Midland

I stand with Palestinian people and the Palestinian peoples right to self determination. Design by @susanna___gonzo #musiciansforpalestine

[New Prints] Hello, After being asked by multiple people if we were going to do prints of the Islington Assembly Hall posters we have made prints from all four parties. The designs that everyone did are really chic and spectacular and have set the tones for the parties so perfectly. 2021 - @joemortell 2022 - @ekdmotion 2024 - @drme_studio 2026 - @nick_shea Aside from some very high end A2 posters from the first party (which you can still buy) this is the first time we have done any. They are printed in A3 size on Fine Art Rag 285gsm cotton paper. They are available in the Merch section of my Bandcamp (and link in bio) alongside a few other prints/ vinyl and some album tapes and CDs.

New Music Out Today “In The Mood For Love” The first of three new singles I am putting out over the next 2 months is out in all the usual places (bio etc) This one is a widescreen two stepper, I wanted the drums to sound nice and live and the pads to be super widescreen but also for the whole thing to be tight and heads down. I am forever indebted to Dj Assassins - Face In The Crowd (Intellidread Remix). The cover image is a photo I took of Mike on the Q Train to Coney Island, an homage to Bruce Davidson’s “Subway” photos. Design is by @nick_shea Mastered by @puttingitonwax Thanks to the friends who have been playing this one out already ❤️

Really excited to share a recording of my set from last years @houghtonfestival on Outburst on Friday Night. It is up up on soundcloud now and the link is in my bio. Every year I am given a chance to showcase the many different shades of my (digital) recordbox; its somewhere I spend months digging for and many of my favourite sets have been played here. Its also somewhere I have taken countless photos, I include a few abstracts and a photo from the first year the Outburst stage appeared amongst the trees. Its been a joy to watch the festival grow, refine and blossom. A few recordings of previous sets fell down the back of the sofa (so to speak) so im really happy to finally have one out there, locked in on Friday night no less. Endless thanks to the whole team who makes it happen ❤️ Music on the slides #1 Junior Boys - Work (Marcel Dettmann Remix) 🤝 Jay Tripwire - Mindwipe #2 Movement perpetual - No Sound Effect #3 A new one by me called “All Crews” out in a few months.

Islington Assembly Hall 2026 Its been a week and a bit since Islington Assembly hall and wanted to share some photos and a few (rare) videos from the party. This was my favourite one yet. In the past I have let the stress of the run up to the event cloud the day itself but I actually was able to savour what we pulled off and enjoyed it immensely. Everyone involved in this show goes above and beyond, from the venue to sound to lights. Its a proper team effort and only made better by the people that come and how open/ respectful and friendly everyone is. I think we really nailed that Greek/ Romeo and Juliet house party vibe. Was camp. As an added bonus all of my siblings were there too ❤️ Some thanks @chrisgold for literally being across everything with me, as always 🏛️ - @islington_ah for being so welcoming and letting us throw a rave in their beautiful building. 🔈- @sound_services for the sound 🚦- @parametrica_studio for the lights 📸 - @asianprovocateur for the photos 🎥 - @georgewu__ for the videos 🗽 - @dutty_pictures for being my statue/ prop wizard 🧚‍♂️ The Performers @a_man_to_pet @fancyshews @jane.norman.official And the crew from @islingtoncentre for Refugees and Migrants for coming down. They raised £900 ❤️ IDs in order Äwlep - Josef Tumari Feel this Groove - Oneness Angelas Dream - Gideon Burnin - Daft Punk FTRW! (Facta Remix) - Surusinghe Fiction - Tiga Until next time X #freelasereyesurgery

Its ten years since my Essential Mix was broadcast. Its been funny seeing everyone posting their “me in 2016” photos, when I look back on that period, I was so worried about attaining peoples approval and success (as defined by the industry at large) that I nearly burnt myself out totally. Putting out the Essential Mix and releasing Final credits in the same year and “attaining success” actually had the opposite effect on me, after the heady rush of dopamine retreated I was left feeling empty and quite unsure of who I was, navigating this in the public eye and on bigger stages. It forced me, as well a couple of quite serious burnouts to examine why I was feeling this way, and to start the long process of self examination. Learning that true happiness in music or art and your best work comes from the simple joy of making and creating for yourself and with the right people, without the expectations of others, or even with the idea of people ever hearing it. It certainly doesn’t happen when you make success your North Star. Thats just an accidental by product that comes along when the stars align (on their terms I may add). When I made this mix, it was just me, playing little snippets to friends from time to time (my husband Mike telling me I absolutely had to start the mix with Nick Drake after I was worried it might be “not essential mix enough” ❤️) but really about seeing how deep I could go with those two hours. It is still something I am immensly proud of even if it reminds me of a huge and difficult point of inflection.

