Hello there. I’m Shawn Reynaldo, and welcome to First Floor, a weekly electronic music digest that includes news, my favorite new tracks and some of my thoughts on the issues affecting the larger scene / industry that surrounds the music. If you haven’t done so already, please consider subscribing to the newsletter by clicking the button below.

This interview—which has been edited for length and clarity—is part of the First Floor newsletter for Tuesday, September 22. If you’d like to read the rest of that edition, please click here.

Shawn Reynaldo: What prompted you to set this new website up?

Cisco Ferreria: It all started at the end of February. It was my last gig in Leeds, and Dave Bate, who is my partner in this, he was already spending a couple of weeks there and visiting his family. (He's from Portland.) I told him, “I'm playing in Leeds, come down, I'll put you on the guest list, etc.” My last gig was a great gig, everything was cool, and then he ended up staying in the same hotel as me, so we had breakfast together to catch up. COVID-19 and the virus were already all over the news, and we started discussing how it was pretty messed up situation and what was going to happen in the future. Were they going to cancel everything? We were already predicting that maybe gigs would not be happening.

Dave is a very a savvy computer programmer. He does work with a lot of startup companies in Silicon Valley, and he was like, “I think we could probably create a program where we can have a club environment, with like five different rooms where people can come and visit and we could be all streaming separately.” So it kind of all started from there.

Is it still just you two running the whole show?

We've got some other people involved, but the initial two were Dave and I. We have another partner from Portland, Tom Mitchell, who also worked with Dave at Renegade Rhythms. They're promoters, they bring people like Tony Humphries, Rick Wilhite, myself—they bring a lot of artists. We brought Tom in to help us curate some of the rooms because it's a big task. We knew we were going to start with five rooms, but it's become 10 rooms.

There's also another guy from Luxembourg called Chich, he's also a promoter, and then we have like a designer, A.Paul, helping us design the website; he’s from Portugal and runs a label called Naked Lunch. So there's a collective of five of us that are basically putting all of this together.

At the moment, is the project entirely self-funded?

Yes, completely. We are starting from scratch. We're not using services like Vimeo or YouTube. We’re basically building everything ourselves. From the payments system to how we're using the servers, we're building it from the ground up.

In the launch announcement, it said that the idea of the project was to run it like an underground project. Does that mean that you want to keep it independent? Would you take sponsorship money or investor capital?

Right now, we're just trying to get it off the ground. We don't want to start with some massive investment and huge DJs that are really popular already. I think that would be starting with too many high expectations. We want to build it from the ground up and just see how things progress over the first few months. If we're growing and investors or sponsorships start knocking on the door, of course we are going to be open to that. But at the moment, we're just starting and doing it all ourselves.

Can you tell me a bit about how the club works from a user experience perspective? I know there are 10 rooms, but what else can you tell me about how it works?

Well, if you look at most of the streams that people have been doing in the last five or six months, they're quite linear—it's just one room. You have to wait for the next DJ, it's on a platform like Facebook or Twitch or Mixcloud. You're using their program to access a stream, and we didn't want to go with that angle. We wanted to create an environment that’s completely separate from social media. So it's our own platform. People come in, and they feel like it's the club because we've got visuals in all the rooms. There's a color coordination in all the rooms, the black rooms, the blue room, etc. There are different themes in different rooms. There are different styles of music in each room. We're not just catering for one style of music. We're doing the best in house music, the best in techno music, the best electro music. So if you're an electronic music lover and you're like any of these three styles of music, you know, we've created a platform and also a club environment where there is always something there for you.

As a user, you come in, you pay your entrance fee like you would do in a club and then you just feel free to go in the rooms—any room you want to go. There's no “you have to stay in this room and you only can pay per room.” You pay the club entrance and you can move around watch any room you want for the minutes that you paid.

In technical terms, how is the audio quality of the streams?

We are going at 320 kbps. For streaming, that's basically as high as you can go—it's almost like the highest MP3 quality.

There’s a big launch lineup scheduled for this weekend, but what's the general schedule going to be like? Are there going to be new sets going up every day or is this strictly a weekend thing?

