paths, this region of Croatia has a number ofscorpions, spiders and snakes that do bite. Areas signed ‘o:limits’ or ‘out of bounds’ are not safe for public access.

WEAR INSECT REPELLENT

If you don’t want to be eaten alive, please wear insectrepellent or cover bare skin from the early evening onwards.The mosquitos can be right little fuckers!

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AT OUTLOOK:

SHUTTLE BUSES:Bus stop: There is a bus stop right outside the OutlookFestival Campsite (Camp Puntizela).

Price: About €2 per journey. But those who booked theiraccommodation through Outlook Festival will receive aShuttle Bus Pass (except for Pula apartments or the VerudellaHoliday Village).

DAILY LINE:Verudella - Pula centre 2A - every 20 minPula centre - Outlook Campsite (Camp Puntizela)5A - every 30 min

NIGHT LINE:Verudella - Outlook Campsite (Camp Puntizela)62 - every 90 min

TAXI SERVICES:Taxis will be hanging around outside the festival campsite,but if you wish to order one, Outlook has a partnership withthe following company with the agreed prices below:

Company: ERICA AUTO-TAXI OBRTTel: 00385 (0) 52 - 223 228Mob: 00385 (0) 98 - 440 844

Outlook Campsite (Camp Puntizela) to Stinjan = 50knOutlook Campsite (Camp Puntizela) to Valbandon = 50knOutlook Campsite (Camp Puntizela) to Veli Vrh = 60knOutlook Campsite (Camp Puntizela) to Fazana = 80knOutlook Campsite (Camp Puntizela) to Pula centre = 80knOutlook Campsite (Camp Puntizela) to Verudela = 130knOutlook Campsite (Camp Puntizela) to Peroj = 130knOutlook Campsite (Camp Puntizela) to the Airport = 130kn

Airport to Pula Centre = 100knAirport to Outlook Campsite (Camp Puntizela) = 130kn

LEAVING OUTLOOK:

SUNSHINE BUS:Departure from Pula – Tuesday 6 September.

For return coaches to both London and Manchester pleasemeet at the central car park by the festival campsite at 11.00.

AIRPORT TRANSFERS - AWAY FROMOUTLOOK FESTIVAL

OUTLOOK FESTIVAL – LJUBLJANA AIRPORTMonday 5th – Pick-up time – 12:00 (for Eights departingLjubljana at 16:00 or later)Tuesday 6th – Pick-up time – 12:00 (for Eights departingLjubljana at 16:00 or later)Wednesday 7th – Pick-up time – 12:00 (for Eights departingLjubljana at 16:00 or later)

OUTLOOK FESTIVAL – ZAGREBMonday 5th – Pick-up time – 07:00(for Eights departing Zagreb at 13:30 or later)Tuesday 6th – Pick-up time – 02:00(for Eights departing Zagreb at 08:30 or later)Wednesday 7th – Pick-up time – 08:00(for Eights departing Zagreb at 14:00 or later)

OUTLOOK FESTIVAL – TRIESTEMonday 5th – Pick-up time – 13:00(for Eights departing Trieste at 18:00 or later)Tuesday 6th – Pick-up time – 09:00(for Eights departing Trieste at 14:00 or later)

Please note that Outlook can take no responsibility forpeople missing their transfers. If you miss your transfer youwill have to make your own way to the airport by other meansof public transport.

PUBLIC BUS SERVICES:Once in Pula, there are numerous connections to other citiesfrom the bus station (060 304 091; Trg 1 Istarske Brigade),located 500m northeast of town centre.

TRAIN SERVICES:Bus services are generally much better than trains in Croatia.Pula Train station is less than 1km north of town, near the seaalong Kolodorvska. Services include:Ljubljana - 1 direct train daily (144KN, 4.5hrs)Zagreb - 3 daily (140KN, 9hrs) (but must board a bus for partof the trip)Buzet - 5 daily (55KN, 2hrs)

T R A N S P O R T

HOWTOGET TO THE FESTIVAL, AROUND CROATIA AND,MOST IMPORTANTLY, HOME…

E S S E N T I A L I N F O

BELONGINGS/VALUABLES:Leave passports/valuables in a safe place. Beware of bagand mobile phone snatchers. Ensure you know whom to con-tact to obtain emergency credit cards and replacementcheques if they are stolen. Report the loss of valuables to theFestival Welfare Points who run Lost Property, and the localpolice and obtain a written police report.

ELECTRICITY:Electrical supply is 220V, 50Hz AC. Croatia uses the standardEuropean round-2-pronged plugs.

HEALTH:It’s safe to drink tap water throughout Croatia, except on thesmall islands. With the Croatian sun it’s easy to get sunstroke,sunburn and dehydration, so please drink plenty of water andapply sun cream regularly. It’s advised to wear Lip-Lops orjelly shoes when swimming in rocky areas to protect your feetfrom sea urchins.

INTERNET ACCESS:Internet is available in the campsite. There are also internetcafes in some of the local villages and in Pula.

MONEY:Currency - The Croatian currency is Kuna. The exchange rateis roughly 8.5KN to £1, or 7.5KN to 1€. (A few places mightaccept Euros but generally you need Kuna.)ATMs/Cash Machines (Bankomat) - There is an ATM in theFestival Campsite, as well as in the local villages such as Stin-jan and Fazana, and of course in Pula.Tokens - The Outlook Festival bars and stalls all use a tokensystem. You can exchange your Kuna at Token Points allaround the site, and then use your tokens to pay for drinksetc.

GENERAL COSTS:Main dishes in restaurants range from 70KN to 150KN / Pizza- 40-65KN / Sandwiches - 30-50KN / Beer - 20KN for0.5Litre (approximately 1 pint) / Cider - 25KN / Spirit +Mixer - around 25KN / Cigarettes - 20KN

TELEPHONE:Mobile phones: If you have an unlocked 3G phone, you canbuy a SIM card (roughly 50kn with 20 mins time included, net-works: VIP, T-Mobile, Tomato or Tele2). Mobile and phonecardpackets are available to buy from any telecom shop (about150kn, including some connection time).

PHONECARDS:You’ll need a phonecard to use public telephones, availableto buy at any post oMce and most tobacco shops andnewspaper kiosks. They’re sold according to impulsa (units);cards are available in 25 (15kn), 50 (30kn), 100 (50kn) and300 (100kn) units.

A 3-minute call from Croatia using a phonecard will costaround 12kn to the UK and Europe. Local calls cost 0.80knwhatever time of day. Many phone boxes are equipped with abutton on the upper left with a Lag symbol. Press the buttonfor instructions in English.

EMBASSY INFO:In case of emergency, please seek help from one of ourhelpful Outlook staK members at one of the Welfare Points.However, here are the British embassy’s contact detailsshould you need them:

British EmbassyIvana Lučića 410000 Zagreb, CroatiaTel: + 385 1 600 9100

ZAGREB.CONSULAR@FCO.GOV.UKWWW.UKINCROATIA.FCO.GOV.UKWWW.FACEBOOK.COM/UKINCROATIA

ALL THE IMPORTANT INFORMATION YOU’LL NEED FOR YOURSTAY IN CROATIA...

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Trap Magazine Outlook Festival Guide 2011

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