After playing for such club giants as Global Underground, Bugged Out! and Bedrock, Paul launched his own night Loco in Bristol in 2005, which has played host to DJs such as Slam, Jay Haze and Ashley Casselle who all share Paul’s attitude towards forward-thinking house and techno. Having recently expanded Loco into Cardiff, where the debut party featured Carl Craig and Radio Slave, Paul is now putting everything he has learned into practice in the studio; the innovative essence and dancefloor punch of his DJ sets perfectly captured in tracks like ‘Ghosts’, ‘Secret Society’ and ‘Pins and Needles.’ Boasting both the knowledge and confidence that only comes from immersing yourself in dance music for over a decade, Paul Loraine really is a name you can trust. (words by Paul Clarke DJ Magazine)

The club that gave the capital a proper home to minimal and “forward-thinking dance music” (and notorious post-Fabric Sunday carry-ons) is moving a short hop away from its former base in Shoreditch to The City.

The move to The City was partly due to licensing issues, but also so that the venue could accommodate more people, have a large outdoors area and not have to contend with grumpy locals ringing Environmental Health every weekend. They got exactly what they wished for: The new neighbours are offices above, below and to the side and there’s a building site opposite.

The new T Bar will be open until 4 AM, but on special nights they’ll push it to 6 and—best of all—it’s still completely free to get in. As for the lineup, every Friday will be High Horse, a night run by Lock Tavern promoter and man-about-town Casper C. Says Casper: “High Horse at T Bar represents an opportunity for four young DJs to play the deeper, housier, techier and less obvious records that don’t always work in lesser venues. Now that we’re going weekly in the new venue, we’ll truly be able to paint a picture of the music we love for a crowd that should truly appreciate it.”

Saturdays, on the other hand, will be much like the T Bar of old featuring Freak n’ Chic, Circus Company, Tobi Neumann, Carsten Klemann and Phonica, while Sundays will remain the provenance of Dig Your Own Rave.

Resident Advisor has had an exclusive peek inside the venue, which is on the former site of Duke’s Bar, one of those bizarre clubs that somehow survived over the years without changing all that much. Needless to say, the staff is currently in the process of stripping out the unintentionally ironic interior.

Gone are the giant traffic lights by the DJ booth, the 7 foot-long pink cardboard guitars (although Rob Mello took two home), the random pictures of Dukes all over the place (it was called “Duke’s” after all..), the mirrors on the side of the dance floor and the pictures of Lamborghinis and scantily-clad women from the ’80s. What stays is the walnut floor, the dashing wallpaper and (hopefully) the penchant for abandon. (Duke’s used to host all-night fetish parties for City workers.) The downstairs dance floor is about the same size as the previous incarnation and will remain one big, bare pit with Funktion One speakers hanging from the ceiling, while the large patio/smoking area has a car park feel to it and is sheltered under the office block above it, meaning frazzled night-owls won’t have to endure the full glare of the sun come summer.

“Instead of going for the same old “groovy beats, amazing bassline, buy-my-record” blurb we’ve all read too many times, I’d like to come back to the origins of these tracks. These past three years I’ve experimented more specifically in the field of mesmerizing, relentless dancefloor- oriented music. It kind of became an obsession. Some might say it’s nothing new nor special in the realm of techno and house, repetition being the base of it all.
It was probably just a way for me to take a trip back to the roots of these music styles while trying to catch up with what it was at the time it had no specific branding, a time I’m too young to have lived but too curious not to try to imagine and eventually recreate. I also wanted to be as naive as possible, having absolutely no will to join the flock of surface-scratching producers happily filling up our space with disposable, watered-down tracks. After a fair amount of trial-and-error, the first track out of this new found obsession was Legacy, followed a bit later by Confessions Of An English Opium-Eater, Face Control, Grindhouse and finally La Mort Au Large. This release has a special place in my discography in the sense it gathers what I consider as the rough expression, the genesis of this string of tracks, and the most achieved, savagely-crafted and potentially toxic piece I’ve ever written to date on the same record.
Track after track, I tried to push the concept a bit further by delaying as much as possible the time when a slight change kicks in, fitting it in at the very moment the listener starts to think that after all, there might be something wrong with the track. The goal was to be constantly on the edge of boredom but never going quite there. Making these changes very subtle makes it very difficult for the dancer to feel the tension building up all along the track, creating a feeling of disorientation; and before you knew it the outside world was gone astray. Once you’re stuck in, no matter how unnerving or frustrating it gets, you’re stuck in. It becomes mesmerizing to the point you want to know how it all ends up, if it ever comes to an end. A bit like being unable to keep your eyes off the dancing flames in a fireplace. A bit like reading this text.“

