Skranglejul with Mark E

Mark E | Skranglejazz DJs

Away from the gluttonous consumption of the christmas dinner table and the awkward family engagements where an embrace always lasts that uncomfortable second too long, comes a barely-audible burrr from Oslo’s beating heart. It calls to you like a siren’s song, a large flickering arrow lighting your exit; offering you a way out from the mundane conversation, the opulent display of hyperbolic consumerism and the tepid versions of the pseudo happiness that every christmas brings. 

MC Kaman’s christmas tree flickers with its last breath under the strain of our basement sound system where Øyvind Morken has taken root to kicked off our annual Romjulsfestivalen.

In a new tradition with Norwegian media outlet Subjekt, Jæger bring you a week-long program to abscond from the stale traditions of the holiday season and lose yourself in the welcomed embrace of a Funktion One system and a playlist selected by SkrangleJazz and Mark E.

Mark E  has made a name for himself  by slowing things down. The Wolverhampton-reared, DJ/producer has had a slow, steady ascension to his status as one of the genre’s most natural talents. Mark E’s love affair with electronic dance music began early, as an adolescent when rave culture swept through England. Diving headfirst into the surprisingly fertile Wolverhampton scene, tasting house at the hands of legends like John Kelly and Frankie Knuckles, he moved to Birmingham for University where he got into a larger club scene.

Mark’s first forays into production were, naturally, edits warm, understated, and interestingly mellow, with tempos hovering somewhere between 105 and 115 BPM. (Or thereabouts.) Once “Scared,” a ten-minute rework of Womack & Womack’s “Baby, I’m Scared Of You,” found the ears of influential selectors, and more importantly, BBC radio DJ Giles Peterson, it was on, and a solid string of memorable, vinyl-only releases were introduced to the world at large. Mark went beyond edits and into original production, releasing on labels like Running BackGolf ChannelESP & Futureboogie, plus starting his own label, ME RC. He honed a sound that was uniquely blue collar and utilitarian classic, almost industrial house, with a tinge of disco warmth. A stellar remix for Matthew Dear’s “Little People (Black City)” introduced him to the Ghostly/Spectral fold, who released his first two albums, which proved to be as defining as anything he had done, a symbol of his unique spot in the global club music landscape, sounding simultaneously familiar and unique unlike many others.

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