Live Recording from Corsica Studios A couple of weeks ago, I played my final set at @corsica.studios for the final Trouble Vision. Having played TV many times I really tried to pick music from across the spectrum of what I have played at the party and danced to over the years. I was warming up Room 1 before @ben___ufo , the club filled up far quicker than expected, as a result I got pretty locked in quite fast. People wanted to dance. The sound across the club really is the best its ever been and I had such a good time playing and the recording is on soundcloud and the link in my bio now. A little background on my relationship with the club. In 2010 I played my 3rd ever show as Midland in Room 2 (flier attached) and moved to London shortly after. It has been one of the main constants in my life since I started making and playing music as Midland for the last 16 years, a place I have played many times (19!) and danced countless others. It has always been an incubator of new djs and live acts as well as a great performance venue. Like many great small independent clubs its where you truly learn your craft, make mistakes and learn how to do this thing. I wanted to say a big thank you to everyone who makes the place what it is, special shouts to Adrian, Jamie, Matt and Chris and of course Amanda who was a rave mother to so many of us in those early days, who was fundamental in shaping the club and its ethos and is sorely missed. I know she is looking down on this last chapter with a smile ❤️

One year and five days of “Fragments of Us”. Watching it make its way slowly in to the world and hearing peoples stories and experiences of it has been beautiful and overwhelming. Im not sure when or if we will repress vinyl, unless there was much of an appetite. There are a few Tapes and CDs on Bandcamp. I include a small snippet of the conversation I had with @thecharlieporter about the record also. Will upload it soon. Excited to start sharing the next sonic transmissions with you very soon ✨

Ahead of my return to @fieldmaneuvers this weekend I spoke to @heromag about the festival, DIY spaces any taking photos in those spaces. They asked me to share a selection of them. I usually keep my photography and dj life separate but realise they are very intertwined :) I have been posting photos on @meetingintheaisle_ for the last 8 or so years but plan to take stuff off here and somewhere more intentional very soon ——— Thanks to all my friends for letting me share their photos. You can read the full feature and see all the photos at the link in my bio. 2nd photo is Xander C. Gaines Aviance of the House of Aviance, who isn’t on here, which only cements their icon status further. shouts to @chapter10.rave @thenycdownlow @adonis.adonis.adonis @grouptherapy.cph @honchopgh @thebeardedtit And many more & thanks to @genofeves for linking this up ❤️

Marlon Riggs is the third of the voices on the album who are no longer with us. I came across Marlons work in 2020 and his film Tongues Untied against the backdrop of the Black Lives Matter protests and began to watch and listen to the films and interviews he left behind in his short time on the earth. “Ethnic Notions”, “Tongues Untied”, “Colour adjustment” and “Black Is… Black Aint” (which he died during the making of) all explored themes of Race and Sexuality in various ways and through various lenses. One of his most enduring lines was “Black men loving Black men is the revolutionary act”. For me his musings on intersectionality and engaging in struggles that don’t directly affect us have been key to understanding so much about my place in society as a white man and the inherent privileges I am awarded as a result. Beyond that they are so relevant today as we witness the continued Genocide in G*z* unfold and a reminder that however hopeless we feel we must continue to bear witness and engage. I want to thank the @ucla Film and Television archive for allowing me to use this Interview clip from the “In The Life” interview, his gentle and wise voice is one of my favourite sounds. The full interview is on You Tube. “And the point is how to we get beyond that, how do we recognise our inherent intersectionality, our inherent connection to each other and see that you are a part of me, I am a part of you, that which threatens you, threatens me and vice versa and that our struggles are blended, not always the same but they do connect”. Marlon Riggs - May 1992

Arthur Russell is the second of three voices on the album who are no longer with us. I first came across Arthur‘s work on the 2004 Soul Jazz compilation “World of Arthur Russell”’ somewhere around the year 2010. Throughout the decade, I was continuously inspired and surprised by the sheer amount of music that was left behind by him and was being issued, reissued and re contextualised. From the dub and cello experiments on “World of Echo” to the (at times) Proto House leaning sounds on “Another Thought” and the simple beautiful joy of him and acoustic guitar on “Iowa dream”. He was restlessly creative. When I started to jam with Lucky Cloud, I approached it, initially, in too linear a fashion and hit a bit of a roadblock. I then started to think what would Arthur do if he was in the studio with me. I borrowed a cello from a friend and hooked it and some noise boxes up to my pedal board and would jam for hours, recording all the sounds and then starting to cut and arrange them. I would often think about what Arthur would make of the advances in technology in delay and echo and what he would’ve made of those early nights at DMZ and FWD had he lived to the present day. I understand how sacred of a figure he is in our world and I hope that I was able to do justice to the source material and continue one of the many conversations he started all those years ago ✨ I include the cover of the Soul Jazz compilation, @mattpwolf amazing documentary “Wild Combination” and Matt Marbles book “Buddhist Bubblegum” which all kept me company as I worked on the album. Huge thank you to @steve.audika for allowing me to include Arthurs voice on the album.

I wanted to talk about a few of the voices on the album and had to start with David Wojnarowicz. His voice is in many ways the corner stone of the record, the thing which everything else took shape around. I first encountered him reading his book “Close to the knives” in a book club I recently joined in 2016 (@chapter10.rave ). The book started with a forward by @olivialanguage who speaks about him with such a deep reverence and understanding. It floored me and gave voice to a rage I didnt know I and many people who grow up queer have. A few years later I discovered his tape journals recorded on a road trip across America shortly after his HIV diagnosis and put out by @readinggroup_company . I started to play these in my sets and you might recognise his voice if you have heard me play. In the first months of lockdown I took a few synths home and would play his monologues and jam for hours over/under them. Thats how the ideas for the track took shape, grappling with a pandemic of our own, one that Governments took immediate action to combat unlike the first decade of the AIDS crisis. Fast forward to 2023, I reached out to his estate and began the process of licensing it for the album. Biggest thanks to Alyssa Nichtun from @leslielohmanmuseum for introducing me and the project to them and Isaac Alpert from the estate at @ppowgallery and Anita Vitale and the @wojfound for entrusting me to with these sacred recordings. I still have to pinch myself his voice is on there. The day we found out it was going to happen I think I cried most of the day. The photo was taken by his mentor and best friend Peter Hujar who died a few years before him.