caswell: why do you go out at night to go to a party? you know, what is cpelling about a night? maybe it's just this optimistic thing inside me thinking, like, maybe tonight's the night that everybody just comes together and we just all experience nirvana. you know, maybe it's as simple as that. black coffee: any kind of problem i have, i just run to the music. romero: i always said that it's a very colorful palette that

came from chaos. rag: in bristol you can let your hair down and listen to amazing underground music played by people that just want to have a party. farrell: people getting their knickers in a twist about genre names and things like that. you know, what does that--what does that even mean, really? yeah, i--i don't know what dubstep is anymore. aughs] i'm not se. bashmore: well, a lot of the time i'd be playing in between dubstep djs so i'd have to get from 140 to deep house and then bring it back up for the next dj. that is how i dj in bristol.

pinch: well, i think a lot of producers in bristol are happy kind of working with each other because a lot of the time they're kind of friends. >> the whole landscape's changed. everything's so much more integrated now, and there's more cross-pollination between genres in nights, and it's a real revolution in bristol. [harmonica music pling] harvey: bristol is--is a great city to put events on. we're doing a 20/20 vision party with rag and obviously 20/20. rag: are you coming to 20/20 vision tonight [indistinct] my name's rag. i live in bristol. i run a number of parties here including just jack, which is a major house night here. i--i seem to always have a lot of numbers on my phone. yeah, just go in house. like, you'll like it. yeah, yeah, of course, you're on the guest list. and when something went wrong, i'd be like, "oh, let's throw in this person and that person," and it could be sorted

out. now the party happens. >> ♪ let's get down let's get down ♪ bashmore: i think the reality is a lot of electronic producers, they're not these party guys. they're essentially all dudes who have been stuck in their bedroom just making beats on their computer. farrell: you know, house music's, what, 25, 30 years old, but you can still have people who come along and sign up themselves within that genre. i think that's what matt has done. his success is maybe indicative of where--where bristol is at now. you know, he's making music that is only very, very, very loosely related to dubstep. i mean, it's--it's house music with a bit of bass. bashmore: there's a lot of spirit here. maybe that's part of--part of the sound here.

yeah, definitely people sharing ideas. this is a tune i made with a guy called brey. he just said, you know, "get that guitar out, you know, if you can play." i'm not really sure what this is, but it'sefinitely not house music. um... [music plays] rag: one thing i try and do is try and do as much as i can for any producer or dj wanting to come out of bristol, because i feel 's got a vibrant enough community ashown with the bass music scene and how the producers work together. [indistinct] we've been putting on claude von stroke for a while, and i have called him a couple of times, and he came down, he gave me a cd, i got in the car with claude... von stroke: and rag gave me a cd, and he's like, "these are all julio bashmore tracks,"

and i'm like, "ok." he's like, "no, i think you're going to like them," and it was one of the few times where i just took it straight to my room and i put it in and i listened to it, and i was like, "oh, this is really cool," and so we found matt, like, even before the gig, and he came down, and i played the tracks, and th we st, like, signed him up right away. bashmore: getting signed to dirtybird at the time just seemed ridiculous. i was only checking into my email once a week, and it'd be like just spam, spam, spam, and then you see "claude von stroke," and you read that he wants to sign one of your tracks. it's--i don't know--it's ptty crazy. rag: people who like house and disco are staying in the city cause people like futureboogie. they really put it on the map, um, european-wide and nationally, the fact that house and disco is--is

prevalent in--in the west country. nickolls: what brought us to this city was the music, really, to be honest. harvey: oh, you can't say that. nickolls: no, it's true, though. why else did we move here? harvey: i know, but [indistinct] if you say that. nickolls: but it's the truth. what was encouraging was that we felt there was a sort of hunger or an appetite for music generally in bristol. harvey: futureboogie, what is it, steve? nickolls: what is it? it--well, it's a lot of things, isn't it, really? harvey: it is. nickolls: it's--you know, it's a club night. it's a booking agency. it's a management company. uh, it's a record label. yeah, it's all of those-- harvey: that's quite a lot of things. nickolls: it's all of those things. yeah, it sounds like a lot, but it is quite a lot. rag: futureboogie setting up their record label with julio bashmore is absolutely perfect. harvey: he came in, he chatted with us, and when he left, we were ke--we were really buzzing about the whole ia of doing a label [indistinct] bashmore: we want to take house music to the next level in

bristol. we're t going anywhere, um, and we want to art a label. harvey: based here in bristol but with arms out reached over the world... or something. nickolls: i like that, though. it sounds good. >> ♪ ok, party people in the house ♪ farrell: yeah, peverelist, he's a bit of a--bit of a legend in my eyes. he's--he's done so much for the--the scene in bristol. he--he thinks about his music a lot, you know? he really does. he makes the kind of oddest dance floor bangers, but at 3:00 in the morning on the dance floor, it just seems to really make sense. peverelist: i've always kind of wanted to do my own thing rather than try and kind of get involved in something that already exists, and that's always something that i'm--i'm conscious of when i'm making

