» Tom of England »
Thomas Bullock began his DJ life on the brink of the ‘90s alongside fellows DJ Harvey and Felix Dickinson, as part of the legendary Tonka Sound System in the UK. He started putting out his first records in the late ‘90s - exploring electrified house funk as Mirror Boys on Grayhound, experimental electronics as Supergroup on Pete Namlook’s Fax label, or slower tempos under the Mammal moniker.
In the early 2000’s Thomas Bullock met Eric Duncan aka Dr. Dunks (also one half of DFA’s Still Going). Soon enough, they organised raucous parties in a NYC Chinese massage-palace-cum-loft-space and started out using Rub-N-Tug as the name of their now-fabled after-hours. Rub-N-Tug breathed new life into the city's dance scene, mashing together old Italo house rarities with lean post-funk workouts, electro Led Zep oddities with acid rock and everything in between for an innovative take on the Loft-lovin' lifestyle. In addition to their DJing, Rub-N-Tug started remixing the Beastie Boys, Roxy Music, LCD Soundsystem, Out Hud, Japanese band Sly Mongoose, amongst many others.
Somewhen during that time, Bullock teams up with Harvey forming Map Of Africa and releasing various singles and an album on the highly sought-after Whatever We Want Records starting 2005. A collective label on which he and his accomplices will also put out various other collaborations.
Through the past decade, Thomas has continued to put his productions out on his own STD Records. Last year, he also published his book “The Mezcal Experience: A Field Guide to the World's Best Mezcals and Agave Spirits”, retracing his experience and knowledge with the drink, plant and culture since 2006.
In 2018, he released The Care to Destroy EP as Tom of England on Hinge Finger - Joy Orbison and Will Bankhead’s label.
"When I was about nine, my teacher asked me to bring in my record player and a couple of 45's so we could have a disco in the classroom. I played Another One Bites The Dust and The Bitch is Back. I got really into it and jumped about like crazy. It's surprising how little we change,” says Thomas.
∞ Dea Barandana ∞
Born in Jakarta, Indonesia, Dea grew up learning different musical instruments. After hanging out with a breakdance crew in the ‘90s, he instantly learned how to DJ. From there he got introduced to the acid house sound and started collecting records.
In the early 2000’s Dea moved to London where he embarked on a string of courses, learning audio engineering, composition and sonic arts. It is also in London that Dea first heard Gilles Peterson play at Bar Rumba as well as the Idjut Boys playing Latin and Brazilian music. This, along with meeting different record collectors and dealers changed his perspective a lot and set him on his path of record digging.
Since then, Dea has played around the world, amassing an eclectic record collection of thousands along the way. In 2010, he also started an edit label called Frisbee Records. He now resides in Bali and is a resident of Potato Head, where his artistic direction infuses the full musical spectrum of the infamous beach club.
Possible Futures had the chance to hear Dea play in Berlin at Sound Metaphor’s excellent Have A Nice Day party and are extremely glad to welcome him at OHM.
≈ Possible Futures ≈
Compiling mixtapes and playing sets from long before they could get into clubs, lifelong friends Paul and Alessio of Possible Futures have learnt overtime that the eternal act of dancing is one of the most active forms of contemplation. Facing our own selves in the mirror of movement, we realise that indeed we are reflections of one another at all times. Compassion forms and in turns gives way to kindness and love.
Over the past 20 years, Possible Futures have become witnesses to the wildest fauna the great nocturnal jungle has to offer around the world. It is through their open and eclectic selections that Possible Futures turn the dancefloor into spaces of self-discovery and musical transe-en-dance.
“A writer’s subconscious is one of the filthiest places there are: as a matter of fact, you can find the whole world there.” – Romain Gary
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