I entered the Turk's Head just before midnight. Down the stairs, and a hard right into the dive bar - compared to upstairs this is a different scene. It's dark, with some messages carefully scrawled onto the wall near the bar, and on the right of the cosy dance floor there's a whole wall covered with a piece of Roy Lichtenstein pop art.

Tonight is the night for hard hitting electronic music. Welfare and Rob DC are coordinating the tunes when I get in. We're jungling tonight and they've got plenty of high tempo tunes to keep the night going. These two are the faces behind the Galway based vinyl record label Rua Sound, founded in 2015 to support the transient culture of jungle, footwork, hip-hop, grime and drum & bass. They've come to Dublin to promote the release of their third record on this label, featuring Taiko and TMSV.

I'm dancing to Taiko, at about one o'clock I'm assuming but time hardly matters now down here among the dancers and pint shakers. The enthusiasm for these tunes is infectious. He's pumping handcrafted dubstep into our ears and around me the place has filled up nicely. There's something very soothing about dancing in a basement area of a pub, like the world upstairs could be losing its grip, but down here we have grime to keep us grounded.

https://soundcloud.com/rua_sound/taiko-bang-thing-rua003-clips

Here comes more bass, as the second DJ featured on this new record, TMSV, steps up and continues to hype up the crowd with precise rhythmic skill - amazing. I really wish it could never end; this is quality music in a raw passionate form. It's head banging dubstep in a jungle of elbows and footwork - the crowd is intimate and full of energy, small but not your average Joes.

soundcloud.com/rua_sound/tmsv-shot-rua003-clip

It's coming close to the end. The tunes go on and at around 2:45am a female voice floats across the mic pushing us on and we get a bit more time in the basement below the city. Let's pretend the lights didn't come back on, the applause and whistling didn't erupt just yet, and the tunes didn't stop - it's far better that way.

Tonight, the DJs were on form and I'm sure we can expect more good stuff from Rua Sound in the future. Electronic music in Ireland has a strong and passionate base of support, whatever your poison may be. These gigs are happening all over the country. It's more than just a space to dance and engage with these DJs; it's an opportunity to embrace local creativity and style, to allow music the time and space it deserves to show us the absolute vibrancy that defines its soul. In a basement below the city, there is much to be proud of.

I continue to make a dent in the box of chocolates on the table (this should be a thing at gigs), and I start talking to the man sitting over on the left side, Alex Smyth. He's wearing a dark jacket, has a bit of a beard going on, and seems relaxed in the moment. The tunes have been playing inside this whole time, mostly disco and funk, until the acts begin. 

I must note, that I arrived at the venue early. The music was scheduled to kick off at 5pm, and it is now sometime around 7:30pm. The music they're playing inside is good music, who doesn't love Daft Punk, and Jamie XX? In the back of my mind I'm wondering when these artists are going to get their chance to thrash out their soul on stage, to expose the music and excite the crowd.

Alex kindly agrees to an interview, and among the wrappers we begin.

"My name's Alex Smyth, I'm 23 and I'm from Dublin.''

Just a bit of background; how long have you been making music for?

"I've been playing music for 10 years, and I started writing music about 10 years ago. I was in a band with my friends from primary school, we used to play in this shitty band, we had a synth, a drums machine- that was the first outlet I had for writing music. After then I left it for a while, and I came back and was in a band with my friend in secondary school. It was only about 2 years ago I started writing my own songs, which are sort of instrumental acoustic pieces. The songs I make are interesting, not intricate but they're nice pieces. As I kept writing music and writing music, I got more interested in having a loop pedal and sample pad. It's semi-ambient sort of music, electronic, instrumental.''

Are there any people that influenced you?

"I'm influenced by Tycho a lot, I think his stuff is really cool, every song is good. I just love the bass. Destroy You, Explosions in the Sky, they're influenced me. How their songs are a constant build up of relaxing music. Being influenced by that, but also having my own vibe to it. Ben Howard as well, when I was writing all the acoustic songs he was a massive influence on me because I just love his music and I love what he writes. But I listed to pretty much everything, pop music, rock music, everything.''

And in terms of how easy or difficult it was to get on the scene and perform, how did you find it?

"It was pretty hard. And I don't really consider myself in the scene to be honest. You see all these bands that are just starting off and they're getting all these really good gigs- and you're thinking 'how did they do that?', 'Is it who they know or is there someone there at their gig that sees them and helps them out with these sorts of gigs?'.

Dublin, it feels like everyone's in their clique. They're getting slots at EP (Electric Picnic), Longitutde, and all these things. It's hard to get in, especially since my music is instrumental, it's not really popular. Everyone's going for bands. I think in Dublin it's really who you know. I'm from Swords, and there's not a big buzz there for music. You have to play as many gigs in Dublin as you can and hopefully you'll meet some people that will show and interest in your music and give you those gigs.

I applied, and I actually didn't get picked to play Canalaphonic. I got really down, I wanted to play it. I thought "I've worked hard enough the last few months to get a slot''. I know a guy, he has a few slots and he just rang me up and asked me. So again, it's who you know at the end of the day. Once you're in it you're golden and you'll get those gigs.''

How many female artists or producers have you come across as you've been doing this?

*Hums thoughtfully* "A good few. I can't really think of a few off the top of my head. Chanele McGuinness, I played with her a few years ago and she's really good. I think she lives in London now. She's on that Galaxy ad, the Galaxy Duet ad; she wrote a song for that, and she's getting a good bit of publicity. There's a load, BARQ, they're doing really well. There definitely are lots of women there, independent acts that are getting recognised.''

Do you think it's easier or harder for men than it is for women to get into this sort of thing?

"I don't know if it's easier. If the music is good it's definitely going to get noticed, but I think it's more assumed that if you're going to see a rock band, it's going to be lads playing together. I don't know...I've only been doing this for a few years, for me I think it's equal. There are definitely more women in bands singing, or on bass guitar, only recently. It's even though, especially at this stage, especially in Dublin. Everyone's cool enough. There's no sexism going on.''

But when you think about the media; TV, internet, magazines, do you think they might have an influence on who gets involved in music and who doesn't? For example, men or women.

"I think the Internet has changed music a lot, like Spotify, Soundcloud and all of those things. And I think that the whole music thing is on Facebook. But I can't answer that question.''

Do you think that there's a bright future for the local music scene in Dublin?

"I did. I did until a lot of venues started closing down out of nowhere. I think that DJs are becoming more popular in Dublin, in places like Hangar. I played there recently. But I think it's definitely getting bigger. Stuff like Canalaphonic, and you see stuff like Electric Picnic getting bigger and more festivals happening. Lunasa festival was really small, it's cool to be something that small and you can expect that it's going to get bigger every year.

So many bands are getting signed, and the Irish, smaller independent labels are getting more invested in. And we have those venues, like Whelans, that are recognised all around the world.

I don't think it'll ever come to a halt, it might be the cycle where bands will constantly grow over the course of ten years and end up getting older,  maybe they'll have to get jobs. It'll definitely keep growing, a constant cycle.''

But you were saying venues are closing down. Do you think that'll be a problem?

"For the bands it will. For me, I think that DJs are getting more popular and everyone's, not wanting to be  DJ, but have more interest in seeing a DJ at 3 in the morning than a band. You pay €15 in to see a DJ that you don't even know, you haven't heard of him, you don't know what music he's going to play. But you wouldn't pay a fiver to see these 3 bands that have been working their arse off for months to play this gig.''

Do you think that the music is advertised well enough?

"No... You do see bands putting up their own posters around Dublin, but I think everything's done on Facebook these days. Everything. It's a good thing and a bad thing.''

Something completely unrelated; how do you like your eggs?

"Recently, poached. I used to be a scrambled man, but then I went on to these.''

At this stage, the place has filled up a bit more. The pyramids of Red Bull on the tables have gotten slightly smaller, and the chocolates are nearly gone.
I'm thinking about the music now. I'm hoping that the acts will start soon and I can see these people that I've just spoken to do their thing.

It can be hard to get opinions about gender issues out of people. Some may feel that it's too controversial to open up about in a recorded interview, it's possible that they can't find the words to express the situation as it is- or maybe they don't want to.
Music is for everybody, but it's clear that entry to its production is not so universal.

With this heavy and unending research, I'm constantly thinking of different angles on this question: where are all the women?
Let's consider gender discrimination; whether it is intended or not, it has been found in workplaces across the globe, and has contributed greatly to attitudes of what women can work as and what they should work as. The limits of their ability. Another possible factor to consider is access to technology, and women's domestic role. Gender roles are often enforced, directly or indirectly from a very young age, in toys, school subjects, and host of other areas. The notions of 'men as men' and 'women as women', doing certain things, become so ingrained in life over time that we may not even notice it until a much later age.

People have told me "Maybe it's purely a taste thing. Women just don't like engineering and technology.'' This is not an answer.

Of course, I have a lot more research to do. Many more interviews to hunt down, many more gigs to spend the night in. The Red Bull pyramids help.

Later on I meet RSAG, a one man band with a  wealth of experience and energy under his belt. More to follow...

 Ireland is a country of culture, music, beauty, and craic. These are the opinions of visitors and international students that I have gathered over the past few months. They enjoy the atmosphere that surrounds cities like Galway, Cork, and the wild regions of Connemara and the Wild Atlantic Way. Hearing all of this does make me appreciate the fact that I was born into this.