Again, going back to the club concept, when you go to a club it's usually Friday, Saturday, Sunday. So we definitely wanted to keep all the streaming, especially with the livestreaming that we're doing, on the weekend. It will start on Friday at 9:00 pm GMT, and then it goes non-stop until Sunday at midnight. If you wanted to stream the whole weekend, you could do it non-stop on our platform. And then what happens is the content stays there all the way until the following Friday. There’s going to be 50 to 60 hours of new content every weekend, so that's why we keep the content available during the week—so people can catch up.

So the club basically runs from Friday to Friday, and then we start all over again with a new curated week because there are different people doing nights every weekend. On one week we’ll have Hiroko Yamamura, myself, Sync 24, and then the next week could be DJ Hyperactive and Cari Lekebusch. Every week is always going to be different.

So are all the DJs basically broadcasting from their homes or studios or wherever else they elect to set up?

We've entirely left it up to them. For me, I'm in my studio, I've got my camera set up— this is the perfect environment for me. I'm in my own comfort zone. I have no technical issues on stage. I'm not going to the stage and finding out that the monitors aren’t working. This is one of the reasons why we did this, so DJs and producers can be comfortable at home. They don't need to go anywhere. We’re also giving them complete music control. We're not saying to them, “Okay, can you play a little bit softer this weekend because our whole lineup is going to be not so heavy?” It's just giving artists some control again, of their music and also their environment.

Will the sets be broadcast live or are they all prerecorded?

Well, it would be a logistical nightmare to try and get everyone broadcasting live, on time, on Friday and Saturday. So it's going to run about 50-50.

50% of the DJs are going to be streaming live, like Tony Humphries and maybe Ron Trent and some of the guys in the blue room. And then you're going to have some that are going to be prerecorded. So it's going to be a mixture, but ideally, as people realize that it's a safe, stable, reliable platform, the ratio will hopefully be more like 80% of people streaming live with only a few prerecorded sets.

Are all 10 rooms going to be starting simultaneously? Or are they going to be staggered over the course of the weekend?

Staggered over the course of the weekend. We're never going to start two videos at the same time. Also, you got artists from Europe, you've got artists from America and they’ll be coming on at different times. Later on, we’ll also be getting artists from Japan and other places.

At 9:00pm GMT, the club will start and then around three or four in the morning, it will be Friday night in the American time zones and they will be coming on. By the time it hits midday on Saturday (back in Europe), we’ll already have most of Friday archived. So people will log in on Saturday, maybe catch up on what they missed the night before, and then come Saturday eight, at 9:00pm the Saturday streams begin. And the same thing repeats all the way until Sunday at midnight. After that, it's just archives.

How long are the individual DJ sets?

This was something that Dave and I had a real long discussion about because we've been looking at a lot of streams that have been happening on social media. Watching people like Oscar Mulero or Ben Sims, some of them are only doing hour-long sets. It's the internet attention span we're talking about here. It's not the physical world where you can do four, five, six hours and still have people’s attention. So we didn't want DJs playing too long.

The minimum is going to be anywhere between one hour to two hours. And the maximum is going to be around about three to four hours. But of course, you have people like Tony Humphries, and when he plays live, you could be getting four, five, six hours depending on his mood.

When an artist’s set ends, will it immediately start looping, or does the room just go dark for a bit?

It will go directly into the archive. And in each room, after a few minutes of our system recalibrating, it will pop up in the player. But on the weekend, some rooms are going have four or five DJs. So the first DJ will play and then our system will recalibrate it and then it will be in the player. And then as soon as the second DJ plays in that room, their set will just come live. Let's say you're in a room, watching a video that was recorded earlier, but the next guy is coming on in half an hour. When that guy starts, the site will just interrupt your video and put the live feed on. And then after that second video is complete, the site recalibrates and now you've got two videos available in that room. By the end of the weekend, each room will have all of the recordings available on a list. But the rooms will never go dark—people can just be constantly watching.

If a user comes in the middle of the weekend, will there be some kind of on-screen indication of which sets are happening live?

If you go to the site, there's a schedule page and it tells you which DJs are playing and when.

The different rooms are all going to have a chat room function, right?

Correct. We put a chat room in each room.

Is that only going to be available during the initial broadcast? Or is the chat room just going to be running all week long?

It's active. If people are watching a live mix of Tony Humphries and they're in his room and they're chatting, as soon as Tony has finished his set, the chat is still open. Once we are officially online, the chat rooms will run in real time until eternity.

Are you planning to do any kind of moderation of the chat rooms?

