Loose Lips

Sim Hutchins dropping the facts on his Clubeighteen2thirty LP


Sim Hutchins dropping the facts on his Clubeighteen2thirty LP

"The material on this album spans a wide range of years, but was all arranged in the last two, and each track is made to commemorate a particular phase of my raving times past."

No More Propofol

  • The main synth part on No More Propofol was recorded on my Casio CZ in my sister's Essex flat whilst a cat named 'Barbie' rolled around my feet.
  • Its place on the Clubeighteen2thirty continuum is to pay homage to the badly-named genre "wonky", of which HudMo and Zomby somehow got lumped into. Other noteworthy influences come from acts like Hype Williams, Hounds of Hate and Vanilla Hammer (more on him later).
  • The title No More Propofol takes its name from the drug that killed Michael Jackson, he affectionately referred to it as his "milk of magnesia". That's where the impact of MJ in this track ends, but I don't know a single DJ who didn't play a tune of his on the day of his death, in fact I did a whole hour set of his jams, lol.

Baby You'a Drug

  • I pulled the melody from this track out an old Fruity Loops project I made the day after a South London house party where I played Dancehall off 7"s and everyone was waved cos mandy was good again.

  • I was trying to recreate the vibe that people like Andy Stott, Actress and Martyn brought to House and Techno around '08. Hazyville was a pivotal moment for me, I'd walk home every day that summer across forests and fields with Green Gal buzzing in my ears.

  • The title takes its name from a Gucci Mane lyric, but also is a homage to sweaty-palmed love in da club.

Lost Squat Dog

  • I wanted to capture the essence of wading through cans of Strongbow and squat juice whilst polka-dotted-scarved dogs dart past your feet and some bloke with a high voice shouts in your ear about the finer points of Chris Liberator's set.

  • I'd been listening to a lot of Hardstyle (seriously) and so the fucked up saw wave stabs are a little nod to that.

  • Though essentially a weird techno track the title Lost Squat Dog is actually a direct reference to Burial's melancholic effort Stolen Dog, off his Street Halo EP.

  • Collaborating with Vanilla Hammer was both a joy and honour. Originally he was going to do a radio thing for our Body Count show [RIP], but somehow we ended up trading files and threw them back and forth across the web. The drums were originally his, and I processed them heavily whilst adding a slap of a clap that's a requiem to the brostep infiltration that killed my love for the Dubstep scene in '06.

  • I actually saw someone get dumped by pirate radio.

Her Lazer Lout Eyes

  • This track was named after the high powered LED pens that became trendy in school for some reason, but is also an ode to chiptune maverick Nullsleep, someone who's music I've respected for years due to his propensity to write ear-worm melodies, like on this one:

  • Originally an Ambient Techno track I repurposed and turned into a sort of interlude, Her Lazer Lout Eyes is a nod to quite possibly the safest space during awful Psy-Trance parties you've been dragged kicking and screaming to, or been duped into attending as "there's gonna be some DnB later" (there never was).

Let's Commodify Our Love

  • Let's Commodify Our Love was me trying to make EDM trap brostep. In fact I even sampled the swing off a Skrilly track for the lolz, and there's also little hits made from crowd noise at Tomorrowland raves.

  • Moonbow described it to me as QT-sadboi does Tame Impala, and I cannot argue with this analysis. They also declared there to be "some keytar" present, though the secret to this sound is staccato-ing up the chords and switching between 3 different reverb units to give it that morphing effect.

  • I took the EDM vibe to extreme levels by doing something I never do and that's downloading drum loops. I took the baitest ones I could find and cut bits I liked, then ran them though chains of pedals & effects as per.

Bath Salts in the Saccharin

  • Two separate people described Bath Salts... as my "Mogwai moment". They were both named Tom (idk if that's related). I worked the music theory part of this track harder than usual, as I really wanted it to feel like several different moods all rubbing up eachother, and often the wrong way, so the two Toms gave me a rather large compliment there I feel.

  • This tune really cements the words of my statement, that I wanted this to be a nostalgic album devoid of nostalgia, and so using something as iconic as a Korg piano sound on something that probably can't be raved to, reeks of the MKAT sweat of the high'n'dry vibe I was going for.

  • The title takes its name from the (once) legal party drug that ruined a lot of people's summers, as the descent into overindulgence took hold. Good times. 

Ecstasy Honeymoon Romance Period 2

  • The first half of the track takes on the form of a golden-era Warp Records ambient jam – B12 synths notwithstanding - but it soon builds into what Chevel described as “Deadmau5-esque Fruity Loops sidechain tutorial”, which is EXACTLY what I was going for.
  • The “2” part has multiple meanings. There was never a part one, and so maybe that's a comment about our unrealistic memories of our raving days? It is not. What it might be is the suggestion that it's ok to relive the past, but remember those times were sometimes fleeting for a reason, and to suggest a renaissance could stand up to original period in any way is naïve, but that's not to say we can't enjoy that romance period again from time to time.
  • Most House tracks are supposed to get sparser towards the end, so I thought I'd do the exact opposite here and go for full-on out & out overindulgent fanfare in the final moments. The club lights have come on but you're not ready to go home. There's always an afters to be had somewhere...

Clubeighteen2thirty is out now on Local Action, limited cassette & digital.