Two weeks after I moved to Dublin, I heard about Canalaphonic. It is a music and arts festival, showcasing independent acts in venues across the South side of the city, and it is not exclusive to music. Over the two days it ran, there was a constant stream of art and photography exhibitions, music and dance, family entertainment, opera, theatre, and poetry. If it fell under the vast umbrella of culture, it was there. Canalaphonic came into existence through an ongoing collaboration between Dublin City Council's South East Area Office and Abner Browns Barbershop. On September 23rd and 24th, with a desire to get immersed in the music scene here, as well as exploring the burning question I was determined to answer, I went to see what it was all about. This led me to Lock 6 Cafe, Canal Road.

I enter a small, cosy place, with a smoking area of seats and pillows, free Red Bull and chocolates, and Prosecco on tap inside. It is also BYOB (Bring Your Own Beer). On the other side of the cafe is the outdoor stage leading onto the street. Arriving early, at 4:30pm, I sit by the pillows and soon  I get into conversation with the man beside me.

"Are you here for business or pleasure?'', he asks.
"A bit of both. I want to interview the acts.''

And so I meet my first interviewee of the night; Dylan McCrumlish, DJ.
Young, wearing glasses, a bit of a beard, and a friendly demeanour. I take out my notebook and get into journalism mode, putting the batteries into my old dictaphone. I comment on its age, and ask him to bear with me for a moment while I get it set up (I was only slightly offended by his laughing at my Sony fossil). With candles on the coffee tables, a box of Roses in front of us, and a scattering of rose petals by an employee, this interview feels like a highly efficient first date.

How long have you been making music for? What influenced you?

"I've been at it for about 4 years- I don't want to say professionally because it's not the only thing I do, and DJs around Dublin don't actually get paid that much contrary to popular belief- so I've been DJing semi-professionally for about 2 years.

And influences... 70s music influences me, I love all the funkiness, all the grooviness that comes with it. Anything that gets you moving. That's what I like.''

And how many female artists have you come across?

"I've met a few female artists on my travels, but a lot less than male.

-Would they be DJing or on the production side of things?

All the girls I know that are DJing are just DJing. I'm sure that it's a precursor, you start DJing and then naturally enough you're interested in how to make music as well. So, I think it comes with it. But, the girls I know that are DJing, they're not looking at the production side of things. I'm sure that's a natural enough progression over time.''

-Do you think they will?

I hope they will, but the 2 girls I know aren't particularly musical, you know? They're into their music, they know a good tune when they hear one and they're able to mix it in; they're good at that. But I don't think they're musicians or anything. So for those girls in particular, probably not.''

Off the top of you head, how many female producers can you name?

Emaleigh Kelly is a big one at the moment, she's getting a lot of media. There's one called Heidi, a good house DJ. And another one, Magda. But you're right, there's not many.''

What about the media, do you think that there's any aspect within it that would influence the lack of female producers?

"I don't think, from a woman's perspective looking in at the media and seeing all these male DJs, that they would be intimidated by the thought of being a DJ. Just from seeing 90% of them being men. On the other side of that though, all the media is portraying the fact that it is a male dominated industry.''

How do you think that it could become more balanced? Are there some things that could change to make it more inclusive?

Girls just need to get out there more, I think. When you see a good female DJ, it's automatically better than the guy who's just as good, you know what I mean? You see the woman, and she's just as good, which makes her better, because of the rarity. So women actually have an advantage because of the minority that they are in the industry.

-So you think people would be more inclined to go see a female DJ, rather than a male DJ?

If they know that it's a good DJ, they'd be more inclined to go see them''

In terms of being an artists- there are so many good female artists out there in the world, singers and musicians, there's no real issue there- but the step from artist to producer, are there reasons why women are not making that transition? Within the industry, or in how things are managed?

I'm trying to think of producers in the studio recording, but they're all male, there aren't much women out there. From what I know, computer science college courses are all male dominated too. Maybe women are just intimidated by the technology side of things, and that has a knock-on effect deterring them from getting into production, which is all electronic these days on a laptop in your room.

I think a lack of female participation in these courses is part of it, absolutely. There are loads of women doing biology, but in physics and computing...

It tends to drop off. Maybe it might be an innate male thing to go for these mathsy sort of things, or computer and technology. But I'm not sure.''

How many gigs do you have planned?

I've got this one all day today. I'm actually in Galway in Monroes on the 6th of October. My friends, they're a trad band- I'm wearing their t-shirt now-Moxie. They're doing an Irish tour and I'll be supporting them. They're class, really good.''

If you weren't DJing, what would you be doing?

I'd probably be sitting on my mam's couch collecting the dole. *Laughs* No really, I wouldn't know what else to do. Right now I'm doing a music technology course in Maynooth. I don't really know what else I want to do.''

Are there any artists around Ireland that you would love to do things with?

"Around Ireland...no, I'm the only artist in Ireland I want to work with.

-You're a lone wolf?

Yes. Picasso never collaborated, am I right?''

I think it's a very Irish thing to procrastinate. Do you find that it's a difficulty in work? Or a benefit?

''Absolutely. I've been waiting to make the next big track now for about 3 years. It definitely does hold you back.''

And if you were to predict the future for the electronic music scene in Ireland, where do you think it will go? Are artists going to become bigger than local?

"I think there's a nice mix at the moment of international and local. Every week in Dublin, each night a week there's probably going to be an international DJ that you know is very good at what he does. On the other side, there are loads of night with just locals, and they're the best craic in town. The techno scene has skyrocketed, and electronic music in general; it's becoming mainstream.
I'm from Sligo, and the house and techno scene has kicked off there. There are a few guys organising underground parties over the last few years. But there's only been 50 to 100 people turning up. Now they've got a weekly thing, they're bringing in international acts, it's all getting bigger. Even the local clubs are moving to techno and house, they're getting the big acts over.

My prediction is that there will be more of that, what the mainstream now wants. It's not underground anymore. Even in the charts you're hearing all this deep house music becoming more and more popular, and there's more of a market for that underground stuff now.

-Is there a point where it could be ruined?

Absolutely. Anything that becomes mainstream will eventually be exploited and commercialised. I suppose EDM is that already. It'll probably be just a lot more EDM. I do think we'll be hearing a lot more techno tunes in the charts with those cheesy vocals over them.

-And you're not going to go that direction?

Here look, if somebody offers me a hundred grand for a cheesy vocal over a techno track, I'll do it. I'll sell my soul.''

On an unrelated note, how do you like your eggs?

"I've always been a scrambled man. But recently, in the last 12 months or so, I've moved on to poached eggs. I've got this little egg cup, where I put it in the pot of boiling water, and I crack the egg into this rubber cup. You put the lid on and in 3 minutes the egg is perfectly poached- it's perfect. I recommend it, highly.''

-Thanks, Dylan.

HWR x SPETZ is a music production duo with a passion for dirty bass and style. Their new album 'JOINTED' was released in May 2016. It is an 18 track record, incorporating the sounds of hip-hop and trap, with hard hitting drum beats and scratches that please the senses. Trying to keep things fresh, the album brings some personality to the foreground and you can tell that this record was fun to produce.

Spetz has affiliations with World Bass Culture, a loud voice in drum & bass music. Currently working with DJ HWR under the TRP Label, these guys are determined to make some waves in the underground scene. 'JOINTED' features an array of skills from the likes of Benji Revelation, DJ Twister, Toxsic Prophet, Meter, Dizziray, and more. It is worth recognising that this record includes a wide variety of voices and styles; it shows that bass music is a force that brings people together (even though that may not have been the initial plan).

It goes to show, you can't stop the music from doing its thing. The voices you hear on this record add richness to the sound, and on tracks like 'DOPE' and 'FROM THE HEART', you can feel the rhythm take centre stage.

A track that stands out for me is 'LIKE A JAZZ PLAYER'. With a healthy mix of drums, guitar and synthetic sounds, it blends funk with sharp beats and scratches, showing us that electronic music has no limitations when it comes to freedom of expression and style. It really is all about who you are and what you make of the instruments in front of you. When we think about the future of underground music, it's best to look at the present.

And it feels pretty good where it is now. HWR and SPETZ have made an album that shows exactly this. In SPETZ's own words "now the music has to do the talking.''

Have a listen to what the music has to say. With blended styles and stand-out beats, to me this album is saying that Bass really is king.