Yes. There will be people moderating their rooms so they can interact with people. Of course, if the DJ is playing live, we don't want the DJ to constantly go to the computer. We don't want them to be interrupted. So they will have moderators for them in their rooms. 100%. This is really important.

I was also asking because, for instance, the Boiler Room chat room is notorious for having abusive language, harassment, misogyny, etc. Will someone be watching out for that stuff and kicking people out of the chat room?

Of course. But the other thing you have to realize is that Boiler Room is free. So what you're doing is you're attracting the whole world into the system. Of course there are going to be haters. There are going to be people that are just there just to cause trouble. They don't like gay people. They don't like Black people. They don't like whatever. But we are creating a platform where you have to pay to come into our system. We know that the people that pay to come into our system are going to be music lovers. Boiler Room is an open platform. It's open to people to come in and troll and leave all these nasty fucking comments. We are not that. We are a completely closed system. Everything that they're doing, we want to be the opposite. I think if people come and pay for the entrance into our club, I don't think we're going to get too many negative people.

If someone's being abusive or nasty, you're also going to have all of their personal information.

Totally. We've got the username, and after they log in, we'll know exactly where they are and we'll have their IP address. And once they get blocked, then they can not come back into the system.

Let's talk a bit about having to pay to get in. It's obviously the biggest difference between your platform and almost every other streaming platform out there. Can you just tell me a bit about how it works?

Well, it's a pay-per-minute system, PPM, which means you pay for minutes. We figured, if you're going to go into a normal club, and you're just a normal Joe Blow, you're going to go in around midnight and then come out around five in the morning. You're not going to spend more than five, six hours in a club. Usually that's the standard. So for the lowest ticket, you're going to get 300 minutes, which is five hours. For five euros, you can watch five hours of content and you have a timer that counts down to zero. You have to use them between the Friday and the following Friday. They cannot be used on the following week.

10 euros will give you 10 hours, and 20 euros gives you 20 hours. It's not like you pay one fee and then you can watch all the videos as much as you want for however long you want.

And there's no carry over? If you pay for six hours and only watch four, you lose the unwatched minutes the next Friday.

It’s like a normal club. When you go to a club like Fabric, can you buy a ticket and then try to come in two weeks later? It doesn't work. So with our site, you're coming for the week. Anytime this week, if you want to come in and watch, you pay, you use the PPM service and pay for as many minutes as you want. There is going to be a lot of archiving. There should always be at least between 60 to 70 hours worth of music that will be available to watch. If you're a real music lover and you want to watch everything, it's doable to watch it all in one week, but after the week is over, we reset the minutes and then we start all over again.

Do you reset the archive as well at the end of the week?

Yes, we'll reset some of the archive of course, but we have full control. We're going to play around with ideas and see what happens. The main thing is that when people log on, there are always going to be archives to watch.

But it sounds like you're planning to prioritize new content as much as possible, that the idea isn't that someone comes to the site and watches a set from nine months ago.

Exactly. Every week we'll be changing—different themes, different DJs.

With so many streaming DJ sets out there now, what makes you think that people are going to be going to be willing to pay to watch stuff on your site?

I think one of the biggest mistakes that happened when COVID-19 struck was that people just went to free streaming and it dug a hole for everyone. I think it devalued our music and it devalued our scene. I understand you need to give something back, but I think it basically wasn't good for the scene.

So I figure, if we create a platform that has quality and we're giving people 10 rooms—there is no site anywhere that has 10 rooms—I think people will pay, I really do. Also, you can see that soon Facebook is not going to be allowing any more DJ streams. They are going to put a complete stop on that because social media was not made for DJ streaming. The copyright police are out everywhere and Facebook knows that it can’t continue. I'm actually surprised they've gotten away with it for this long.

I think people will pay. Like anything, it will take a while to build, but people notice quality. If we were just offering garbage, like most of the streams out there, then of course we would just be lost amongst that crowd. But with the names that we have, and the people that are behind it, I think that our platform has some substance and some weight.

Hopefully people will come and test it out. We're not asking for a lot, like other paid streams that sometimes go up to 25, 30, 40 euros. We are trying to give something back to the scene. When people do pay us their money, the music gets paid for and the DJ gets paid. This is what's missing right now. DJs are in limbo because they're waiting for promoters to call them, and promoters are waiting for the politicians to allow everything to go ahead. It's a real mess at the moment. The only way we can do anything right now is to create something virtually on the internet. The internet is the only solution and streaming is the only way. So we have to monetize it somehow.