One of Fondation’s main goal is to discover new talents. Well that’s good, because Paul Loraine is probably UK’s best kept secret to date.
Paul may not have made a name for himself as a producer yet but is nevertheless a well-known DJ in the UK and in the music industry. DJing from a very young age, Paul’s dedication to cutting-edge techniques and experimental sounds has taken him across the full spectrum of dance music.
His genuine science of DJing caused him to play the biggest clubs and to be aired by the most famous radio shows of Great Britain. He is even praised by the press as “one of the best british dj’s on the scene” (Musik magazine)
When we discovered Paul’s “Pins & Needles” we were utterly gobsmacked.What an incredibly classy track made of a groove sticky as hell. Detroit-ish without falling in the trap of being reverential, it’s in our opinion the sound of now. Paul takes us for a ride through the sharp side of house music. Albeit slow and sweaty, this track is nevertheless a fantastic club weapon. A massive kick, surrounded by subtle eerie samples and a well-chosen punchy melody, all of this give an unique groove to the cut.
On the flip, Leftroom maestros Matt Tolfrey and Marc Ashken’s take the original to a very different place thanks to dramatically tweaked voices and frantic percussions, managing to give even more intensity and crazyness to the track. These two very skilled producers show once their command of the complex science of advanced dance music. Approved and tested in Fabric’s Room One at 6am where it literally went down a storm. Definitely one for the Djs out there liking their minimal with a twist of lemon.

“When I first listened to Jozif’s music, I got struck by two very clear thoughts: first, I realised I had never heard anything comparable before. Then, the second after, I felt the urge to release these tracks on Fondation. It suddently became all very clear why I had created the label. How do I know that? Whenever it happens – and it’s not that often at all, believe me – I instantly get a mental image of a Fondation vynil with the big “F” at the center spinning endlessly on a turntable. The image doesn’t leave me for a while. I love this feeling. All of Jozif’s creations have the ability to do this to me. I feel very lucky to have met him and to be able to release his music.” – Danton Eeprom, Fondation label mgr.
Our sixth release sees the Fondation family growing. We’re welcoming a brand new name aboard, Jozif.
A newcomer on the production scene, Jozif has always been around music from a very young age, thanks to world- famous drummer dad. He has deejayed in London for several years. His trademark mesmerizing house and quirky attitude quickly got him massive attention and support from British tastemakers such as Craig Richards, Andrew Weatherall or Leftroom’s Matt Tolfrey. 82988 / Digga Deepa is his debut EP.
In “82988″, bleeps and synths are running after a deviant bass, all of them taking turns in invading the dancefloor. An epic tune made of dissonant stems matching one each other precisely to create a very pulsating house / techno beat, not unlike Konrad Black or Maetrik.
On the flip, “Digga Deepa” takes the hypnotic way. A grower based on a vicious and highly addictive gimmick. Think of an haunted nine minutes apnea able to take any dancefloor to unsuspected heights.
Digital exclusive “Bit Dove”, uses the same principle as Digga Deepa but in a lighter, more stripped-to-the-bone style, making it a perfect tool, catchey-rhythmed and a bouncey-vibed.
In the artist words : “Digga Deepa is a track that actually started life out as something else
It was meant to be a dubby, weird tech like thing but I couldn’t get the bleeps to fit so I put them to one side
Then after the death of a close friend of ours I got the bits back together and started on an all together different piece of music. Something a whole lot harder, more dark and bit trippy – probably a refection of all our emotions at that time. After finishing it, I thought It only appropriate that I named it after our departed friend, Marie Philips, or as we new her Miss Digga.
Every so often when  writing records everything just sits in place, every part speaks to the other with out too much guidance/interference from the producer and the arrangement seems to set itself 98288 was one of those records – it simply just ‘happened’ Its not exactly the most complicated record in the world but, I suppose at 6.20 am in a dark room with 300 other people – who cares!”

Here we are. After the great success of our fourth release (Danton Eeprom’s Face Control), we wanted to find
something very special for your ears. First of all, we need to tell you about the story of this record. A few months ago, in the London-based “Bancal Bancal” recording studio, Ivan Smagghe and Danton Eeprom have chosen the moniker of “La Horse” to produce tracks together. After their acclaimed remix on KilltheDj, this is their first proper Ep, out on Fondation.
“Cyanide and happiness” is a baroque tune, somewhere between mutant house and psychedelic rock.
Strange voices, tortured guitars, pumpin’ bass, and silly organs are some of the creatures that you’ll meet during this spaced-out trip. It’s rough, hot and mental, reflecting Smagghe and Eeprom way of seeing music, free from codes and beyond genres. To make a long story short, be sure it’s gonna divide the critics and the audience, so take it or leave it : “Cyanide and happinness” is uncompromisingly unique.
On the flip, Danton Eeprom delivers a monster remix, based on his trademark vicious beats. In an obsessive
atmosphere, dark bells, echoes and haunted sounds are waiting for a fat bass coming straight from hell to take over.
Don’t hesitate, dive into Danton’s ivy world, a real poison dealer.