'JOINTED' is available now to order online: http://www.empik.com/szukaj/produkt?distributor=TRP+Label

Follow them on Facebook: https://www.facebook.com/jointedhwrspetz/

Puzzle Galway and Irish Underground Sounds are combining forces for your listening pleasure, this Saturday night in Monroe's Live. These two collectives specialise in bringing Dn'B, techno and neuro beats to the masses, through their One World Sounds and Funktion One sound systems, and their eternal love for bass music. The night will bring six of their finest noise agents forward, once again displaying their unique skillsets and unwavering passion behind the decks. Representing Irish Underground Sounds are DuRok (Dn'B, neurofunk), Teknonotice (techno, Dn'B), and Evasion (hardtek, Dn'B). Their priority: uniting these sounds with the crowd to create an energising, seamless experience. This label also hosts a new live Techno Therapy Radio session every Thursday; here's what you missed last time https://soundcloud.com/irish-underground-sounds/techno-therapy-radio-1-teknonotice-b2b-overtone-free-download
             It's business as usual for Puzzle, bringing quality and style to the foreground. On the night we'll have Scimmia (Dn'B), Wendy (dark tech, Dn'B), and Zanmato (neuro, Dn'B), all of whom are going to make sure you lose yourself in the rhythm and soul of the music. A weekly radio mix orchestrated by Puzzle every Thursday can be enjoyed on the Flirt FM sound-waves on 101.3. Alternatively, here http://flirtfm.ie
             Powerful sound systems, enthusiastic and skilled DJs, producers who live, eat and breathe music. And the people, the crowd that brings so much energy to nights like this. These are the parts of life that can take you somewhere else, beyond normality. On Saturday the 6th, peel back the layers, and come join the elsewhere.


https://www.facebook.com/events/1663707077228720/

https://soundcloud.com/irish-underground-sounds

https://soundcloud.com/puzzlevents-galway

There's something which has been on my mind the last few weeks, more so than it usually is; it's the space that appears to be growing between people as our lives become more involved with the internet and social media. Eventually we may all become weightless names on somebody's friends list, and cease to exist. I like technology, but I don't like this thought. At this moment I'm aware of how many Facebook friends I have that I actually talk to and see in real life, and how many times I click 'like' on something instead of saying something further about it in a comment, like a real conversation. So let's try and be more real with each other; I want to hear more from people, to see what they're all about and what makes them tick. It's this desire for connectedness that is making me very excited about this weekend. Because on Friday the 29th, Rua Sound is celebrating its label launch, in the Loft.

If you haven't already heard about this then listen up, because you don't want to miss out. Rua Sound is a new electronic music label, whose roots lie here in the West, in Galway. Its focus and motivation is to connect the sounds of Jungle, Hip-Hop, Footwork, Drum & Bass, and Grime, in an environment that encourages these styles to be explored, produced, and shared with everybody. As a platform for local music, it gives this music more space to express itself. And that's really important. It's important because it encourages people to get involved; there will always be creative souls looking for an outlet to share their music and explore other sounds.

And that's where these two producers come in: Welfare and Rob DC, the faces behind the label. It's their hard work over the past few years that's turned this idea into reality. Here in Galway there is a healthy, thriving electronic music scene that keeps moving from strength to strength, and venue to venue, all the while giving life and vibrancy to the community surrounding it. The DJs and producers give this sense of community a voice, through the music they create. It's part of the reason I kept going to these gigs after the first one a few year ago (a D&B gig in Paddy's Bar).

Long-time Drum & Bass producer, jungle head, and self-confessed vinyl junkie, Welfare has been part of the Galway music scene since the mid noughties, throwing beats around venues from one end of town to the other. He has long standing musical involvement with Jungle Boogie!, DubCulture, Get Boogie!, and now Rua Sound. And we're happy to have him here. He spoke briefly about this label with me in an interview last summer, only giving a taste of what was in the works (the full interview can be found here http://onenightstanding.weebly.com/blog/interview-welfare)

The first of these exciting artists to come our way is Sully, a producer who has continued to give more and more to the breakbeat and jungle spirit the past few years, with releases on London's Keysound Recordings, Astrophonica- and since January 22nd, his much anticipated 12" debut on Rua Sound has been loose on the public. With an extra kick from Sam Binga. His creations "Lifted'' and "Rotten'' can be found in digital and wax form online; limited copies I hear.

The feeling I have that we need to be more connected and more down to earth with each other, is remedied by the way producers in Ireland have made efforts to create and strengthen ties between people, places, and their music, using digital media to enrich the vibe. As well as the network of creativity surrounding it. So in other words, Sully is coming over to join the session; you can crack open your can of Linden Village now if you like.

The other half of the Rua duo is Rob DC, whose style crosses over from D&B, to Hip-Hop, to jungle and back again, touching branches of every sound and rhythm along the way. With years of work as the Cork wing of DubCulture, you can be sure your delicious bass bagel is in good hands.

(Okay, the 'bagel' thing won't happen again, I promise)

I like the variety Rob DC and Welfare are bringing us, and it is completed with Jonezy, a producer with far reaching experience in the electronic music scene (DubCulture, Riseup!). Mixing styles and genres for years, in the West and beyond, Jonezy will be there to make sure you get your recommended daily allowance of jungle and Funky D&B beats.

If there's a reason to be anywhere else this Friday, it's probably not real. Anyone that sees or hears this reason should immediately take an extra dose of this https://www.youtube.com/watch?v=ZT_YUKgpLXE, and continue medication as normal. Side effects may include (but are not limited to): a heightened sense of rhythm and spirituality, feelings of euphoria, and happiness.

If there are people reading this article, which there very well may be, I'd like you to consider one thing: how many minutes and hours of your life spent scrolling down through pages of social media, 'liking' Unilad posts and sharing memes about Bill, equate to the worth of spending time among a crowd of people who don't care about the latest craze of internet white noise. Just the music, and a real moment. I'm not going to do the math. I believe that music creates bridges between us. So, instead I'm going to turn the volume up, and sweat to my heart's content on the dance floor this Friday. Because why the fuck not?

Event: https://www.facebook.com/events/1582513128657209/

The World Bass Culture collective have stepped forward in the music scene, this time showing us its ability and desire to make collaborations in bass music happen. A Cork based group dedicated to bringing together and supporting like-minded producers and artists, their new EP Spetz Meets Benji Revelation and Miahlodica- Destination brings several Dub masterminds in collision. And the result is a chunky four track selection. First of all, it's worth noting that this collective is made up of a variety of styles, MCs and artists (DJ Man-G, Radikal Guru, Cian Finn to name but a few. Full list can be read here on the WBC website http://worldbassculture.blogspot.ie/p/wbc-bio.htm), which makes WBC somewhat unique in its musical personality. And this EP (which I promise I'll waste no more time in telling you about) gives us just a taste of what these bass loving individuals are all about. Destination marks DJ Spetz debut release on WBC, although he has been producing beats across Ireland and abroad for a number of years. He takes the reins on this one, and produces some chilled out dub which has a smooth flow all the way through.

Track one, produced and mixed by Spetz, has a message that weaves between a dreamlike melodica beat (by Miahlodica); it addresses this "kind of outrageous'' way we live our lives, seeing inequality all around us but still living a life that is dependent on money and this inequality.

I can understand this, it makes sense. I know I'm speaking from a perspective that is far too familiar with the feel of empty pockets, or maybe the sound of copper coins shaking around my purse. But there's truth in what's being said here; isn't it weird that most of our lives, we focus nearly all of our creative human energy (our only existence) into doing things for the sole purpose of paper and coin. Wouldn't it be interesting to not do that? But of course, we're all going to march to the beat of our own drum.

Track one: go have a listen. The vocals come from Benji Revelation, another contributor on the music scene who you've probably (almost definitely) seen making shapes at gigs and music events alike. This vocal cut is a basic, chilled out track, with very few elements present except the vocals and the beat. Why would you need much else when all these elements are so well in sync?

We get a different sort of buzz here with track two; it's track one with a bit more energy and beats thrown into the mix. Both of these tracks are mastered by Russ Disciple, as I failed to mention earlier; recognition where it's due. I like that the extra beats don't take away from the original sound and flow of the track, in fact they're so subtle sometimes you'll have to listen to it a few times (why wouldn't you?)

If you haven't heard of the next contributor, then go look him up. It's Radikal Guru, who has done the rounds and has been producing sounds for years. Track three is his contribution. He shapes the beat in his own way, giving it a bounce and rhythm that your body can click with; but the message remains the same and Benji's mantra guides your ear to the end of the track.

The Dub Doctor follows this up with a sound that seems sort of far away; the vocals are as if they are being projected on a mic to a vast crowd. Maybe this is fitting for the message in the music, and the lift in tempo does more to add to this 'protest atmosphere'. This one is twice as long as the others, but to me it didn't feel that way because I was thinking about this track being played out to a large bouncing sea of heads.

I don't think it would be right for me to dissect these tracks any more than I am doing now; in fact dissect is a weird word to use. These are my first impressions, and second etc (I've listened to these tracks quite a few times). They are what they are, and they exist to as music to be listened to and enjoyed. If you look at art, like in this music, it's more a feeling and inner flow your body feels with it; that's the connection that matters. I'm no expert, but I know I have a connection to music and it makes me feel something that (at times) I have trouble putting down in words. These guys at WBC are expressing it through their producing, mixing, and experimenting with sound; and this EP is an example of how creativity can take so many forms. But don't just take my word on it, go have a listen for yourself: to not do so...well it would be outrageous!

EP can be found here https://worldbassculture.bandcamp.com/releases

Did you enjoy tonight?

Every time I play in a different place, in different situations, it is always wicked. And tonight it was cool because there was a lot of bass, and the crowd was ready to hear some music. I put more electronic [sounds] into my Dub, because I'm a big fan of House music, like good House not 'radio House'. Over three or four years I really got into this and Electro- finally I tried to make myself different and to try to meet different influences.


What was the first record you ever bought?

I think it was some Metal stuff, a lot of Metal. I think it was System of a Down. I prefer their older stuff, and I think 'Toxicity' was one of the first I bought. You know what, one of the first albums I bought was by Shakira or something, I was only about ten years old.


Haha I think mine was a Christina Aguilera one so you're ok. What do you think are the main challenges to becoming a DJ today, or becoming well-known?

