Russ Yallop

Deep House producer Russ Yallop recently did an interview for Modisch which will feature in the first issue. While I was co-running a club night in Newcastle with some friends, we had Russ up to play - really down to earth guy - true gent. He is a perfectionist when producing and taking time over his music seems to be high on his priorities. Below is a small snippet of the interview, one of his most recent tracks and five productions that feature heavily in his current sets. 

It’s fair to say you produced one of the EP’s of the year in 2010 with ‘I can’t Wait’. Were you surprised with its success?

I was surprised in as much as surprised it was finally happening for me.  However, I was confident the tracks would be popular as they’d already been getting great support from the likes of Damian (Lazarus), Jamie (Jones) and Lee (Curtiss).

Working closely with Crosstown Rebels must have been a dream come true. In what ways has it changed your status as a DJ/producer?

It’s a seal of approval really.  Perception is such an important factor in music and is massively underestimated as taste making factor.  I contribute at least half of my success so far to being on Crosstown which is widely perceived as being a stamp of quality.  You can still make it without being part of a big label however it will take you twice as long as not only will people fail to hear your music in the first place but they’ll also perceive it in a completely different light.

Jamie Jones -  the Detour

Lee Foss – You Make Me Shy

Robert James – Can You Keep It

Riche Ahmed & SAS – Double Up

Russ Yallop & Wildkats – System Crank

Marc Lilius

Finnish-born, london based photographer Marc Lilius is producing some great work at the moment. I had the privilege to work with him at Pringle of Scotland. You can check out his work here.

Folk Product Shot

Following a few test shots, this will be the image I will settle on for the Folk feature. It hasn't been fully photoshopped yet.

Finn Juhl

Finn Juhl was internationally recognized for his furniture design and was responsible for bringing ‘Danish Modern’ (A minimalistic style of design using Scandinavian wood) to America. Similar to Jacobsen, Juhl was pressured into a degree in architecture rather than following his dream of becoming an art historian.

His career as an architect started strongly, working for ten years at Vilhelm Lauritzen’s firm and working closely on collaborations with Viggo Boesen, Lauritzen’s second in command. Of these joint ventures, possibly the most notable was the re-designing of the Danmark’s Radio building.

Juhl left the firm in 1945 to set up his own interior and furniture design practice just outside of Copenhagen, after toying with these creative fields whilst working as an architect. His first chair, named the Pelican, was exhibited in 1939 and was met with some severe criticism. One industry professional even went as far as saying “aesthetics in the worst possible sense of the word”. However, this did not deter Juhl, as we went on to develop his design career and become one of the most respected Danish designers of the twentieth century. It could be said that Juhl was not as popular as his peers, yet he pushed the boundaries further than most, especially Arne Jacobsen and Børge Mogensen, who were less radical in their designs.