Since you guys are going to be earning revenue, are you going to be in turn paying the DJs?

That's the whole point. Every Friday, we’ll account for the revenue from the week prior, and it be distributed equally between all the rooms. Whatever the club makes (after we deduct our expenses and costs), it will be split, 70-30, in the rooms’ favor. So if we have a lot of revenue and we've got thousands of people watching us, that 70% is like a proper fee. If we're getting 5,000 viewers or 10,000 viewers or 20,000 viewers, each one paying five euros, 10 euros or 20 euros—you can do the math. It should be enough to keep these DJs really happy.

If you invite an artist to perform, and they say, “Oh yeah, I'd love to do it, but I need a guaranteed fee,” how do you respond?

We explain to them that there is a fee, and it will be paid at the end of the week, but we cannot pay you in advance. This system is not the old system. You're talking about an old system that happened before the pandemic. Once they understand our system, then it's all good. It's not like you're not going to get paid, and once people get used to it, they'll know that it's all about hyping that weekend, getting it on social media and promoting it so their public knows.

It's about getting your crowd involved. Everyone can pay five euros. There are festivals and clubs in Ibiza that cost just ridiculous amounts of money. And when you go inside, then it's just a ridiculous amount of money for drinks. It can be very, very expensive to go out in the real world. With techno-club, you could just be at home. You could be with your friends, you can all chip in—everyone could put a euro in—and there you go. You can all have a party at a very low cost. I think it's very reasonable.

Is there going to be any kind of tipping functionality where people watching can donate directly to the artists or the website?

No. You pay a club entrance fee and that's it. We're not going to ask for anything else. It's just like a normal club. You pay your entrance fee, you come in and you enjoy the music for however long you want to watch it.

I want to ask you about licensing. The initial launch announcement said that all the music was going to be licensed. How is that possible?

When Dave and I started this, the most important thing for us was the licensing. We looked, we searched, and basically the license that we had to pay for was called ICE, which covers Europe. GEMA, MCPS, PRS—all the European music societies, they’re all covered under the ICE license for streaming. There are all these categories in ICE, and our category was, yes, we are a streaming platform, but you cannot download. You can not rewind the video in real time. Once you click play, you're watching us in real time. So because we fit in a certain category, we paid for the license and we got approved.

Then we had to go through the American license and there it's based on a completely different system than ICE. It’s based on how many people are viewing and for how long they view your content. So the American license is completely different, and we’re paying ASCAP, BMI, SESAC and SoundExchange along with ICE.

So, in terms of functionality, people aren't going to be able to pause or rewind?

Exactly, but only for the livestreams. Once a set is finished, then you can go back and watch the archive. You can rewind, go forward and do whatever you want with the archive. That's not a problem.

Going back to the licensing issue, are you requiring all DJs to submit full tracklists?

Yes. Every DJ that's submitting a mix, we are insisting on a playlist. And so far, every DJ that we’ve had in one of our rooms has submitted a playlist, which is then submitted to ICE. It's just like a radio station, like if you are going to play a track on Radio 1 or whatever. You need to have a playlist. It's important.

So you guys don't have any kind of track ID software that will automatically be running and collecting song information?

Not yet, but we most probably will at some point.

For the prerecorded sets, will any tracklists be displayed while a set is being broadcast?

Not in the beginning. We'll look into that later, but for now, we're not obligated to do that. As long as we submit a playlist to ICE and to the other music licensing societies, that's all they want. For now, we just want people just to hear the music, but in a later update, we might include that.

Then I assume there won't be any buy links being displayed anywhere?

No. But any DJs that are curating a week, they can go in the chat room and say, “Hi guys, if you'd like some of this music, go and visit their Bandcamp page.” They are free to do that, but we're not going to have a link to say, “Hey guys, buy this track, here's the link,” and have it go directly to Beatport or iTunes. Maybe later, you never know, but that's not an option right now.

What happens if a DJ, after performing their set, says, “I don't share my tracklists. I'm a digger. These are my secret weapons.” What do you do in that scenario?