For me, I started to put my music on the internet for free, almost eight years ago, and in Dub music I was one of the first for free download. I started a long time ago. Right now, you speak of two different things; DJs and producers. Me, I am a producer. Right now it's really hard to be famous; everybody can make music with a computer. But ten years ago there were not so many people making music, so I think I arrived at a good time. I think the point is, not to be famous, you know? It is to enjoy and to have the feeling that "I want to do the music that's inside myself''. A lot of guys I meet, smaller artists than me, say "How do you get so famous?'', and I just say, man, it's not about wanting to be famous, just do your music and what you feel. Maybe it's going to work, maybe it isn't. Just make your own music, and your mix. Right now with the internet it's hard, because of so much music, so many producers and so many DJs. But I think every artist, if they're good, it's going to work. 


If you could stage a rave anywhere, where would it be?

I would love to play in the USA, because there it's a different world and music. The artists like Rihanna and big artists come from there- but I don't want to be part of that movement. I know that in the USA Dub music isn't so famous, and I would love to play there to bring the Dub vibes, because it is really famous in Europe. I've played in beaches in America, but for example, New York. I would love to play on a rooftop there.

Tell me where it all began, your music career?

I've always been into music since I was a little kid; my brother always had loads of instruments around the house. I remember being about four years old and my dad bringing home an oscilloscope- like an old TV screen, you played music into it, and it shows you the wave form across the screen- and just being obsessed with it, he had to take it away from me after a couple of days. And I've always been mad into music since then. I got a computer when I was a teenager and a set of decks at eighteen or nineteen.

-What were your influences going into music?

Oh God, that's a very hard question. Well, I mean, I'm into all kinds of music; everything like old Rock n' Roll, 80s tunes, House music, Hip-hop, Reggae, Techno, Drum & Bass, whatever. But I don't know, my taste probably changes every few years, so there's always something new that catches me every few years. There's so many, I've a hugely varied taste in music, so to pick out one or two examples is probably impossible. I can think of a few different albums and times down through the years that might have changed my taste in music. I remember hearing "Kid A'' for the first time, it's a good one; it's off the Radiohead album. I got it the first day it was released, and hated it, thought it was the most horrible thing I've ever heard- "Where are all the guitars gone?''. And then I went to see them doing the opening gig of the tour the next night, and just wanting them to play all the old songs, going "What's all this new shit with the synthesisers?''. And then they played that "Idioteque'' song, and the whole place went completely bananas, and I was just like "Aha!''. I've had millions of moments like that through the years. Maybe I mightn't like a kind of music at first, because I don't get it, and then it just clicks with me. It's difficult to name off a list of influences.


Was there anything special or unique about the environment you developed in? Was there music in your family?

There was a little bit of music at home. I didn't have a mad musical family, but my mum would have always had a few records floating around, my brother had a guitar and stuff. My friends would have been really into music when I was in school; we had a band going. Came to Galway then, went to college, and started going to a lot of gigs, things like that. I moved over to Scotland then for a year and was mad into record shops over there, mad into buying loads of tunes and hanging out with lots of people and learning things from them. I probably experienced my first few proper massive sound systems over there.

-How different was the scene in Scotland?

It was much bigger when I was living over there, maybe six or seven big decent night clubs with stuff going on. On Tuesdays there would be something happening in two or three places around town, or every other night of the week. But I think it's changed a lot over there since the recession; it's been a few years since I was last over there. It's a much bigger scene- Galway's a small town. Five or six years ago you were able to have two or three big gigs on a Saturday night, but these days it's difficult enough to have too many big gigs on without coming into issues with money and other things. But things are picking up now again. I mean, that was a great night out on Saturday [Panda Dub gig]. Two years ago, it would have been hard to get that many people in a hall that size. It would be very stressful putting that gig on, poor old Munki would have lost his shirt two years ago doing that; and I know people did try to put gigs on.


Is there any moment you remember from gigs that stands out? Any funny memory?

Once again there are loads of them, so it's kind of tricky to pick one. Some of the best ones are, I suppose when we built that sound system, had some mad experiences with it. I remember a good one with a girl who had frizzy hair sticking her head into the bass bin, and all the hair on her head going "zoomp!''. That was pretty funny. I've got to do some great gigs, different festivals and support for different big DJs, and playing on some fantastic sound systems as well. I got to play on the Revelation, Rootical, the Firehouse Skank from Dublin; another good old classic Reggae sound system. And a few other brilliant people like Funktion-One and Void. I've done a lot of gigs in the past few years, so there are a lot of memories and it's hard to pick one shining example when there are thousands of them which are great. I do remember playing at the Sundown Gathering a few years ago, that was really good craic. It was a small little festival, really nice with a small crew of people and friends, that was it. I much prefer smaller, more relaxed things, than big massive high pressure gigs. They're fun as well, but they're not as much fun. I don't like to do too many gigs that it becomes like a job; for me it's mostly like a hobby, because I like music and enjoy doing it.


What was the first record you ever bought?

I would have had loads of tapes and CDs, used to have a 4-track and weird things like that, before I started buying records. I think the first record I ever bought was probably "Super Discount'' when I was living over in Edinburgh; French House music with Etienne de Crecy. That would have been my first record, but I'm not quite sure. I can't remember. I used to have thousands and thousands of tapes at home when I was a teenager, but I think my mum threw them all out when I left home. I suppose there was always loads of music around when I was young so, I was listening to music for years before I started buying them myself; my brother, my sister and my parents would have been into music themselves. The thing is lot's of people don't even buy music anymore. If you're under the age of twenty-five, it's probably a strange concept to go spend twenty quid on a CD. I spent loads of money for years and years and years buying music, but I haven't spent as much buying new music in the last few years, because I've been buying loads of equipment and getting the sound system, studio and stuff together. And I'm not exactly a rich man. I always try and support good music. It's funny, I've met some young DJs now who have probably never bought a record; it's a strange concept. I actually started DJing when you had to use records, there weren't any computers, they were just starting to become something and you could only get a few proper programmes on them.

-A lot of people put stuff on Soundcloud and get their music there.

Yeah, there's kind of a quality thing then though. It's grand if you're listening at home on your hi-fi, but if you're listening to it on a proper massive PA high quality high fidelity sound system, you totally hear the difference between something that's ripped off Soundcloud or a CD, or vinyl. I'm not necessarily a vinyl purist but it does work better on big rigs for some reason I can't explain.


What do you think are the main challenges to becoming a DJ today?

I'd probably say the exact opposite, that it's never been easier. All you've to do is download some computer software, get the tunes off the internet and mix them together fairly simply- it's not that hard to do. But the thing is then; I suppose you often see that everyone's a DJ, like anyone can do it. I remember coming back to Galway from Edinburgh a few years ago and there was only a handful of people in town who would have a record collection and could put a gig on with it. Whereas now, anyone with a laptop  is a DJ; and there's nothing wrong with that, it's actually a great thing. I don't think there's anything wrong with it at all. The more people do stuff, the higher and further they progress. True talent will always come to the top, or well, hopefully it will.

-Would it be harder because everybody's doing it?

Yeah, but if you're good at it it's fairly self-apparent. Everyone can tell, all you have to do is play in front of a dance floor of people. If people like it, good. If they don't, you're not that good. Music is subjective, but there are some people who are into a lot of different sounds, and everybody's going to love them because they have a quality to it. I was on about a guy yesterday, I'd love to bring him over here to do a gig, but I was then thinking that not many people would really be interested, even though I think it's brilliant music.

-What's the style of music?

A Dub Techno guy, Cold Tear Records; A Lithuanian Dub Techno label, it's brilliant there's really nice stuff on it. But it's really spacey, chilled out mellow stuff. It would be great to bring him over but you wouldn't get three hundred people to go to a mellow, spacey Dub Techno gig. Maybe you could get it in as part of something much larger, a big festival.


What has been your favourite festival experience?

I remember playing at Life Festival years ago doing a mad live gig, all my own original music mashed up in a weird way, it was crazy. And being really nervous about it beforehand going "is this going to work? Are people going to start throwing bottles at me?''. They didn't, and it was nice, I remember thinking "That was pretty cool''. Or that Sundown one was quite nice as well, with just a gang of my really good friends. My favourite festival experience...I started going to festivals when I was fifteen, so I've gone to an awful lot of them down through the years. They're all brilliant, I always try and have a buzz at every festival. There's always something nice to take away from everything, you know? Some are better than others. I do remember one of my favourites was playing with my good mate Dom in a church, a run-down place, with the Firehouse Skank Sound System. That was great craic, we were in this big massive church, it was the start of the festival so there weren't many people around, just a small group of our friends. Favourite festival memories...generally all the best ones are the small ones with a small group of people. Just having the craic with your mates, having somewhere to gather together and listen to music.


People sometimes bring up questions of originality when it comes to electronic music, about sampling and reusing sounds; some say it isn't original or creating anything new. How would you defend this style of music?

