HinweiseLondon DJ/producer Jesse Rose has been involved with house music for more than half of his life: he began playing at parties and clubs in his early teens with Jamie Anderson, but he still thinks some of his peers got a head start. "14 isn't that young: you hear of US DJs playing parties when they are just 11," he laughs.
Jesse started his production career with a series of collaborations on the Dubsided label and his own imprint, Front Room, and it wasn't long before he, and other UK producers like Switch and Trevor Loveys, had developed an easily recognisable style. Like his contemporaries, Jesse, who at 28 is still young for someone who has made such a strong impression, makes jerky, angular grooves known as 'fidget house'. "Trevor is jazzier and Switch is more crossover - I'd say my style is more electronic," Jesse says.
Given his love of house music's electronic sound, it was no surprise that he hooked up with M.A.N.D.Y. from Get Physical. "I was playing a party at this year's WMC in Miami and I came on at 7am," Jesse recalls. "Patrick from M.A.N.D.Y. was there and he liked my set. They had been playing some of my productions and remixes too." Consequently, Jesse was asked to remix 'Vejer' by Riton vs Heidi for the label, and this year, he moved to Berlin, Get Physical's base, where he has a monthly residency at Panorama Bar. "I needed a change from London - I had been living there for 10 years and it's a hardcore place at the best of times. There's only so many clubs and after parties you can do and because I had played in Berlin quite a lot over the past six or seven years, I had already made good friends here," he explains. Although he had already hooked up with Get Physical, he was still surprised when they asked him to mix the third 'Body Language' CD. "Get Physcial is always looking for fresh ideas, but I was honoured that they asked me. They let me do what I wanted, so the mix isn't their typical sound," Jesse says.
'Body Language 3' sees Jesse condense a typical three-hour set into just over 70 minutes, with deep chords, trippy acid undercurrents and chopped up vocal samples from hip-hop - what he listens to at home - appearing in the shuffling, drummy grooves of releases on Made To Play, Classic and Dubsided. "Using hip-hop samples is part of a general attitude," he says. "If you listen to house music when you're making house music, that's when things go wrong," he says. "I did the mix using two turntables and a CD deck and it took me three weeks to do properly. Don't ask me why I didn't just do it on a computer - maybe I feel Djing should be involved, a performance, rather than just looking like someone checking their emails on a laptop," he laughs.
Jesse's own work also appears on the mix: there's his squlechy remix of Rekid's 'Next Stop Chicago' and the jerky groove of 'Didn't I' is released on Get Physical to accompany the mix. Meanwhile, the deep, hypnotic Radioslave version of Chelonis Jones' 'Dear In The Headlight' maintains the connection to the label. "I tried to include all aspects of what I play, from the dubby stuff to the whacked out material and then into some Detroit techno. I like to get a groove going and have some variety so it's not just a bass drum and a snare," Jesse explains. 'Body Language 3' doesn't stay in one place for too long: there's the minimalist acid of Tigerskin's '101 On The Run', Paul Woolford's huge 'Erotic Discourse' track and Aril Brikha's deep techno classic, 'Groove La Chord'. "I don't want to get too involved in the minimal sound because that's pretty much all what you hear in Berlin," Jesse says. "I'm one of the few house DJs that plays regularly here, but people in the Panorama Bar go crazy when they hear house music," he explains. "I decided to end the mix with 'Groove La Chord' because I started off playing Detroit and Chicago music, so what better way to end my first mix?" On 'Body Language 3', Jesse Rose speaks clearly to house music's global audience.

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