We've already had that scenario with a lot of people, but we've explained to them that the reason why is because it's a licensed site. Their concern is that they don't want people knowing what they play, but at the end of the day, they're also pissed off that their music they’re playing isn’t properly being paid for. So we're trying to convince them that if you give us the playlist, just know that for all your favorite tracks you’ve played, the artist will get paid because we will be licensed. Once we explain that, most of them said, “Yep, no problem. We will give you the playlist because the playlist is only going to the license.”

When it comes to electronic music, a lot of it is not properly registered with the performing rights organizations. It varies from label the label, but it’s especially bad with smaller, independent labels, not to mention white labels, bootleg remixes and stuff like that. And a lot of these rights organizations don't really have a big incentive to improve that situation because these artists and labels are small potatoes for them. It's not a lot of money, so they don't really care. So, knowing that even when music is reported properly, a lot of revenue ends up not going to going to the people whose music is actually getting played, do you have any intention to do any other kind of revenue sharing with the artists whose music is being played? Like maybe you take a percentage of what people are paying at the door and you pay that directly to people whose music is getting played, or are you just leaving it up to the licensing regime?

We have to leave it up to the licensing because if you're an artist and you make a track, you have to get it registered. If you don't get it registered, that's your fault for not getting it registered. It’s a big problem that a lot of this music is not registered, but it's very easy to register. You just go to MCPS, you put your tracks on and that's it, you're registered. But a lot of DJs are either lazy or just don't have the know-how, and that is why a lot of this music is not registered and not tracked. It's down to the artist really.

Speaking of artists, I want to ask about curation. The launch this weekend has something like 25 different artists. Are you planning to have that that many artists—10 rooms worth of content—every weekend?

You bet your bottom dollar. We're almost going to be like a festival every weekend. The idea is that people know that every weekend, they can come to a place where they will find their favorite music and their favorite artists and it's non-stop. It won't be like we're just going to do a stream on Tuesday, and then we're going to do another one in three weeks’ time on the Wednesday. We are going to do every weekend, and it’s going to be something different with new artists.

Now that we're getting some attention, people are sending us emails—DJs that I haven't heard from in years—and they want to get on board. They want to support. So it's going to be great. It's needed in a time like this now. And Facebook, that's not going to be possible anymore.

And here's the other thing—let's say in 2021, the year is still canceled. There are still no gigs. Fine. We’ll have a whole year to build up the site. But let's say in 2022, everything goes back to normal, they start easing up social distancing, venues are allowed to open up again, and we're back to good numbers. Even if that happens, we can still use the techno-club platform because now I can now go to a club, set up my cameras, and just before I play, I go online, and people will be able to see that in real time, all around the world. How amazing is that?

So who is actually doing the booking?

We’re not doing regular bookings. What we're doing is I reached out to each and every one of these people personally; I haven't sent them a message, I haven't sent them an email. I've called them. I wanted them to hear my voice. Everyone hosting a room has been approached personally, and then we're giving them the freedom to do whatever they want in their rooms. We're not having any involvement.

So when you say “these people,” do you mean all of the artists listed on the residents page of the site?

Exactly. All the residents that have their rooms on the weekends, it's up to them who they invite and how long they play. It's their concept. We want them to create and build their own nights and do what they're trying to do. I didn't want to be one of those promoters that says, “Do me a favor, don't play like this,” or, “Can you play a little bit like that?” That's soul destroying and you're killing the art by doing that. You have to allow these artists to completely be free.

This is the problem that happened in the real world before this, before the bubble burst, and now we're back to a reset moment. There's no scene, there are no festivals, there's no nothing. So we can start now again with something like this. And we can give the artists the freedom that they had 30 years ago, you know, before mainstream came in and took over and it became more like an “industry.” When this scene started many years ago, it was very small, it almost like a word-of-mouth scene. Who's to say that we can't do that again, but in the virtual world?

I counted and there are 45 residents listed on the site. How frequently are these people going to be given a room?

Some of them are once a month. Some of them are once every two months. There is a lot of space that you can fill with four weekends in a month, and we've also opened up the Sunday as well. So more residents are coming. We really want it to be a home for a lot of people. We don’t want to just have like eight or nine residents and that's it; that wouldn’t be fair. We have to give a lot of other people an opportunity as well.

Looking over like the lineup for this weekend, and also the residents that you have lined up as well, most of the artists tend to be more veteran names, and it’s slanted towards techno, house and electro. Do you do you anticipate the lineups broadening at any point, whether that's other styles of music, younger artists, more queer artists, artists that reside outside of Europe and North America, etc.?