It just depends on what you do with your material. Some people do sample things in an extremely uncreative boring way. I don't think there's anything wrong with sampling really- maybe there is if you just blatantly rob the hook from a rap or pop song, rap it on your own and pretend it's yours and make loads of money out of it. You should perhaps do something to credit your sources. But the way technology works these days, and also the copyright law works as well, it only protects the person who wrote the lyrics and the person who wrote the lead melody of a song. But if you're- say one of the most famous samples of all them, the funky Drummer from the James Brown song, or the A-men break- that's a drummer playing that tune, but even if they were to claim all the royalties that were due for it, not a penny of it would go to the drummer who played the tune, it would go to the record company. That's kind of funny. But also with sampling, you don't have to take sound and use it exactly as you found it, you can manipulate it into any other sound. I can take a tiny snippet of sound and make a full drum kit out of it, a bass line, turn it into a piano, from a microscopic section of an old Elvis Presley tune or something like that. You could make it into whatever you want, and to say that that's all the creativity that comes from the original things, it's a bit funny and strange. I think as well, it's a kind of grey area that needs to be worked out; like the internet and how it has changed the model of music that you can reach. It might take another ten or fifteen years to sort out another system. I think mostly, copyright stifles; the control of knowledge stifles creativity and progress. The way university systems make you pay for knowledge; it just holds prisoner to something only the privileged and wealthy can get.
And if you take say, Reggae music. Jamaica is famous because it never had a copyright law, so all the old Studio One classic tunes were all ripped off a hundred million times by every single producer in the country, who did their own classic version of it. You'd have different MCs, who would voice different tracks; it's a fantastic tradition that nobody ever complains about, and nobody ever thought anything was wrong with it, and it led to a massively rich varied musical history, because of the lack of control. The people who never really benefited were large corporations, record companies- there are only a handful of them that own most of the major distribution channels. Most of it just serves the interests of the big guys rather than the small guys. People go on about "the music industry's changed'', but it hasn't been around long anyway, it's only in the 60s and 70s when massive music industries in the UK, the Top 30 sort of thing took off, so it's around for a few years, and now it's changed to something else and it just needs to deal with this; in the 80s, once the copies of sampling machines were made, that was basically ending copyright law, because the potential is there, it's just going to happen. So to stop people exploring them and doing their thing is a stifling force.


What are your plans for the future? You mentioned a studio?

Well I'm after moving house a few times in the last few months, so my studio is in boxes in my bedroom, packed. In my home years ago there was this big massive garage, and it had a fully decked out recording studio, it was brilliant. I learned an awful lot of stuff by doing that. But any plans for the future...I feel like I need a bit of travel, I'm feeling a bit Galway-ed out of it at the moment. It's a beautiful place, I love it but...

-It's too small, in a way.

It can be. I've got a few things to do for the rest of the summer and then I think I might get out of here, spend a few months hanging out in Morocco in the depths of the winter. I don't really know what my long-term plans are; a few festivals for the summer, and just keep doing what I do.


If you could stage a rave anywhere in Ireland, unlicensed and free, where would it be? Your only limitation is the weather.

I'm kind of deeply involved in the practicalities of doing stuff all the time, and there are a lot of things to consider. The most important thing is that you're not bothering anyone around you, that you're not going to harm the place where you're doing it, and that the people are going to be safe and have a good time- that's very important. You'll get through the weather; you won't get through something very dangerous in the environment that could hurt people. But, anywhere you could have a buzz and get away with it. I've played at some fairly weird and bizarre places. Some good ones are beaches, boats, and just being in the outdoors with a nice crew of people in nice weather, you can't beat it. When you're doing an outdoor unlicensed thing, I'd have a small party for a few of my friends, with a battery powered sound system. Keep things simple. It's only when you start getting massively grand plans that problems start to happen. Once you get loads of people you need to start taking things seriously; they would be my primary considerations that you look after the place, and the people.


Do you think there's anything about Galway that promotes the growth of electronic music? Or makes it easier to develop?

I suppose that would be presupposing the fact that it's easy to develop electronic music in Galway. But, it's a good place to start; a very vibrant population, beautiful, artistic, everyone has some sort of creative energy. That's why a lot of people are attracted here. It can be tricky to find venues to put gigs on for electronic music sometimes. You'll meet lots of people that are into it, but if you want to actually get out there and do it, it can be trickier. But I suppose that's always the way unless you have the connections, the contacts, and you've actually shown a bit of dedication for a while. Then the opportunities might come to you. It can be hard enough for young people to try and get somewhere to put a party on, but it does happen if you keep trying.

-If you have a house, that's it, you could put one on there.

You can, depending on your neighbours. There are a lot of badly built houses in Galway that are made out of cardboard, growing giant mushrooms on the walls. And the neighbours with generations of students living next door driving them demented with their noisy parties. Once again, you have to look out for your environment. But look around, we're sitting by a beautiful sea looking at the hills of Clare, the sun is shining; on a day like today Galway's one of the best places in the world to be. Mightn't say the same in the middle of January.

Can you tell me where it all began, your music career? What was your initial motivation, and what were your influences?

To be perfectly honest my music interest was mostly Metal and Rock orientated most of my life, between being in those one or two bands and just playing Metal LOUD. But I moved to Galway, close to four years ago and just around then I stumbled across Dubstep through mates here, and from when I heard and met Irish producer Zenji, I was hooked.
After a while I ended up doing sound production, but mainly sound engineering through GTI and thus had to hold an event as part of the whole thing. That's really where it all began, just kept trucking after that.


Was there anything unique or special about the environment you developed your skills in; musically, culturally?

If I never moved to Galway I don't think I would have gone in this direction at all, so I'd have to say there is a ridiculous amount of creative people around this city, and meeting and working with a lot of them has really helped myself do these events, definitely.


PUZZLEvents has become very popular in Galway; what is it like to be the organizer, or 'Main Puzzler' of these events? Are you happy with what you have achieved?

Ha, nice title "Main Puzzler'', but yes, hell yes, I'm beyond overwhelmed with the out-come of ''PUZZLEvents'' over the past fourteen months. We've seen it grow from the first night back in April 2014, but never in my dreams did I expect anything near the support shown on Saturday past at the Panda Dub gig, it was insane. I know a lot of organisers and they'll agree, to be fair it's a bloody nuts job, you've got 100 things zipping on through your lil head every second; I'm chuffed to have the solid team I have doing whatever they can and more to ensure the PUZZLE gears keep turning. It's stressful as much as anything but every night is worth it.


What was the first record you ever bought?

I can imagine it being a Metallica album but I couldn't be 100% certain, so, I'm gonna say "Kill 'em All''.


What, in your opinion, are the main challenges/obstacles to becoming a DJ today?

The DJ on after him/her.


What has been your favourite festival experience?

Tough one, two completely different experiences; Download 2006 or LIFE 2010, both equally good just different vibes, does that count?


Sometimes people bring up questions of originality concerning electronic music, claiming this type of music is merely copying, and not creating new material. How would you defend this genre of music?

I've seen first hand the sheer amount of work put into some tracks that are being made out there and it's a little bit more than your average pop song; copy and paste with a different lyric, you know? Everyone is trying to be different these days, to place their own stamp in the music scene, so there may be a few that sound alike, but there's a lot more that are trying to be in some way different.


What are your plans for the future, or your next project?

PUZZLE will be getting involved with The Scrobarnach: Electronic Music Festival happening on the 14-15 August, and after that we'll be back to a few club nights here in the city or back at the Commercial Boat Club, event depending, but we kept the Panda gig on the down low for a long time so no secrets will be coming out today.


If you could stage a rave anywhere in Ireland, where would that be? Your only limitation in the weather.

Hmmm...does space count, like right above Ireland space, on a clear Summer Solstice night.


Is there anything about Galway in particular that encourages the growth of electronic music, perhaps 'something in the water'?

As I was saying earlier, Galway has an abundance of talent, but unfortunately a lack of venues catering for a lot. This city attracts creativity from across the world, so it's no wonder there is such a growth because of these different techniques and styles, and people love music here, that most certainly helps, you know?

Can you tell me where it all began, your music career? What was your initial motivation, and what were your influences?

In the late 90s, in my home Lublin (Poland). Music was always in my life, I started when I was fifteen or sixteen, playing bass in the school band. I started playing gigs and becoming part of the scene; I wanted to play music.


Was there anything unique or special about the environment you developed your skills in; musically, culturally?

Pressure from other DJs, at the time in the early 2000s; this was an amazing time for recording in Europe. In Lublin, it was very important in the clubs, with loads of people coming there from Europe. And the level of DJs at the time, and the techniques were very high so if you wanted to play, you had to be good. So, pressure, and practicing and practicing; six hours per day for six months, developing your skills. Lublin is quite a cultural place, with lots of stuff going on. So it was definitely a big influence on me at the time, and the Love Sen-C Music Sound System. Also, the British Jungle and Drum & Bass scene at this stage.


Is there any moment from your gigs that stands out the most/ is most significant?

I don't know, maybe sharing a stage with Goldie. Everything is amazing, there is no better or worse gig; you give 110%.


What was the first record you ever bought?

I don't remember. We're talking about Poland in the late 90s, early 00s; everybody had to get vinyl in England, brought over by someone. I bought a good few records that way, so I don't remember. Something from the Men at Work label, maybe.


What, in your opinion, are the main challenges/obstacles to becoming a DJ today?

There are no challenges right now. Lots of DJs today can become the 'divine controller' and DJ in one night by pressing the sync button. If you want to be a skilled DJ, put decks up, turn tables, lock yourself in your room for five months and play for five or six hours a day. You need to practice. Maybe there are too many challenges for DJs right now, because everyone can be one. But you have to work. If you want to gig, then do hard work. That's the main challenge. Remember the promotion of yourself and organising yourself; work and work.



What has been your favourite festival experience?

The festival itself; you're in the crowd where the music is. You're surrounded by music for hours, meeting great people. That's the best festival experience.


Sometimes people bring up questions of originality concerning electronic music, claiming it is merely copying and not creating anything new. How would you defend this genre? Do you have any issues concerning copyright laws/standards when it comes to music?