music, to kind of try and do something that's a bit different. i'll tell you what i remember about [indistinct] i remember we went to that--that free party in shropshire in the torrential rain with half a windscreen wiper at 8:00 in the morning listening to [indistinct] pinch: matt tripping his balls off, trying to get back at 8:00 in the morning, absolutely no petrol. still, made it back, didn't we? farrell: you know, i've got a lot of respect for what rob did. he--you know, he went to london, he heard this sound, and he was like, "you know, that-ristol's going to love this." pinch: i like uncompromising music. i think, you know,hat in this day and age there's a lot of, um, music out there that kind of panders to certain expectations, and, um, i like it when things just stand up on their own two feet and go [indistinct] rest of it peverelist: i've known pinch for--for yrs, and heas--he

was kind of real deeper into the--the kind of--that london dubstep thing than--than was initially. he was putting on nights, and people were coming down and getting involved in a real kind of underground level. farrell: he's worked tirelessly to establish, you know, not only dubstep in bristol but also, well, internationally, really, what, through--with tectonic and, you know, releases on other labels like planet mu and stuff like that. works very hard. very, very hard worker, mr. pinch. pinch: we're just going to [indistinct] now and going to get the, um, next tectonic cut. have you got all the files ready for tec 51? yeah, they're all loaded up. let's do those. i like the tactile nature of vinyl. i find it much more pleasurable to dj with. i like the idea that you c touch the actual music that you're

playing, you know, your fingers on the grooves. you can see it as it's playing through. you can watch for when the--you know, the breakdown's going to happen or--i don't know, it's just, everything about it i just prefer. peverelist: i was living up in north bristol. then a shop opened called rooted records literally just around the corner from where i lived. eventually a vacancy came up, and i managed to get a job there. appleblim: in my experience of--of rooted records, yeah, it's just the excitement of new releases coming out, they're all fighting over the rack and that kind of thing, you know? peverelist: i was following the underground garage thing quite a lot at that time. the very early dubstep kind of started growing, and more and more people started getting into it, and it did kind of catch the imagination of a few people who then kind of went home and started kind of creating their own music. farrell: when everyone was getting into dubstep, that was what was exciting about it, was the fact that it was something new but rooted in the kind of u.k. underground. peverelist: this kind of scene grew, and rooted became a hub for that.

the end of last year, unfortunately, kind of circumstances led to rooted's closure, which was kind of a big loss to the city. appleblim: when it shut, everyone was like, "man, i haven't been there in--in months," and it's like, well, yeah, exactly. you know, it's kind of like that's why these places have had to shu luckily, obviously, yo've got the--you know, the idle hands shop. it kind of cropped up in their place to kind of carry the flame on and make sure there's somewhere you can buy records in bristol, so i think that's a really important thing, you know? peverelis there's this area in bristol called stokes croft where chris has opened his--his shop, and it's definitely kind of like the--the place where things are happening in bristol at the moment. there's a lot of creativity, a lot of artists who live there and, um, musicians, certainly where historically all the--all the clubs have been in bristol, as well, so it's, like, kind of the--the place to be. farrell: [indistinct] is filed

under "groove," because obviously [indistinct] i saw that the other day. you can't get a staff these days. that's the problem. hyetal: i guess, idle hands, it's important that people have a record shop to go to and, uh, you know, develop a relationship with the people that work there and so--so they can recommend music to you, and, yeah, it's great that it's there. [music playing] bashmore: i see a lot of people collaborating in bristol. um, the first and last person i've really collaborated with was hyetal. he was maybe the first producer i heard who lives in bristol who was--who had similar influences to me. appleblim: i think the thing i enjoy about collaborating is the influence that the other people around me have on me, so the

creative process just starts rolling really, really quickly and easily, you know? al tourettes: we should start with a--ohh, it's hard to say, isn't it? whether those drones there could come in later... appleblim: yeah. al tourettes: because they're so melodic. maybe you could start with [indistinct] appleblim: start with those weird little pads, yeah, yeah. al tourettes: and the voice maybe, like the kind of...[hums] [indistinct] [music plays] [both laugh] pinch: one of the good things about bristol in general is there's a healthy sense of mutual support and people happy seeing each other doing well. rag: in bristol, when y've got a city of like,m, 600,000, 700,000 people, they want to come to someone they know who's [indistinct] something that people they know are involved with and the people they see, because the city's quite compact.

harvey: a lot of promoters do events together. we kind of all play each otr's nights. nickolls: and everyone's got support here for everyone, seems to be quite happy that everyone else is doing well. farrell: well, the thing with bristol is a lot of people know each other anyway because it's a relatively small city. there's--there's quite a bit going on, but it's all happening in quite a small area, and you'll end up bumping into people like 10 times a day on stokes croft and stuff because it's a bit of a--bit of a village atmosphere sometimes. peverelist: things change quickly in bristol, and, um, a lot of new producers are coming in, kind of new faces popping up with new ideas, and it really feels like people want to make things happen and get involved, whether they're kind of designers or musicians or djs or--or anything, you know, and

that's--that's a real positive vibe. ["on my mind" playing] homi: [indistinct singing]

robinson: ♪ i lost you i lost you make this feeling go away i got to i got to make you come back here to stay i lost you i lost you make this feeling go away i got to i got to make you come back here to stay like the sand hold the sea you must belong to me watch the stars kiss the sky

i have to make you mine i lost you i lost you make this feeling go away i got to i got to make you come back here to stay i lost you i lost you make this feeling go away i got to i got to make you come back here to stay ♪ ■ú o o @8@8@8

announcer: funding for the kcet "fine cut" series is generously provided by the bridges larson foundation.