Clubbing Magazine

Steve Lawler – I’m a DJ that makes records

Steve Lawler is one of the hardest working DJ and producers in the industry with an ear for a tune and a technical ability that is second to none. His rise to the top has been the result of hard work, pure talent and dedication to playing and producing the finest quality house music first. It's been a steady rise from the infamous 'motorway raves' of the early 90's, to his legendary sets at Space in Ibiza, his pioneering success with Session in Birmingham and the current triumph with Harlem Nights at The End. Steve has always been a pioneer of twisted house. His sound has evolved through the years but remains at the tribal end of the spectrum meandering through deep and dark to sexy, dancey vocal tracks. He has released a string of compilations; most notable is his two fantastic CDs in his successful “Lights Out” series on Global Underground. Clubbing Magazine talked to Steve Lawler after his Okyo gig at Level CPH. in Copenhagen.
King of Space
You are called the “King of Space”, where did it come from? - I was with a friend of mine in the Ibiza airport and somebody that was working at the airport shouted “Ahh the king of Space”, and people turn around looking for the king of something. And it was just me of cause. This guy went back to the owner of Space and from that point on I was introduced as “Steve Lawler King of Space”. How is Ibiza? - It has changed, there is still nowhere like it in the world, it’s still the best place - the clubbing capitol. If you like going out listening to House or Dance music or any genre – Ibiza is the place and it always will be. People often say so and so is going to be the next Ibiza, there is never going to be another Ibiza – it’s a very special place and I’ve been going there for 12 years and I’m very fond of the place.
The club scene in England
	How do you see the downfall of the club scene in England? - Isn’t so much about the downfall of the club scene, it’s more about the downfall of the super clubs. Which not necessary is a bad thing to be honest. I personal think that you can take anything so far before eventually it explodes in itself. I think what happening in England was it went so far and big, and it was amazing. People shouldn’t moan about what is going on now in England but be grateful of what we had experienced in England. I don’t think any part of the world will experience dance music as England did. So it’s going back to its roots? - Yea - It’s gone back to it roots. When house and dance music first started in England there were only certain clubs doing it, and there were only a certain crowd there were in to it and those kind of people were different or strange. Only one at my school liked acid house – and people was thinking that I was weird. I was just 10 years ahead of them in music. But it soon grew and it became a big phenomenon and became a complete movement like the 60´. It was really something and that can’t of cause go on forever and now it’s back to how it was. So has the money changed as well? - That is one thing that hasn’t changed. But it means that the DJ has to become much more talented and much more artist based to hold a career. Ten years ago DJs was simply people thronging records together in a club with flashing lights - it was great. And through the years music has developed and technology has developed and the artist has developed with that and I think that artist and DJs deserves more than 50Ł and a drink. It’s a profession and has to be looked upon this way.
I see myself as a DJ that makes records
You have also been producing tracks; “Rise In” and “Andante” for Bedrock – how do you see yourselves? - I never see myself as a producer, firstly I work with an engineer, I know how to work a studio but I wouldn’t feel comfortable working on my own, so I have to be with somebody to be able to produce. What I can bring to the table in a studio is my knowledge of the dance floor, my knowledge of house music, which is massive. I’ve been collecting house records since I was 15 and I know the arrangement of what works. I’m a DJ and make records because I want my version of something that I can play at a dance floor. Hopefully in the future I can develop into much more of a producer, but I don’t see myself as an artist producer, I see myself as a DJ that makes records. You also have your own label Harlem Records, is that because you are offered many records when travelling around the world? - Yea - exactly that - I want to bring forward new talent. I’m kind of looking towards the future and because of the nature of the business and how I grew into the business and how I finally became successful. I understand without a helping hand from the people who is above you in the hierarchy it’s very difficult. So the label is more a stable and I don’t make any money out of the label. I earn my money DJ’ing. I’m not signing any big producers I’m only signing new talent – that’s what the label is for.
	Lights Out
	The music on your new compilation “Lights Out 2” does that represent the music that you are playing at the clubs at the moment? - On the “Lights Out 2” at the moment is a very true indication of what I’m playing in most places. But tonight the gig didn’t feel right to me at all, the sound system wasn’t right, although the crowd that was there was a very good crowd but there wasn’t a really a vibe in the room or I didn’t really feel the vibe or the atmosphere to do what I do. So instead I just played records I felt that was right for the room. Within my two boxes of records is easy 8 hours of records to play and a variety. I could have played the same records that I have on my “Lights Out” and make them sound very different playing them next to different records. So it was how I put the set together, I kept it very deep for a good couple of hours because that suited the room. How do you see the internet and the compilation marked? - Fucked really. The internet is a good and a bad thing. In poverty stricken countries they can’t afford to import an album and would cost them a lot of money. For that reason I think the internet is a good thing because it gets the music to the people that can’t afford it. But unfortunately people don’t want to pay for albums anymore and that affects the labels and that affects the company behind the label – it’s like a rolling effect in the industry – a lot of people I know have lost their jobs and it’s a sad thing. If I sell 50.000 copies of my new “Lights Out” as I did on the first one – then I’m very happy. It’s equal to 150.000 two years ago – It has dropped with 2/3. That of course infect all in the record industry. Personally I download samples and things, but if I want an album I want the original, I want the cover, I want the sleeve.
You talked about collecting records since your were 15 how many records do you have in your collection today? - I have 20-25.000 records and many of them are stored at my parent’s loft. In my studio I have 10.000 records – wall to wall shelves. What does the future brings for Steve Lawler? - I just done two new tracks that even Bedrock doesn’t know about. I’m tired doing all the gigs I’m doing and I’m ready to take some time out, and work in the studio. You can see photos of Steve Lawler @ okyo here and read the review of Lights Out 2 here. Interview done on the 20th of September 2003.
	Interview and live photos by: Christian Almind