It is creating. It was different in the beginning in the 90s when there were no computer synths. For the first samplers, if you could afford samplers it was like buying a new car. Everything was paid for in sampling. 'Revolutionary', they were the first samplers. The most important thing is what you put in; what is your wish- money or fame? You can get this by mixing. But people who listen for emotions, they will hear this straight away. If you put energy into the creative moment it stays there, and if you move away from the speaker, people can feel it. What you give is what people hear and this is most important. To be conscious of your creation; you're putting energy in and your wishes. You can create amazing tunes when your emotion comes across. If you wish for ego stuff, it's just crap.
As for copyright law, people make music, spending hours creating one tune, and other people should pay for that. It has changed; a couple of years ago I thought it should be free, but not now. I buy to support the scene. My friends live on this scene, they have families. So people should pay for it. If someone gives me a tune for free, why not play it-but don't steal it. Especially in the Dub scene, you have to be very careful; the majority of music is released only on vinyl, maybe in 300 copies, and when you come in to a gig and hear it on a laptop; you know straight away that it was never released digital, so it's stolen. Especially in Dub, people know.


What are your plans for the future, or your next project?

Just to continue, with no plans. The future doesn't happen here; music is in the present moment. Maybe more touring, but we have lots of bookings for summer. Some gigging, organising, but not planning.


If you could stage a rave anywhere in Ireland, where would that be? Your only limitation is the weather.

Secret location.


Is there anything about Galway in particular that encourages the growth of electronic music, perhaps 'something in the water'?

There are cool people in Galway, it's a cool city. I'm coming here pretty often, as I have a group of friends and I visit them; it's always wild, wild in a good way. It's not a big city, and the culture is a mixture. People create the scene, so we are adapting to the group. So if a group is having fun, we will have fun as well. Promoters do a good job over there; World Bass Culture, and Body & Soul.

Can you tell me where it all began, your music career? What was your initial motivation, and what were your influences?

Since I can remember I was always into all kinds of music. Pyskowice (my hometown) was the place of my first serious contact with music. That was in around 2000/2001. I was recording with a group called "Ha Kwadrat'' as an MC which resulted in my first few gigs, then I started making beats, and that pushed me into exploring other music styles. Around 2004/2005 I started attending House/Breakbeat gigs. Around then I'd started looking into the DJing/turntablism aspect of the gigs, which became an obsession. I bought my first decks, first records, and played my first sold out gig to a club full of people in 2007. Through that time my motivation was mainly seeing people's reaction to music being played on big speakers; still is I think. There are too many influences to mention.


Was there anything unique or special about the environment you developed your skills in; musically, culturally?

Everyone listened to the same music, and was attending the same gigs; everyone knew each other so every gig was like a big family meeting. Thanks to this I could polish my skills in a friendly environment, regardless of which direction I wanted music to take me.


Is there any moment from your gigs that stands out/ is most significant?

My first sound system gig and supporting Lee Scratch Perry.


What was the first record you ever bought?

Evil Nine ft. Aesop Rock- Crooked.


What, in your opinion, are the main challenges/obstacles to becoming a DJ today?

No obstacles; everyone can become a DJ overnight thanks to such progress in DJ technology. The challenge is to become a good selector, with technical and unique skills to stand out from the crowd of generic DJs.


What has been your favourite festival experience?

Co-hosting "Roots in the Woods Arena'' in Trenchtown, Electric Picnic 2014, with the might Revelation Soundsysem.


What are your plans for the future, or your next project?

Keep doing gigs in Cork and all over Ireland, maybe a Polish tour at some stage this year. Also have a boombap co-production of one of the tracks with my musical brother DJ HWR, being released on the major Polish label Maxflo Records on the album "BIAK/DJ HWR- THE WINNERS''. We're planning to release an instrumental LP, made in a week, based on old vinyl samples later on this year as well. Apart from that there are a few other collaborations with instrumentalists and vocalists that probably will see the light soon, so WATCH OUT!



If you could stage a rave (unlicensed and free) anywhere in Ireland, where would that be? Your only limitation is the weather.

Unknown location.


Is there anything about Galway in particular that encourages the growth of electronic music, perhaps 'something in the water'?

I don't know, is there?

Can you tell me where it all began, your music career? What was your initial motivation, and what were your influences?

I suppose it all began when I started to drift away from Metal; I left the band and received a copy of FL Studio when I was sixteen. The thing that motivated me most was the fact that electronic music was seemingly infinite, so I just got stuck in and attempted to combine things like Metal and Dubstep or Reggae and Classical, I dunno just weird experiments really. I'd say my main influences around that time were Opeth, Ratatat, Death, Crystal Castles, Benga and music from games such as Final Fantasy, a weird combo but yeah that's what I was listening to.


Was there anything unique or special about the environment you developed your skills in; musically, culturally?

Not particularly, it was a small village with fuck all happening, but alas, it gave me a lot of time to mess around with music. There was always electronic stuff being played in the house, thanks to my step-dad, so I think that played a huge part in shaping what I was creating.


Is there any moment from your gigs that stands out the most/ is most significant?

Hmm, that's a tough one, but it was probably at one of the Filth Dublin gigs, when I was crowd surfing while one of my old tunes 'Cat Business' was playing, yep that felt good.


What was the first record you ever bought?

I dunno, probably a Linkin Park CD or something.


What, in your opinion, are the main challenges/obstacles to becoming a DJ today?

I'd say the fact that there are so many deceitful promoters out there and thousands of DJs doing the same thing.


What has been your favourite festival experience?

When I saw Daft Punk live in Chicago as part of the Alive '07 Tour. I was just this thirteen year old kid in a Slayer t-shirt watching these two dudes playing crazy music out of a giant laser pyramid thing.


Sometimes people bring up questions of originality concerning electronic music, claiming this music is merely copying and not creating anything new. How would you defend this genre of music?

The main problem I have with this kind of thing is when somebody shines through and somehow defines how a genre should sound with one track, and then a myriad of producers just re-iterate the main traits of that song over and over again until it becomes its own genre; this is what happened with Dubstep, and is still happening to the point where it has just become overly-saturated with the same sounds. It's unfortunate but it also gives way for new things to emerge eventually.


What are your plans for the future, or your next project?

Well the plan is to release all this music I've kept hidden over the last two or three years and go touring as part of the agency I've signed with recently. As for another project, I'm working on getting an illustrated book done to accompany the release of my first album. It would be like some sort of dream-inspired story tale with a series of drawings, and a soundtrack to go with it. I've always had a thing for the imaginative/conceptual side of music, so to get this done would be a big aspiration of mine ticked off the list!


If you could stage a rave (unlicensed and free) anywhere in Ireland, where would it be? Your only limitation is the weather.

I don't know, probably some crazy forest in the middle of nowhere, although I do love those mountains around Wicklow and Leitrim.


Is there anything about Galway in particular that encourages the growth of electronic music, perhaps 'something in the water'?

I'm not sure about electronic music solely, but there definitely is 'something in the water' (not just...fluoride) in Galway, when it comes to the growth of all music. Most of the people that are young and aren't your average "fighting outside the takeaway on a Thursday night'' college people, are highly involved in music, it's very diverse there; you've got Traditional Irish musicians,buskers, gypsy Jazz bands, Techno heads, plenty of Psy-trance folk and people who love Drum & Bass, Dubstep, Hip-hop etc...A big factor is that anyone with an instrument is always up for a jam. One of the things I love most about Galway is being down at the Spanish Arch and there'll be people singing and playing bongos, flutes, guitars, harmonicas; it's inviting and people that are new to that will only want to do more of it. So I suppose in that sense, it can encourage the growth and inspire others. Alongside that you have Puzzle, which is uniting loads of people and bringing DJs and producers from around the country together, and it's really awesome to be a part of that.

Tell me where it all began, your music career.

Where it all began, mmm...Well my parents pushed me into learning traditional Irish music as a kid and I joined all the school and church choirs when I was young, which later developed into involvement in local community choirs and some competitions. I was a pretty innocent kid and I remember my older brother like most teenagers in the nineties, would talk about Dance music and DJs. He had a large music collection on the family's old Windows desktop and I would play all his happy Hardcore and House after school, and pretend to DJ by turning up and down levels in Windows Media Player. I guess that's when my interest in electronic music began.


Was there anything special about the environment you developed your skills in; Musically, culturally?

I feel like I only really started to develop musically later in life when I moved to Spain when I was in my early twenties, and started going to some amazing underground free parties. I became obsessed with bass music and the culture behind it, and hung out with a lot of people that were building their own sound systems. Spain's economy is really struggling at the moment and it has a massive impact on the residents. When you live in a country where the minimum wage is low and people don't have much disposable income, your values change. Music and DJing is so much more than just a way to make money in a commercial club or festival; the parties I went to were getting people through serious times, when some families could not afford to live or eat properly and were really struggling. They could go to a party after a hard weeks work and the DJ would take them to another place. Their happy place. I heard some of the best DJs, producers and sets of my life back then. I think this was a special and unique experience that definitely has had an impact on me.


Is there any moment in your gigs that stands out, or is most significant?

My first free festival in Portugal. One of my first DJ sets and a real turning point in my life, it will always stand out in my mind.


What was the first record you ever bought?

Lion Dub was the artist, "Run Red'' was the track.


What, in your opinion, are the main challenges/obstacles to becoming a DJ today?

Well let's just say music and DJing can be an expensive hobby. But honestly I think finding your creative space can be difficult; somewhere you are grounded enough to stand still for a while, set up your equipment and just play, create, mix and practice too. Somewhere you can be as loud or as quiet as you want, sing or make beats and just develop in whatever it is that you're up to musically. I think finding the place where you can express yourself creatively can be a challenge to find.


