Panorama! Resident & Our House Magazine.
Nigel Moss got into the whole break-dance scene and started collecting records from an early age, around the same time as when the electro sound first broke through in 1983. He naturally progressed through the whole lifestyle of this new urban culture, that we now call hip hop. From the "body-poppin" and "breakin" trend came graffitti, and Nigel travelled the UK to get his "tag up" as a graffitti writer. Everything was the same old set-up. He would stay up all night on random railway tracks to paint all night long, get chased away by the Police, then, do it all again, night after night. This continued up until the summer of '88 when, for Nigel, all hell broke loose... Acid House had arrived !
He would frequent Manchester at weekends to buy rare colours of spray paint, records, tapes and clothes. Here, at Eastern Bloc, he heard new sounds that were fresh and exciting to him. At this time his graffitti crew were diluting fast. Most of his mates were older than him and the thought of getting pissed wet through just to paint a train or bridge, or getting 'nicked' by Police, didn't appeal to them anymore. Recreational drugs and warehouse partiessuddenly became more appealing to them. Nigel says "To be honest, I could see why".
The warehouse scene had exploded in the North of England and Nigel witnessed first hand the convoys of thousands of cars on the major motorways of the North West, all looking for this elusive venue. This whole illegal thing wasn't Nigel's bag though. Getting mudded up, avoiding undesirables, and running away from the law. "Shit, I might as well still be painting!" he says. It wasn't until the proper dedicated city venues such as Manchester's notorious club, The Hacienda, became aware of this trend, that Nigel, at the age of just 18, had a pivotal turning point in his life, and decided he wanted to be the DJ, not just the clubber.
After getting totally hooked on house music, Nigel got his first set of decks, still only 18 years old. He knew his musical preference was more of a vocal orientated sound, as well as that of a Chicago style, well, general American house and garage music really. The term 'garage' was named after Larry Levan's club 'Paradise Garage' in New York, and incidentallythe term 'house' came from the 'Warehouse Club' in Chicago. The house sound filtered off into genres such as 'hardcore' or 'Italian piano' etc. Having spent most of his Friday and Saturday nightsat The Hacienda, he had already been served with the very best house music this country had to offer, so his style had already been set. After years of practise and "jackin' it up" in his bedroom, Nigel started to get recognition and DJ gigs started to come in for him.
Fast forawrd to present day, Nigel, Nigski or Mossko as he is known to his friends can be found spinning at his bi-weekly residency at Blackpool's coolest pre-club venue, Bar 137, which he has held since early 2003, or his BLEEP! parties along with various guest slots. Nowadays, a typical set from Nigel will see him play anything from deep house, minimal, techno and of course what he's always been known for, his usual Chicago jackin' house, all crafted beautifully together to create one solid soundscape. Nigel is also a writer, contributer and record reviewer for a new online magazine which is totaly dedicated to house music and you can check out his blurb at www.ourhousemag.com
I'm now a very proud resident for Panorama!