Tuesday 25th Oct, 2016
Layo and Bushwacka
From: UK
Layo and Bushwacka "We both believe in the same things, good people, good parties, good music. Acid house, basically." Idealists, hedonists, prophets, call them what you will, but Layo & Bushwacka!'s love affair with music started as teenagers under 1988's strobe lights and its led the both of them through techno, breakbeat, electro, dub and electronica, emerging blinking into the light a decade later with a sound that fuses all their influences and channelling them into 2002's most anticipated dance floor album.

It's the same outlaw spirit of eclecticism that still informs their five hour DJs sets, whether at their spiritual home in London's The End, or on a beach in Brazil or a state of the art superclub in Ibiza or Argentina.

Layo seamlessly segueing cutting edge sounds, while Bushwacka! tears the arse out of the crossfade, turning nondescript breakbeat battle weapons into a compulsive collage of beats and breaks. The same spirit that took the "for the fans" thousand-copy only 12" Untitled into a global club anthem. It's now 'Love Story' - renamed with the title given to it by the fans in Argentina who sit down rather than dance through the track as a mark of respect for its majesty. "I thought that track was a bit cheesy initially," muses the ever-analytical Layo. "Of course now everyone loves it, I've warmed to it a bit." And you can't get much more acid house than the legal minefield that is Bushwacka!'s much bootlegged remix of Michael Jackson's 'Billie Jean' - surely the biggest bootleg mix in a year inundated with white label remixes of dubious legality. If only, as Matthew shrugs, he'd done the bootlegs himself, as everyone assumes.

Layo and Bushwhacka! have come a long way from the teenager who frequented Clink Street's infamous acid parties and the kid who dropped classical music to hang out on the hardcore scene : two motor-mouthed refugees from the underground enjoying their position as new leaders of clubland's cutting edge. Layo & Bushwacka! have both served their time supporting British underground music when no-one wanted to know. Layo opening The End, a purpose-built club dedicated to breaking new music to the right people. Matthew jacking in a lucrative career as a rave circuit DJ when the moody music had gone too far for him, both taking the emergent strains of techno, tech-house, electro and breakbeat and forcing them together with the blues, classical and film soundtracks of the last hundred years to create the dance floor sound of the new century.
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