London’s longest-running re-edit imprint has founders Dave Jarvis and Diesel at the controls. The Moton Records Inc series launched back in 1996, and – alongside edit imprints from the Idjut Boys, Harvey, and others – this label has been instrumental in shaping the leftfield Disco & Balearic re-edit scene. Still going strong after 46 releases, dropping dope new edits of essential gems and oddities with these veteran scenesters offering up essential tweaks here and there. This label consistently delivers late night boogie down antics and high-quality merchandise the way that god intended.
With a DJ career going back over 25 years, Marc Roberts’ sound reflects a wide range of influences and his love for all things house, techno, jazz, disco, and afro. Whether it’s warming up for some of the biggest names in electronic music, or headlining shows himself, he’s earned himself a reputation as a solid selector playing events globally. Marc Roberts curates award winning line ups for festivals and clubs worldwide, including a decade with alpine behemoth Snowbombing. Having relocated to South East Asia in 2016, he set up the Pantai People imprint during the pandemic which has released a number of very well received 12”s.
This month Moton Records enlists the expertise of Bali’s best, to take listeners on a global jaunt of musical exploration. From London to Rio via New York, and road tested on the dance floors and beaches of Bali, Marc serves up four Bintang fuelled edits, effortlessly gravitating from low-slung Balearica to hi-octane funk with a dash of Brazilian disco and pop thrown in for good measure. Marc Roberts slices and splices four beautiful cuts that that fit perfectly into the highly collectable and off centre Moton Records universe.
We had a talk with Marc Roberts around his life in Bali, his new EP, and more… Enjoy!
WWD: Thank for taking the time to us Marc. Where are you today and how are you spending your time?
By my pool, time-stretching loops on my laptop.
WWD: How long have you been out in Bali? What took you there initially?
6 years almost. I flew over here for a gig in June 2016, Brexit happened when I came back, and I moved in the August. Nuff said.
WWD: What is it you love about the island? What keeps you there?
The pace of life but most importantly the locals.
WWD: How is the island post covid? Is the club and bar scene on its way to recovery?
The scene never really shut down totally. There was a skeleton schedule of events. People here really bought into the vaccination program which enabled us as an island to get some form of normality up and running pretty quick. But the effect on the economy on the island has been devastating. Will take a few years to recover from this. Whole areas of the island are like ghost towns. Good to see international acts returning though.
WWD: Where is it your from exactly in the UK?
Originally from Sunderland. The general line of conversation with taxi drivers in Asia – when they realize you’re English – is to ask which team you support. Thanks to Netflix I always get this pained, knowing look when I tell them.
WWD: Did you start Djing in your teens? What sort of stuff did you play?
I was on a skiing holiday in late 88 in Austria and a friend of the family was DJing in the bar and let me have a go and I was hooked. I’d always been into synth laden electronic music, so house and techno were a natural progression.
WWD: Who are the artists you were into at that time?
So many! I remember getting the classic 10 Records Detroit double vinyl, An NY Garage compilation on Republic and some of the Jackmaster comps out of Chicago. Deep Heat compilations. All that stuff. As a skint teenager I couldn’t be buying 12” imports every week. But it all got me started mixing.
WWD: What was the club scene like there back then where you’re from?
First started doing clubs properly in 92. There was a place called Stella’s I used to play at in Durham – where I’d moved to – but it had gone pretty tough by then. A lot of R&S records stuff and the hardcore rave, proto jungle breakbeat stuff. Ravey as fuck, but immensely fun days.
WWD: Over the years you have had many roles within the music industry. As a DJ, where did your career take you?
Pretty much every continent apart from North America. Working to tick that off the list in the next year. Played in some amazing places and met some incredible people.
WWD: You’ve been a prolific promoter of parties over the years. Are you still active as a promoter? Did you ever work for Fabric with your brother?
I wouldn’t say promoter as I’m spending other people’s money being a booker, but in terms of promoting music and artists I suppose that’s a key part of the bookers job. Got booked a few times to play Fabric, but ‘The Disco’ was definitely his domain. Was a great place to check out new acts, and he was always giving me the heads up if there was someone I should check out. Looking back, it’s incredible how many artists and whole scenes thrived in that eco system he played such a strong role in. He did pretty good I think.
