Since appearing as maverick acid house DJ in the late 80s, Weatherall has risen to become the UK’s most fascinatingly idiosyncratic DJ/producer. His skill at levitating a crowd to rare peaks of euphoria has been untouchable but, rather than take the Oakenfold-style Vegas route, Weatherall has never diverted from his raging musical passion; he’s more comfortable spinning a day’s vinyl haul in dingy London pubs than bat-signalling his ego across the skies from a laptop. Likewise, his uncompromising productions, especially after Primal Scream’s Screamadelica, have rarely failed to exhilarate or confound.
When he sets his mind to the kind of DJ activity he often avoids, Weatherall is likely to produce a blinder – such as his contribution to Ministry’s Masterpiece series, where DJs are given three CDs to air their obsessions. Reflecting the epic A Love From Outer Space nights he’s been holding since 2010 with Sean Johnson, Weatherall’s set sees a return to the steaming sonic gumbo which made his name around 20 years ago. Bass-drenched, crashingly percussive, wigged-out, spacey and rarely exceeding 120bpm, names range from Todd Terje to The Horrors.
After setting the scene with new project The Asphodells’ stratospheric version of AR Kane’s A Love From Outer Space (whose original closes the set and named the club), Weatherall spends the next three hours weaving one of the most headily incandescent bodies of electronic dance music encountered for years. He throws in his own remixes, including Grinderman’s Heathen Child and a much-sought rework of Primal Scream’s Uptown but, ultimately, each track becomes part of his undulating, behemoth tapestry. Even the word “masterpiece” seems slightly inadequate.