Staff WriterAhead of Jerome Hill’s return to Dublin in Tengu tomorrow, Sunil Sharpe caught up with the UK legend to talk influences, wonky techno, ‘wrong’ styles, favourite places to play, go-to records right now, and much more.
We first met, I think, in a warehouse somewhere in London at a pop-up record shop of the then distribution company Just Music. The record industry as it had been was fading then, but it seemed like this period was exciting for some labels in London – like your own Don’t, Coin Operated, Victim, Rag & Bone and others, as people looked for something less po-faced and a bit more party-focused?
Yes, Just Music was my mate Ben’s distribution company. They did a lot of the wonkier stuff at the time, but also a fair bit of electro, and also put out the first record by Wilko and Pete Simpson aka Ignition Technician, and part of the whole Northern ‘Player’ camp alongside Jon Nuccle & Mike Humphries. There was definitely a reaction to the homogenised, overly compressed ‘bongo techno’, as we used to call it. Basically a loop, hi-hats, ride and bongos, which were prevalent at the time and had got pretty boring by that point. A copy of a copy of a copy of a copy of a Purpose Maker record from 1996. So yes, the weirder, wonkier stuff was very appealing to a lot of people.
Legend has it that you christened wonky techno as a style when you managed Dragon Discs back in the day. Were there any other record section names that you made that didn’t gain the same fame as “wonky”? And was wonky a catch-all term for music that was influenced by the Brighton/Edinburgh axis, or something wider than that?
Yes, Wonky Techno was the section I made to put Subhead, Landstrumm, Schmidt, Vogel, Si Begg, Tube Jerk, Berkovi records in, so that it could be easily found by those trying to avoid the bongo rot. I think the origins of it were definitely the ‘Brighton–Edinburgh’ thing, but there was also a lot going on in Europe at the time, influenced by the same records, and the Germans, especially, were putting out lots of stuff on lots of labels. But of course, there’d be individual tracks I’d discover nestled away on albums, or B-sides of even random house records that coincidentally had ‘that feel’ to them, so in they’d go too. It ended up a really nice selection that I’d keep restocking when certain records sold. I remember being told our shop was the only shop to have not only stocked but restocked certain records again and again. Certain Chicago records would fall into this category. Certain US techno too – just anything that had a slightly frazzled or erratic feel, and of course some funk in the beats.
I seem to remember a ‘wrong house’ section at the time, too, but it was a bit slimmer.
Where were the strongest scenes back then for the more ‘wrong’ styles? In the UK or outside? It often seemed like Eastern Europe and parts of Germany were the most receptive.
There were definitely a lot of places I used to play in the UK that were down with the sound. But yeah, Germany was even more so. I remember people like Esther (Ofei) and Mark (Hawkins) were always going over to East Germany, but I never really went there until a bit later. I was often in Spain and Poland, though. That’s just through my own prism; I know there were outposts everywhere. And it wasn’t like I, or anyone for that matter, played ‘only’ that sound. For me, it’s always been an ingredient as part of a balanced techno diet.
I also lived for a time in São Paulo in the mid-2000s, and there was a good thing going on there, too.
Super Rhythm Trax still feels like your new label, but in fairness, it’s been around for over a decade now! Don’t, although around for longer, seems a bit more random and releases when something in particular catches your ear. For those not as familiar, how do you distinguish between what you release on both labels? Also, is your Hornsey Hardcore alias and label likely to return?
Super Rhythm Trax is slightly more accessible, I guess. Tempos are a little lower, more house-influenced, certainly acid house-influenced. It was originally intended to release music that was descended from the very first electronic stuff I got into around ’89/’90. So bleeps, breaks, bass, the tail end of the first acid house explosion, and anything with a slightly misty-eyed, wistful feel to it. Techno, house and acid, sometimes with a bit of a morose edge. But that’s, of cours,e rippled outwards, and I wouldn’t know exactly how to categorise it now, except that it’s just music that fits on that label. Unhelpful, I know!
Same with Don’t. It’s been running so long now (currently 25 years) and has morphed around a little bit, but I think it’s retained an identity and certain common traits that you could find in most of the releases. (dontrecordings.bandcamp.com if anyone’s interested in finding out!)
And yes, there’s a bunch of Hornsey Hardcore stuff that I need to finish off sometime when the mood takes me.
I often felt your DJing was so good that it unfairly overshadowed your production output, despite the amount of brilliant music you were releasing. In the age of Spotify and easier access to music, I’d imagine many people are getting to know you through your music first and discovering your DJing later. Has this been a thing you’ve noticed, and are there pros to that?
Thank you! I definitely have noticed in more recent years people commenting on tunes I’ve made, probably because over the years I’ve made more tunes than I had back then – the cumulative effect, etc. However, I still feel I’m a DJ first. I get huge amounts of inspiration from the ‘live experience’ of presenting music I love in the best way I can in that moment, and bouncing off the feeling in the room at that time, which I guess is the essence of DJing. And that’s my thing: sharing music that I think needs to be heard.
You’ve been playing all over the world this year, including a couple of trips to Colombia. South America-wise, it seems to be the country that’s popping the most right now. What were your initial thoughts of the scene in Colombia, and are there any other particular gigging highlights that you’ve had this year?
Colombia was amazing. That is all I have to say, really. Top-notch parties and lovely people. I was lucky enough to go twice this year, and I think I’m back in 2026. It’s definitely popping off there.
Re other notable experiences, to be honest, there are so many that it’s almost unfair to single any out.
I’m blessed to have lots of gigs where it feels ‘special’. The promoters are often music heads putting on stuff for the love rather than as a fully realised business, so it always feels special to be chosen to play.
Fanzine Festival in A Coruña, a couple of weeks ago, the Dissidanza crew in Pisa, Exit Club in Shanghai were all highlights. House Of God in Birmingham is always the nuts. Unfold on a Sunday in East London, and I should mention my own night, Don’t in London – but they’re just what sprang to mind as I’m typing this on the tube heading to Prague to play at Acidelika, another top party crew.
It’s gonna be great to have you back in Dublin this Sunday! Without giving a full preview of what to expect, could you give us five tracks or records – new or old – that you’re vibing off the most right now?
Well, Peder Mannerfelt’s Records & Vibes has given me some extraordinarily intense moments this year. Rob Stow’s Gravitation is one of my go-to tracks for ‘getting all techno-ey’. Scanline by Lorenz Audio is a great one to merge into slowly and let the acid gradually rear its head. Gary Martin’s classic Pimping People in High Places has been seeing active service again this year – such a groove on that one, a real ‘complete’ tune. Then number five: Jörg Kuning’s Simmons is an amazing tune that takes its time and lurches along brilliantly. I sometimes open with it, as it really ties in with the whole ‘wonky’ thing and has echoes of Vogel, Boogizm and similarly rubbery tracks.