WWD: You work for an international agency. What can you tell us about your day job?
FMLY Asia is a partnership I started with FMLY Agency. I cover from India across to New Zealand. It’s great to work with artists and play a part in their growth. Very satisfying indeed. It’s also great to work in such diverse cultures across the territory.
WWD: You’ve been part of the team at Snowbombing, Mayrhofen for some time. How did you get involved? What has your role been there?
Via the person who’d got me started DJing ironically. He got me in to be a stage manager at the same ski resort for Snowbombing in 2005, and I ended up booking their line up for best part of a decade before I moved here. Just one of those random times in life that things so full circle. It was a pretty solid innings, but things change, and it was the right time for someone else to step up to the plate.
WWD: Pantai People when did the label begin? What release have you had thus far?
Always wanted to do a label. Started with numerous beers in Bali with Spencer from Prime Direct Distribution and went from there. My mate Austin Ato sent me some edits and I thought lets bang this out on vinyl. I’ve released a couple of edits EP’s as well.
WWD: How are you managing with the current vinyl delay situation? Is this affecting the way you are planning releases?
It’s a pain in the arse, but just gotta go with the flow. I’m mainly doing this for the love so I’m not financially dependent on having some ruthless schedule in place. Quite like keeping it organic
WWD: How did you hook up with Moton?
I asked Sharon from Shine PR (who sends me some incredible promos) who she thought they’d be suitable for, and she sent them to Dave. Him and Diesel came back super keen straight away. I was over in London a month later, so met up for a pint with Dave and did the deal. They’re old school, no bullshit so that’s how I like it.
WWD: Have you been a fan of the label over the years?
Hell yeah. Why it was really mad when they came back to me and said they wanted to release them
WWD: Have you got a fave Moton you can highlight?
So many goodies. But the last one was a particular fave from The Patchouli Brothers .‘Project Soul’ never fails to put a smile on my face.
WWD: Why do you think they’ve been going strong for so long?
Quality not quantity. When Moton do a release people are interested straight away. Again, like I said about Pantai People it’s organic. Way too much music is released for the wrong reasons.
WWD: Talk us through your new EP. I’d love to know a little about the tracks.
‘4 Star Max’ is a Brazilian pop song I heard in a bar at sunset on tour in Brazil about 10 years ago. I played it out a lot in Bali and people always asked me what I was. That was more of a functional arrangement-based edit. The other Brazilian track ‘Maia Amor’ I did a lot more work on in terms of sound and brought the tempo up. ‘UNO’ is just one of those Balearic numbers that needed a more contemporary arrangement but not too much variation from what is beautiful. ‘King of Nice Days’ has a real story to the lyric, and there’s some insane breaks in there that needed extending and moved around a bit for a more modern dancefloor. The original is actually my mate Kyle’s Dad. Again, funny how these things come around!
WWD: What other material are you working on at the moment as a producer?
I think I started about 60 tracks during pandemic, but I’m still honing my craft. I’ll only put out some original stuff if I’m 100% certain it will connect. Have loads of edits I’ve done for playing out and off the back of the Moton promo had a lot of requests – so let’s see. I’d like to do some remixes next.
WWD: What have you got planned next on the label?
I have a very nice EP coming from a talented young French artist called Adrien Calvet. Just waiting for a remix from a very special lady and then it’s off to press.
If we find ourselves in Bali where is the place to go?
Ooooh! Ubud for some jungle life. Sidemen is stunning up in the rice fields with incredible views of Mount Agung. For the beach it’s Bingin or Candidasa for me. For parties too much to choose from when Bali is firing on full gas.
WWD: What do you like to do when you’re not working?
Sleep. Or Wednesday afternoon in the pub. That’s all I do apart from work.
WWD: What keeps you grounded?
My daughter. I’ve been a single parent for 10 years. It’s an incredibly tough but massively rewarding role.
WWD: If you had to choose, would you choose the buzz of Djing up on a snow-peaked mountain as the sun starts to come down, or on a tropical beach at sunset on the stunning island of Bali?
We have a saying here: ‘Every sunset is different…’ It’s a hard life… 😉
Marc Roberts: Facebook // SoundCloud
Buy his latest release HERE