In the beginning, I approached so many people. I approached a lot of these younger-generation DJs and guess what? They all said no. They said, “Cisco, we're not interested, and we don't want to be interested. Thank you.” Or, “Cisco, what's the fee?” Or “Cisco, can you speak to my manager or the agent?,” and then when we speak to the agent or the manager, it's the same thing. It's a brick wall. They only want money. They didn't see the concept. So we approached a lot of people, and the only way I see it is we have to get this started. As soon as we get this started, then they will be knocking again on the door and the door will be open.

There's definitely going to be room for everyone in techno-club, but unfortunately, a lot of them did say that at the beginning. What can you do? I can't force them to come on. We have to wait, launch the site and hopefully they will be knocking later.

Stylistically, would you be open someone playing dubstep, jungle or some sort of weird experimental music?

No, not at the beginning. We're trying to create a scene for the origins of this music. It all started from house music, it started from electro music and it started from techno music. So that's where we're focusing our platform. We’re going back to basics. But of course, later on, who knows? This platform could work for drum & bass. This platform could work for other styles of music. But at the moment, we want to start this as an underground concept with these three genres.

Let's just see how we can build this. And if this works, then it will show that the system could also work for other styles of music. Who knows, maybe we will have another 10 rooms. If this really works and snowballs and people really love it, we probably will open another 10 rooms. And yeah, there could be one for drum & bass. There could be one for jungle. There could be one for other types of music. Why not? That's the whole point, but we really need to start with just a smaller limited amount of rooms.

I want to ask about the visual aspect, just because it’s one thing that people complain about a lot when it comes to DJ livestreams, especially when it’s just an artist by themselves in an empty room. It can be a little bland to watch. Are there any plans to add a visual component?

If you look in the rooms, each room has background visuals. Behind the player, there are visuals in the black room that are more black color-orientated, and the red room has red visuals that are going on and we've got some moving imagery behind the video. So there's something to look at. We know when you go to a club, each room has some type of visuals, so on our site, in the background of each room, there are some visuals there.

In the actual video itself of the DJ, some have visuals, some don't. Some said, “No, I don't want visuals. I just want people to see me. It's about the music. I don't want them to be distracted by all these visuals. I want them to see me playing and that's it.” So we have to respect their decision if that's what they want. But then we have some other DJs that have some really nice, amazing visuals, and they've got some good VJs doing some really cool visuals as they’re recording their sets.

Later on, maybe we will have an option where if people want to activate visuals, they just click a button. You will have different themes that you can choose, and it will be layered on top of the video. These things will come later. Obviously we just need to get it rolling first.

Where do you hope this project will go in the months and years ahead?

I hope that it will be similar to when SoundCloud first started. People weren’t really too sure. It was invite-only, and not everyone could get in and log into SoundCloud. Now look at SoundCloud, it's huge. Everyone has a beginning, and our beginning is a time now where this pandemic has created a situation where I have no gigs, and probably next year I’ll have no gigs. We have to create something that in the future, when we look back, we can think, “Yeah, that was a great thing to do at that time.”

At this time, there are not that many streaming sites that cater strictly to our music. Yes, you have got Twitch and you've got all these other companies that are great. They're doing amazing stuff, but it's all styles of music that they're covering. We just want to create something that's for our music scene—the techno crowd, the house crowd, the electro crowd—so that they have a home and they can go and watch their favorite artists every week nonstop.

It's about the music. People love music, people miss going to clubs, people miss seeing their favorite DJs—well, here you are. You can now see The Advent in his studio and I have all my equipment, so I can do the best live show that I always wanted to do. Before, when I was doing a live show, I had to dismantle all my synthesizers, take them on the plane, get on the plane. That's all gone now. I don't need to get on a flight. This is good for the environment. We're not polluting the air. We're not having to hire a sound guy, hire security, pay for a venue license. We are doing this virtually. It's a platform for DJs, by DJs. It’s not run by the corporations or the industry people that have no interest in the music. They're only interested in the money. We're not interested in that. All we need to do is just make sure that the people come and enjoy the music, because it's all about the music at the end of the day.

techno-club.net is online now, and the site’s first transmission kicks off this Friday, September 25 at 9:00pm GMT.

If you’d like to return to the rest of this week’s First Floor newsletter, you can find that here.