From www.danielavery.co.uk:
It’s fair to say a restless urge for creativity has punctuated everything Daniel Avery has done to date. Having grown up on and been influenced by the risk taking DJ sets of Weatherall, Erol, Ivan Smagghe, Ewan Pearson and Optimo, his own DJing style sees house and techno thrown alongside cosmic drones, post-punk angles and mutant new wave whilst no momentum - or any floor - is lost. It was this drive that prompted Fabric to quickly pick him up as a resident (where he still remains), calls to entertain the masses at Bugged Out and Durrr on a regular basis and for the aforementioned Alkan to state “He’s not following a trend, has good taste, is not competing against other DJs, understands how to read a room, doesn’t panic… Avery is turning into one of London’s best DJs, mark my words.”
But it is in production where Daniel is now carving a distinctive name for himself. With weekends spent inside strobelights around the world, the rest of his time is spent locked inside a studio full of analogue equipment, exploring the darker corners of a record collection where Chris Carter, Martin Hannett and Kevin Shields are as important as Carl Craig, The Chemical Brothers or Instra:Mental to the formation of a unique electronic sound. Music under the Stopmakingme monicker turned many heads this year and drew critical acclaim not least from UK club legend Justin Robertson, leading to an ongoing collaboration with releases on Tigersushi, Gomma and How The Other Half Lives. 2012 sees Avery take things further, now producing under his own name, the year begins with EP releases on Relish and New York’s Throne Of Blood plus remixes for Joakim, The 2 Bears and Jokers Of The Scene to add to a list which already includes reworks for the likes of Metronomy, DFA 1979, Hercules & Love Affair, In Flagranti and Black Devil Disco Club as well as for tastemaker labels like My Favourite Robot and Death Strobe.
Avery is a reminder that individualist attitude and a desire to approach club music from the underground upwards is still as exciting a proposition as it ever was, a spirit embodied by godfather of the scene Andrew Weatherall whose recent endorsement in Time Out speaks for itself:
“On several occasions in 2011 I have been impressed by music made under the production name of Stopmakingme and seen the name appearing with growing frequency on posters for discos. So, imagine my joy when the penny dropped and I realised that the nice young man who’d been working in my studio was responsible for these productions. That man was Dan Avery, and when I had the pleasure of appearing with him at a Death In Vegas gig at Fabric, I realised that he was as good a DJ as a producer. He makes gimmick-free machine-funk of the highest order. There were times in 2011 when part of my set was pretty much an Avery mega-mix, and I sense that those mega-mixes will only get longer in 2012.”
It’s fair to say a restless urge for creativity has punctuated everything Daniel Avery has done to date. Having grown up on and been influenced by the risk taking DJ sets of Weatherall, Erol, Ivan Smagghe, Ewan Pearson and Optimo, his own DJing style sees house and techno thrown alongside cosmic drones, post-punk angles and mutant new wave whilst no momentum - or any floor - is lost. It was this drive that prompted Fabric to quickly pick him up as a resident (where he still remains), calls to entertain the masses at Bugged Out and Durrr on a regular basis and for the aforementioned Alkan to state “He’s not following a trend, has good taste, is not competing against other DJs, understands how to read a room, doesn’t panic… Avery is turning into one of London’s best DJs, mark my words.”
But it is in production where Daniel is now carving a distinctive name for himself. With weekends spent inside strobelights around the world, the rest of his time is spent locked inside a studio full of analogue equipment, exploring the darker corners of a record collection where Chris Carter, Martin Hannett and Kevin Shields are as important as Carl Craig, The Chemical Brothers or Instra:Mental to the formation of a unique electronic sound. Music under the Stopmakingme monicker turned many heads this year and drew critical acclaim not least from UK club legend Justin Robertson, leading to an ongoing collaboration with releases on Tigersushi, Gomma and How The Other Half Lives. 2012 sees Avery take things further, now producing under his own name, the year begins with EP releases on Relish and New York’s Throne Of Blood plus remixes for Joakim, The 2 Bears and Jokers Of The Scene to add to a list which already includes reworks for the likes of Metronomy, DFA 1979, Hercules & Love Affair, In Flagranti and Black Devil Disco Club as well as for tastemaker labels like My Favourite Robot and Death Strobe.
Avery is a reminder that individualist attitude and a desire to approach club music from the underground upwards is still as exciting a proposition as it ever was, a spirit embodied by godfather of the scene Andrew Weatherall whose recent endorsement in Time Out speaks for itself:
“On several occasions in 2011 I have been impressed by music made under the production name of Stopmakingme and seen the name appearing with growing frequency on posters for discos. So, imagine my joy when the penny dropped and I realised that the nice young man who’d been working in my studio was responsible for these productions. That man was Dan Avery, and when I had the pleasure of appearing with him at a Death In Vegas gig at Fabric, I realised that he was as good a DJ as a producer. He makes gimmick-free machine-funk of the highest order. There were times in 2011 when part of my set was pretty much an Avery mega-mix, and I sense that those mega-mixes will only get longer in 2012.”
Electronic