What has been your favourite festival experience?

I really enjoyed Dream Gathering in Cork last year; after a summer of working at festivals I treated it like my festival off, to just relax and enjoy. I went with some great people and met loads more there, definitely a great experience.


Sometimes people bring up questions of originality concerning electronic music, claiming this type of music is merely copying and not creating new material. How would you defend this genre of music?

I can see how a lot of people would think this. I guess it all seems similar, as artists are trying to create a certain vibe with their music. The drums and basslines are affecting humans in all sorts of ways, certain tempos and styles are maintained sometimes on purpose; artists generally know how it will affect the listener. So by doing things that might seem repetitive or copied, it is really causing someone to rave it up or chill out. Sound is a science and it someone, for example makes a kick drum that gets peoples hearts racing, happy and dancing, I think it's a positive thing to want to sample this and spread the vibe; everyone can add their bit to the scene and some people can take it to new and exciting levels with productions that are completely fresh and original. It's amazing and great when they do. But others may not have that in them and feel more comfortable replicating an artist's work that inspired them, or using previously produced loops or samples; I think that it's up to the individual what they do. DJing and production is a form of creativity and self-expression, and everyone should express themselves in the way that feels right for themselves as an artist. There are lots of royalty-free stuff available out there that are not copyrighted, although coming up with newly synthesised sounds will always be great too; each to their own!


What are your plans for the future, or your next project?

I'm pretty new to this world of production and DJing in general; I have lots of ideas of what I'd like to do musically but I know I need more education, knowledge, time and equipment to piece the ideas in my head. I have a lot of learning to do when it comes to music and sound. I like to sing and beatbox, I love the Amen breaks and 170 bpm bass filled productions; I'm hoping to just develop these interests naturally over my lifetime, I don't feel the need to rush anything, as music will always be a hobby of mine. I do know that I will work to buy my first technic 1210 this summer as currently I only have CDJs and use other people's turntables. I'm looking forward to getting my own set so much.


If you could stage a rave (unlicensed and free) anywhere in Ireland, where would that be? Your only limitation is the weather.

I would have it at the lake I learned to swim in; a small beach called Corry Strand on Lough Allen in Co. Leitrim. It's a beautiful place and also one of the proposed fracking sites in the North West of Ireland. I would call the festival "DON'T FRACK ME FEST''. I always thought that if I could get it together to buy my own PA maybe this could become a reality, as creating awareness about the subject is something I feel strongly about, and Leitrim is lovely.


Is there anything about Galway in particular that encourages the growth of electronic music, perhaps 'something in the water'?

Galway has a great scene for underground music and lots of young people that want to make the movement happen. There is a lot of work behind this movement and it's great that people are responding positively to the vibrations that collectives such as PUZZLE are making.

Can you tell me where it all began, your music career? What was your initial motivation, and what were your influences?

My music career began in Berlin about 4 years ago by exploring the vast variety in the UK's upcoming Dub and Dubstep scene. The motivation came from the satisfaction of learning and simply playing and arranging music into playlists, representing a certain vibe, and the understanding that you can literally create new atmospheres and themes by mixing certain parts of songs together.


Was there anything unique or special about the environment you developed your skills in; musically, culturally?

I was lucky to have been involved in lots of alternative musical and cultural projects from the very beginning of my journey. As we were forced to always perform and create on the edge of legality, by playing warehouse parties or open air events.


Is there any moment from your gigs that stands out the most/ is most significant?

I remember this free open air party on the 1st of May in a public park in Berlin, playing for a very grateful and happy crowd, when it started to rain. So lots of people gathered around the DJ stand to protect us and the gear with their jackets from getting soaked, which kind of formed this cozy cave atmosphere while still spinning the tunes for the people, and then the sun slowly faded back through the clouds. It was magic. Another really memorable night must have been my first gig here in Ireland playing at a warehouse party. The gig just went so well and I got to play a long varied set and everybody seemed to have loved it. It was such a warm welcome as a DJ in a foreign country.


What was the first record you ever bought?

The Doors Best of Box Set (didn't buy it though, got it for Christmas).


What, in your opinion, are the main challenges/obstacles to becoming a DJ today?

I think one of the biggest obstacles is also one of the biggest advantages of DJing, to what it was twenty years ago; the competition. It's fairly easy to get your hands on DJ equipment, therefore many people will try. Plus the internet makes it very easy to get your stuff out there to a big audience which makes it easy to get on board, but hard to not drown in the scene.


What has been your favourite festival experience?

The ones I worked on myself, as it is just such a nice feeling watching a half-baked stoner idea turn into a full grown festival.


Sometimes people bring up questions of originality concerning electronic music, claiming this type of music is merely copying and not creating new material. How would you defend this genre of music?

This is an ever present and very strange argument. Music, as well as all kinds of arts is, and always was an adaptation of something else. That's the nature of creativity; you get influenced by something, adapt it to something else and may inspire someone creating something completely different.
"Everything is a remix''.
And for the people who think electronic music didn't create anything new...well electronic music created itself as the first real evolution of music production, for centuries to come.


What are your plans for the future, or your next project?

Basically just keep up what I am doing now, focussing mostly on productions and playing selected gigs.


If you could stage a rave (unlicensed and free) anywhere in Ireland, where would that be? Your only limitation is the weather.

Probably in some old castle somewhere in Connemara or Killarney National Park, or Achill, or basically any place on the West coast.


Is there something about Galway in particular that encourages the growth of electronic music, perhaps 'something in the water'?

I think as Galway is exposed to so many different cultures and ideas coming here from all over the globe, the music scene may have a wider audience here and make people more interested and supportive of electronic music.

Walking towards the edge of town, through Woodquay and following the river towards the Galway Commercial Boat Club, I hear a deep resounding bass noise growing louder and louder- this is the place to be this Saturday night. The anticipation can be felt in the air, and how could we not be excited with such a line-up? At 8pm I arrive, and Destitute has begun his set. This is that heavy bass I followed here, and it makes the wooden floors of the venue vibrate underneath you like sound waves.
Destitute is a Galway based producer, musician, and DJ, touching styles across the board from Dub Techno, Dubstep, to electronic ambiance, with a wide ranging and varied taste in all things musical, and technical expertise in what makes the bass happy.

For an hour he blasts out some Deep Electro sounds and ear popping beats, filling the hall with vibrations that make your eyes wobble; the bar for bass quality and weight of sound is floating somewhere up above the speakers. I also get a chance to take a look around the venue. One of the most important things about any gig is the venue, and this is the most striking difference between this gig and ones previously held by Puzzle. Usually held in smaller, cosier and intimate locations, this larger and more expansive hall is an improvement as it allows more room for the sound to travel, as well as providing more dancing space. The walls are covered with the Boat Club's framed photos, and these provide a surface for the dazzling lasers to bounce off; hats off to Si Tom for these little beauties. Combined with this, throughout the night, are the creations by Q-Pop visuals, projected onto the walls and faces of those on the floor. Q-Pop have provided visual journeys for various Puzzle events, and the flashing colours, lines and cubist shapes provide everything with a texture which gives the whole place depth and a spacey atmosphere, as if stars and techno tunnels are the only way forward.

The atmosphere of the venue makes you feel like you are removed from the rest of town, floating off on a little island powered only by continuous bass and good vibrations, and as more and more people come trickling in, attracted by Destitute's continuous Dub creation. Outside in the smoking area, surrounded by a river and small boats I'm able to get to know people better and ask their opinions on the music scene in Galway, and these gigs in particular.  

Something I notice about the music is it contains a sound which travels through you and all around you. I feel it in my feet, my chest, my head, and in the air of the dance hall. This is the power of the SubVersion Sound System, created and assembled by Welfare and Destitute. It has the capacity to amplify the bass to its lowest level while providing a quality sound that reverberates with precision, giving the music thickness and soul. And it only gets better.

Rozie Loopz is next up at 9pm, and she brings more bass bounce to the room, with a bit of Funk to keep things rolling. Friendly and bubbly, like her music, she continues to bring the night to life. This music makers interest began at home, with influences from her family and involvement in choirs, which contributed to her understanding of what she wanted to contribute to this music scene. She is a budding artist, affiliated with the musically motivating organisation Back to the Old Skool.

People are dancing and smiling and I can't get over how comfortable I feel walking through the gig, talking to strangers who respond to me like friends I haven't seem in a long time. Ever since my first Puzzle gig I've never felt such a strong sense of unity with the area I live in, and I know this to be true for many others. Nights like this are special, and the security on the night also has something to add.

As I'm chatting to people Rozie Loopz mixes her Dubstep fueled rhythm with something that reminds me of bright disco lights, just in that bounce you get in between it all. Time moves faster and faster, and at about 10pm Man-G and Spetz take control and the vibrations really kick off. The dance floor fills up, the visuals and lasers behind the decks turn the hall into an underground super-gathering, and RasTinny adds some vocal dub attitude to the infectious Drum & Bass beats the speakers are pouring out. You can't help but feel the rhythm in yourself, and I see everybody in the room has this bounce in their bodies, whether they're consciously dancing or not. Man-G (Killamanselector) has been producing music since the early 2000's, beginning in his native country Poland. His journey led him to Ireland where he collaborated with the widely known Radikal Guru in 2007, to create what is now a large influential creative body in electronic music, called World Bass Culture. Currently based in Cork, he pumps out a Drum & Bass and Jungle infused sound, with break beats that make you feel the funk deep in your veins. Spetz joined these bass-tasters in 2007, adding another Dubstep, Glitch and Drum & Bass creator to the WBC family. He began producing in 2003, collaborating with and contributing to Dub gatherings since then, mixing and generating sounds that have developed with himself and the music scene that surrounds him. This duo feeds the crowd with Jungle sounds, shifting the style and focus in and out of the beats, and this gives the crowd something to loosen up to. The voice that penetrates this set is deep, and full of vibrations that keep this hall shaking. Ras Tinny is where this voice is coming from; a selecta, singer on Steppas Records, and organic farming base of intelligence, this man is bringing more life to the beat.

