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Hydroponic Music & Corona Extra present
The Meat Market #7
Radioactiveman
Control Tower / Two Lone Swordsmen / Fabric
Michael McKeown (Hydroponic Music)
Sat.29.August / The Menagerie / University St, Belfast
Adm £6.50 / 21:00-LATE
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Following on from a storming series of partnership events throughout 2008, Hydroponic Music & Corona Extra are pleased to announce the next installment of 'The Meat Market' - their revered programme of renegade, venue hopping guerilla gigs.
Meat Market #7 takes place in The Menagerie, Belfast, where special guest Radioactiveman joins Hydroponic Music's Michael McKeown for a speaker wobbling assault of epic proportions.
True to Meat Market's reputation for ripping up the DJ blueprint, the boys plan an evening of genre busting delights, kicking off with early Rockabilly, delving into dub, roots reggae and disco, and building towards lo-end dancefloor destruction and the deeper side of techno.
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The Meat Market
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The Meat Market - a programme of renegade, venue hopping guerilla gigs coordinated by Belfast's Hydroponic Music in partnership with Corona Extra - has gone from strength to strength since it's inception in early 2008.
Emphasis has been placed on keeping things fresh - no fixed music policy and no fixed venue.
Highlights to date have included appearances from Black Acid / Death in Vegas main man Richard Fearless, Belfast based Reggae Sound System Hydroponic Hi Fi, The Official Primal Scream After Party Featuring a DJ set from Scream bassist and ex-Stone Rose Mani), Dublin's Clampdown DJs Arveene & Johnny Moy, LCD Soundsytem's Pat Mahoney, and head honcho of Berlin's Get Physical label DJ T.
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Radioactiveman
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Perhaps the sleepy town of Chertsey, near Surrey, is not the first place you'd guess as the origins of some of the loudest, rawest, most powerful sounds to come out of electronica. But indeed, Keith Tenniswood was raised on the river side of Weybridge, where much of his days were spent with a guitar in hand and ruffling through his dad's vast record collection. His mum and dad were both music enthusiasts, though "in the 60's, she was more Beatles and he was more Stones." After a youth full of electro, graffiti, mixtapes, break dancing and skating rinks, as a teenager Tenniswood started taking the train up to London every weekend to get lost and found at acid-tinged squat parties. Equipped with crazy bands (with descriptive names like Gaye Bikers On Acid, Screech Rock), crazy outfits and all around general insanity, it was no surprise that the acid house scene had immediate effect on Tenniswood's day to day life, taking him from London squats to the rest of the country...
And soon, a series of 4-day club benders ensued every week, kicking off on Thursdays with the infamous Drum Club and its legendary residents (the likes of Tony Humphries, DJ Dag, Andrew Weatherall, Phil Perry, Darren Emerson, Sven Väth, Steve Bicknell, David Holmes and Justin Robertson) and ending on Sunday night/Monday morning (that grey area that often comes too quick) at the renowned members-only club Full Circle.
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It was due to the Sunday hotspot that Tenniswood first began fiddling around with equipment and also began crossing paths with seminal industry figures, most notably Phil Perry, who ran the club night. He landed his first release on Perry's corresponding label in 1994, working with his friend Jason Critchell as 7 HZ, just around the same time that he started hanging out with Jagz Kooner, 1/3 of Sabres of Paradise (with Andrew Weatherall and Gary Burns). Kooner's wise eyes saw talent in Tenniswood, and encouraged him to spend a little less time in the parties and a little bit more in the studio. He also did the live front of house sound for the Sabres when they were supporting Primal Scream on their UK tour in '95. "A taste of touring and misbehaving which has been in my blood ever since!" It wasn't long before he'd settled in as Sabres' studio engineer, consequently having access to a fully-equipped studio any time the band had downtime or trotted around on tour.
With Kooner and Burns also hopping around with their other band, The Aloof, often Weatherall and Tenniswood would find themselves alone in the studio, talking about their mutual love of music and guitars. Two Lone Swordsmen was the direct result. A kaleidoscopic collage of their shared influences and interests: slamming together sounds as vast as warm dub and vicious electro, ambient soundscapes and organic instrumentation, trippy analogue and bassline-led rock and roll. They unleashed their first 12" to an unsuspecting public in 1996 on Emissions Audio Output (Andrew's own label), and the releases poured through from strength to strength. The last decade has seen Two Lone Swordsmen release celebrated remixes (for Primal Scream, Spiritualized, Howie B, David Holmes, Stereo Mc's, Lali Puna, St Etienne, Alter Ego, Calexico, Broadcast, Six by Seven, Dot Allison, and Slam - to name but a few), countless EPs and 4 critically-acclaimed albums - recording 2 on Emissions and 2 for electronica's home for the brilliantly abstract, Warp Records. The Two Lone Swordsmen have toured the world over, playing gigs ranging from an electrifying performance in fabric's Room Two to a riotous stage-diving, crowd-surfing show in a club/aircraft hanger in Tokyo to over 18,000 people.
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Back in the late 90s, as Andrew started DJing more and more around the world, and The Aloof kept on the road moving in other directions, Tenniswood took the many contacts gained from his studio work and began putting them to use. In 1997, for example, he went to Belfast to co-produce David Holmes' album 'Lets Get Killed.' In-between recording sessions, Tenniswood used any alone time in the studio trying to encapsulate a certain sound to disc: "I wanted to create something quite heavy, really bass-heavy, upfront. I didn't really set off to do a solo project, I just started stockpiling more and more music, and I eventually decided to put some of it out as an album. I'd been working on so much music that was other people's, so I was just really chuffed to have something to call my own at that point." Low and behold, Tenniswood had much more to share with the world than something to merely call his own– his self-titled LP radically turned heads and turned Radioactive Man into an electronica household name. To this day, nothing quite touches the menacing elegance of the album's final hair-raising track, 'Uranium.' After gaining a handful of quality remixes under his belt as Radioactive Man (including Freq Nasty, Red Snapper, Meat Katie and Tipper), in 1999 Tenniswood decided to start his own label with his cohort Simon Brown (a.k.a. The Dexorcist) called Control Tower. Beyond their own material, Brown and Tenniswood have taken a wide variety of artists under their wings: Bass Junkie, Kansascityprophets, Dead Silence Syndicate, Dirty Hospital, Silvah Bullet, and even a new signing from Lithuania, Moondisco.
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Tenniswood continues to enjoy DJing: "I really love DJing. It's a lot easier than touring with a full band; there's not so much pressure playing other peoples' records," he laughs. It's a life-affirming love that incessantly takes him around the globe - Tokyo, New York, San Francisco, Istanbul, Budapest, Barcelona, Rome, Paris and even lands as far and exotic as Preston.
And that takes us up to the present where, after four years of seeing different places and meeting different faces, Tenniswood has reached into his bursting archives of musical artillery and put together his first LP since 2003's inspired 'Booby trap.' Arguably his most anticipated album to date, 'Growl' is a stunning collection of timeless tracks that break, shake and quake with funk and character. Radioactive Man has once again turned in a direction most unexpected, with the wealth of experience and wisdom grooving his path.
In the meantime, Keith has also started playing guitar in a friend's band under his own name, Christopher D Ashley, and signed to Sunday Best's lovely label.
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