Broken & Uneven launch in London

Is there an overall concept or philosophy behind Broken & Uneven? Like lots of other people I think, over many years of listening to electronic music (or otherwise), there have been phases where broadly speaking I would find myself focussing on a genre or sound, for a sustained period of time, which would then evolve into something else. I'm sure that's a common listening trajectory, but what I have found is that once I have been introduced to something I am into, I always maintain a level of interest in it, even if it is no longer what I am most exposed to at the time—a sort of hoarding really. So I have a genuine love of a lot of different stuff and I really wanted the diversity of Broken & Uneven to reflect that. I'm very lucky to be doing something professionally that I enjoy, so I also wanted to make the most of that. Do you find people are especially open-minded to eclecticism these days? Absolutely. The effect that the internet has had on our music-buying habits has been well-documented, but for me personally the most fascinating aspect of it all is the idea that because it is now basically free to listen to (though not necessarily "own") just about anything, there is an increased appetite for experimentation; I love the idea that a Deep Medi fanboy might check out a Dial Records comp because there's a free stream of it somewhere. It is of course entirely possible, however, that that sort of thing only happens in my head...I hope not. In the press release you called the series "parties for a nightclub that doesn't exist." Obviously the TBA venue phenomenon is a defining feature of London's nightlife these days. What's your feeling on it? What are its main benefits and drawbacks? My background is nightclubs and I believe from experience that people can develop a relationship with a club which makes the space itself as important as the nights that it puts on or the DJs that play. I'm not sure that would be possible, at least not in the same way, with a warehouse (that can only legally host up to 15 events a year). TBA therefore immediately removes a feature of the night that may have influenced the decision to go or not. Of course the flip side to that is the potential excitement of an unknown location or more likely the promise of somewhere suitably licentious, which let's face it, is the Holy Grail for many... What was your cue to move on from We Fear Silence? I set up We Fear Silence just over three years ago, straight after The End closed and it was the first time I had promoted without the safety net of an established brand. It was really hard work to be honest, especially as our ethos of eclecticism was virtually unheard of for an independent promoter—most promoters were and still are (though increasingly less so now) genre-specific. The eventual move to become Cable's in-house Saturday night residency made sense for all involved but having programmed Fridays and Saturdays at The End (Cable is a similar size) for many years prior to that, it ultimately began to feel like re-treading old ground for me, so I felt it was time for a change. I am really excited about some of the new things I am working on and some of them simply would not have been possible without the option to consider alternative ways of doing things. What do you miss most about The End? Having that "special relationship" with a venue that I alluded to before, but not in a Cameron/Obama way. It would be more of a Sven/Richie "dancing"-in-that-freaky-YouTube-video kinda way...