Dancing is my favourite part of any gig, it's part of what the music is made for; and it is the greatest contribution we can give to the music itself, that movement and life. Dub music originates from Jamaican Reggae and Ska, and it emphasises the drum and bass elements of the music. It has managed to maintain its ethnic and cultural feel throughout the decades, even when there exist so many derivatives and variation of its style. And that's what this gig is, a combination of beats, bass, and creative juices that have their roots in a type of music that came to define the soul of a nation. This unifying power has stretched itself far across the Atlantic, and in this dance hall everybody is giving it their all. Man-G and Spetz belt out some hot stepper beats, and I've put myself in the centre of the movement, letting the music guide my feet and sway my hips for me. The closeness of people dancing removes the boundaries you would usually find between crowd in 'normal life'. I have to pry myself away from the dance floor to mingle more with the crowd and check out the scene in the smoking area.

Small sub groups are scattered everywhere and I meet so many old familiar faces, that it reminds me of the fact that Galway is such a small town, and everybody's lives are so interconnected. And when it comes to music and gatherings like this, there is no outside to look in from- everybody is here together.

The night attracts more of Galway's dub-flys, and you can feel the buzz and excitement growing, as the beats and flow of the music become more integrated into the physical experience. Seriaz Sound dives into his set at around 11pm and I slip onto the dance floor minutes after. The visuals continue to provide a tripped out experience for us and the projections onto the walls behind the decks add a sort of psychedelic luminescence to the whole experience; when I close my eyes I can see flashes of white and green, in time with the floor crunching Dubstep Seriaz Sound creates. His sound builds on the levels of excitement, which you can feel like static everywhere. The increasing heat and humidity of the venue doesn't slow us down, and it seems that sweat and glistening foreheads are all the rage. And I can't stop smiling while I dance. The music is full of those Dub sounds we came here to celebrate, and on the floor you can feel a wave of energy moving backward and forwards, as if the music has a heartbeat. Seriaz Sound is a German producer, who immersed himself in the music scene four years ago, and his love of ethnic & roots connected music, Dubstep and Jungle sounds led him on a series of encounters with producers and artists that have brought soul and body to electronic music across Europe. Currently the resident DJ at Dub der Guten Hoffnung in Berlin, he is now generating a Jungle atmosphere and sound-scape, in a town that sometimes feels so far removed from the busy modernity and urban growth of our neighbours across the sea.

The dance vibes are multiplying after every break and rhythm change. I'm standing at the side of the hall, a pint in my hand chatting to a man about music, writing, and joking about something which escapes me, and to my left a mini bongo circle has formed, providing an alternative to the alternative- there's always something to surprise me at these gigs. The beats are infectious, and at 11:40pm Zenji takes control. This home grown artist brings some old school Dubstep and Glitch to the vibrating mass of people, coordinating all of the beats with the giant wave of heads bopping side to side. Everybody's movements are free, easy, and a few minutes into Zenji's set the tempo quickens so that the music completely takes over, and we are whirling into another Dub dimension, where inhibitions are replaced with movement and sound. Zenji came onto the scene in 2010 with an experimental force that has its roots in Glitch Hop, Dubstep, and Jungle beats. He has had success with his melodic creations that have brought him closer to the heart of original sounds in Galway and Ireland, producing music for labels which include Dub All or Nothin, Dubline Records, and LU 10 Records.

Standing up in front of a crowd in any situation can be daunting and nerve wracking. What I notice about each of the artists is that all of this seems so natural to them, and it helps that the crowd is not acting like an audience, but more like a group of friends you can be yourself with. After waiting in a long (but hilarious) queue in the girls bathroom, I'm eager to slide my way back onto the dance floor and catch the rest of Zenji's juicy bass blast, until 12:20 when Welfare paves the way for more thumping tunes.

The Subversion Sound System was born in 2011, by the hands of Welfare, and from there it morphed and grew, adding more bass and sound enhancing elements to its body and personality. With the help of Destitute in its adolescence it became the heavy weight it is today, and is bringing good bass vibes wherever it travels.

Now, Welfare gives us heavy Drum & Bass, with a flow that never breaks and keeps the floor bouncing on the chunky beats. Welfare has been in the music business for many years, and you can tell from the way he moves behind the decks, and flips a record like he's been doing it in his sleep the whole time, that we are witnessing something special tonight. The lasers and visuals combine with his body shaking creations, and everybody dancing around me is lost in the music. Welfare has been producing music for the Drum & Bass and Dub music scene since 2006, and in Galway he has become a well-known figure within the electronic culture, as well as leaving a trail of beats in Europe and beyond. There is something to be said for experience and passion, and this is evident in his music and in his history of live collaborations and affiliations; which includes DubCulture Records, and JungleBoogie!

There's something heavy, and a bit industrial about the music around us, and sometimes I forget that I'm supposed to be writing a review and should be alert to everything going on around me, and I give myself over to it all; how can I resist? For the next forty minutes we're given some hard hitting Drum & Bass beats, and the rhythm is so powerful it makes me wish we could make this gig last for the whole night.

I notice that when Welfare is getting towards the end of his set, the crowd starts to draw closer together and closer to the decks. The headliner Panda Dub is about to step up and everybody can feel the heat. He sets up his gear, his red turntable, and then it starts. The visuals expand behind him into lines and aquares, and he brings in a warm Reggae beat, with a signature accordion tune behind it all, making sure everybody feels comfortable- this is short lived, as he surprises everybody with a quick Dub Funk set, with tunes and vibes that originate from his early work. He knows how to fill a room and get people moving, and he continues to mix and mingle some beauties from albums such as Bamboo Roots (2007) and Psychotic Symphony (2012). This French artist has been immersed in the European Dub scene for a few years, working with Original Dub Gathering Productions during this time. Panda Dub began in 2005, with a Reggae Electro-Dub style that he carries with him in all of his music, and has given the French Dub scene another layer of ethnic beats and rhythms to add to its growing repertoire.

I find it easy to get into the swing of the music, and at this moment there is no doubt in my mind that there is no better medicine for the soul that the Electro bounce and Reggae feels that have filled this entire hall. At around 2am, I recognise a certain beat from Bamboo Roots, and almost jump out of my skin in excitement as he plays a much loved, and most infectious tune Rastamachine. And he keeps this Dub fusion alive for the rest of his set. There are some breaks in his music, but none in the movement and dancing of the crowd, and at about 2:15 Panda makes us believe that it is all over...how wrong we were. His final tune is an insane, heart-attack inducing masterpiece that gets everybody moving until I'm sure that my arms are going to fall off and my legs are going to lift me up from the ground with the speed they are moving at. This is like a wind-up Electro Dub toy, generating 1.21 gigawatts of pure energy; we can power the Delorian with this type of energy. Panda is giving us an experience that makes reality all the more real, like you can touch it. Galway, its dubbers and dancers, artists and music makers will always remember this night, as the night we lifted the Boat Club into the sky. Panda moves away from the decks, and Destitute brings things down to a halt with a few more minutes of continuous Drum & Bass, giving us something to catch out breaths to as we cheer for the music that brought us here tonight.

The lights turn on, the visuals and the lasers stop their magic, and its smiles and sweaty hugs all round. What I love is that the bongo circle I noticed earlier is still alive and strong. A few more people add their hands to the skin of the beat, creating a pulse that nobody can ignore and in moments nearly everybody in the hall is off again, dancing and jumping to this ethnic rhythm. The party never truly stops when you have friends like these.

Outside, I'm sitting on the curb by the gates as Panda gives me some of his time for a quick interview. He seems chilled out and pleased with the night, and we sit and have a cigarette on the edge of the crowd.

In the middle of this a scuffle breaks out beside us, interrupting things for a few minutes. This is the only one I notice happening during the whole night, and I'm not surprised they are so rare at these gigs; people come here for the music, the crowd, and the experience. Things calm down, and I manage to get a photo with this friendly, relaxed and down to earth Panda. I cannot think of a better way to begin and end my first journalistic experience.
Puzzle has been hosting gigs since Spring 2014, and each night and event has made this organisation grow and develop in the most positive way. Still underground and walking on a different path to the mainstream entertainment business, there is nothing I would change about it. Its creator, coordinator and captain is Munki, a talented producer, manager and nurturer of many things creative and original in the Galway electronic music scene. He began this venture in April last year, creating links between Irish DJs and producers that share the artistic and musical spirit that is the essence of what we saw tonight.

Moving on up in the world and in creative space, PUZZLEvents has made a niche for itself in this town and in the lives of all the shakers, dancers and dubsters in this family funk-tree. There is something about Galway that makes innovation flourish, and it most certainly has something to do with the unique, laid-back, and beautifully crazy people that make up its population. It's the reason I'm happy to live here; there's nothing more gorgeous than this.