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(ripped from tribe)
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FUKHOUSE
TORONTO TECHNO MOVER IAN GUTHRIE FACES
FAST-FRAGMENTING CLUB SCENE
BY BENJAMIN BOLES
FUKHOUSE featuring DJs WOODY MCBRIDE, MARCO BAILEY, MORGAN PAGE (live), IAN
GUTHRIE, THE DUKES and METTLE at System Soundbar (117 Peter), Friday (July 26). $20 before 2am.
www.fukhouse.ca
TORONTO'S TECHNO SCENE IS IN A CURIOUS POSITION. On the one hand, local labels like Dumb-Unit and
Killer are starting to get international recognition. The explosion of interest now goes beyond Montreal's
community of producers, several of whom, like Jeff Milligan and Mike Shannon, are Toronto expats and
veterans of the local scene. On the other, the vultures are circling again, predicting the end of the local
scene because of the scarcity of large-scale techno parties, big-ticket events that fail to draw a decent
crowd, iDance 2002's cancellation and the ongoing fragmentation of the dance music audience in general.
DJ and promoter Ian Guthrie has been at the centre of the Toronto techno community for almost a
decade now, and has seen the scene redefine itself so many times that he knows to take the latest round
of grumbling in stride.
"Usually what that vibe signifies is that there's going to be some kind of change, and that's happening,"
Guthrie explains over pints. "The Toronto scene has fragmented into a lot of different little divisions.
"There's the younger techno crowd, who are represented by the Dukes (see sidebar) and who are into
the jackhammer sound. There are the chin-strokers, who would only go to the most austere techno
nights, and then there are the other folks, like Jeff Milligan, who get into experimental stuff that's a bit
more dance-floor-friendly.
"One of the things we're hoping for with Fukhouse is that it's going to be something that all of these
people will be interested in, as well as people who are into house music."
The name Fukhouse should ring a bell for anyone in the local dance music scene. The now-legendary
original parties were a series of monthly events at Industry that brought together a wider spectrum of
people than the underground had seen partying together before.
Guthrie himself had already built a substantial following as a promoter through his involvement as one of
the organizers of the seminal Trancendance parties and magazine.
Trancendance emerged just as the rave scene had grown large enough to support a serious techno
party. These events were an antidote to the fun-fur and glowstick giddiness of the mainstream raves --
dark, experimental events that somehow drew thousands to dance in pitch-black warehouses to the
music of artists like Autechre and Ritchie Hawtin.
Industry opened just as increased police attention meant it was too difficult to throw traditional
warehouse parties. For the years Industry was open, the club was a meeting ground for people from the
after-hours house scene, older members of the rave community, curious clubbers and a techno crowd
that was increasingly trying to define itself as distinct from raves.
When Industry closed, much of the original techno crowd retreated into smaller underground scenes.
While newer promoters have tried to do one-off events in large venues, most don't have the history or
network to get the crowds out.
Seeing a void to fill and getting a persuasive offer from System Soundbar has convinced Guthrie to
revive Fukhouse at a big all-night dance club.
Some of the techno elite don't look at System Soundbar as their kind of club. Although it is the obvious
heir to Industry's crown, many see the more mainstream crowd as representing the cheesier tendencies of
late-night clubbing.
"The funny thing is, I had the exact same kind of conversations with people before deciding to do
Fukhouse at Industry," Guthrie insists. "People would say, "Are you sure you want to do it there? Your
nights are on a different kind of level and are for a different clique.' Now everyone remembers those
nights at Industry as legendary parties.
"I went to System a few months ago and I saw a really well-run club, heard an incredible sound system
and saw a club that I could do something with in terms of lighting and mood. They were willing to extend
complete creative control over DJs, decor and schedule, just like at Industry.
"Smaller, more exclusive events have a certain energy to them and are usually really good in terms of
musical integrity, but you don't get to lose your shit on the dance floor, because most of the other
people are drinking their imported beer and scratching their chins."
The question remains, though, whether the local scene has outgrown its hedonistic roots. The glory
days when no one knew what to expect next are long gone, but years of trying to legitimize techno as
serious academic music has intimidated new audiences and alienated those who just want to dance.
While System Soundbar isn't exactly known as a techno club, neither was Industry. And if new people
aren't being brought into the music, where will the next generation of producers and DJs come from
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. Unfortunately I gotta work So I can't make it 
