Bookings/Contact: https://www.brendanclay.com/contact/

In the spirit of defecting from the much-maligned third-person bio approach: in short, I am a Sydney-based DJ who specialises in the sounds of deeper house and disco.  I take delight in playing a solid warm-up set and revel in the success of watching a room build around it.

Since making my club debut as a fresh-faced eighteen-year-old at 'Thursday Delights' at the Icebox—a popular trance and hard dance event of the time—I have been lucky enough to play right across Sydney, enjoying bookings at Sounds on Sunday, S*A*S*H, Chinese Laundry, Plastic, Café del Mar, The Burdekin and Candy's Apartment; as well as larger-scale events such as Big Day Out and Harbour Party NYE.

In the process, I've also been fortunate enough to support some of the leading names in dance music—both locally and from around the world—including LCD Soundsystem, Booka Shade, Subb-an, Chymera, Sonja Moonear, Luke Chable, Jasper James, YokoO, Kenny Glasgow, Darren Emerson, Mark Dynamix and Kid Kenobi, to name just a few.

I like to put on the promoter hat, too, hosting and playing at events of my own: 'Attic' being my main project.

Since its inception, the Attic brand has enjoyed success in its standalone parties—for which we've toured renowned house and disco artists, Fouk, Nachtbraker, Folamour and Laurence Guy, to name a few—as well as appearing all around Sydney for invitational takeovers, radio appearances, and exclusive showcase sets.

Away from the club dancefloor, you might also find me playing an extended-length set in a low-lit bar, exercising the deeper, more eclectic selections of my record box—lower, slower and groovy, just the way I like it!

For ten years, I was heavily involved with the Internet radio game, hosting successful programs, 'Friday Night Live' and 'The M Shift'; on Indiesoundz and NSB Radio networks, respectively.  The M Shift, which ran for six years, specialised in breaks, house and drum 'n' bass, and was regularly enjoyed by thousands of live listeners, downloaders, and Podcast-listeners alike.

As above, I pride myself on playing a good warm-up set—added again for emphasis!—and believe it to be somewhat of a lost art form in this current age.

I also don't mind getting in the studio occasionally, but that facet, for now, is still very much a work in progress!

Website: https://www.brendanclay.com/

Definition of a House Gangster, An Individual who is committed to House music for life, A House Gangster never quits House music, A House Gangster knows that this music is not a trend, it's a culture, This individual eats, breaths, lives HOUSE music Are you a HOUSE GANGSTER?
OSR - Old Skool Ravers "Keeping The Vibe Alive!" = U Know The Score : In the mid to late 1980s a wave of psychedelic and other electronic dance music, most notably acid house and Techno, emerged and caught on in the clubs, warehouses, and free-parties first in Manchester in the mid 80's and then later London . In many ways what would become known as the Rave scene, was influenced by the Northern Soul scene which throughout the late 1960s and through the 1970s and 80's had involved large groups of mainly working class kids dancing all night to rare US soul records while popping amphetamines. When Margaret Thatcher's policies in the late 70's lead to the closure of the UK's textile industry in the northwest, suddenly large mills and warehouses became empty and illegal parties were held in them. The first warehouse parties in Manchester were organised by the group The Stone Roses back in 1985, when to get around the licensing laws they would play a gig and book a line up of DJs under the disused arches of Piccadilly train station. These parties were then advertised as an all night video shoot, and the kids who bought tickets for £5 would have an ip piece sellotaped to the back as their fee for being extras in a video shoot, thus for several months the forces of law and order were kept at bay. Dance music was always prominent with big electro, Jazz Funk and early house tunes being played in a somewhat balearic mix alongside New Order, The Clash and The Smiths.House music caught on very quickly in the north and midlands from 1986 onwards, even being played in mainstream night clubs. In 1988 London sudden;y adopted this scene, and rebranded it, so records which a week earlier had been House Records, were suddenly Acid House and smiley badges and other marketing paraphernalia became involved.These early raves were called Acid House Parties. They were mainstream events that attracted thousands of people (up to 25,000[citation needed] instead of the 4,000 that came to earlier warehouse parties). Acid House parties were first re-branded "rave parties" in the media, during the summer of 1989 by Neil Andrew Megson during a television interview, however, the ambience of the rave was not fully formed until 28 May 1991. In the UK, in 1988–89, raves were similar to football matches in that they provided a setting for working-class unification, in a time with a union movement in decline and few jobs, and many of the attendees of raves were die-hard football fans.

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