As House Master Cam (HMC), he brought love and light in house music form to Adelaide, kickstarting one of the most vibrant scenes ever to grace Australia. It all started in 1988 with some of Cam’s earliest house record purchases like the Frankie Knuckles classics ‘Baby Wants To Ride’ and ‘Your Love’. Setting himself up with basic Roland equipment - the 909, 808 and 303 - Cam was soon making classics of his own. ‘Life Support Systems’ was his first release on burgeoning South Australian label Juice Records, which made waves in Australia’s smaller scene then truly came into its own once picked up by Belgium label, Music Man, soon becoming a European club hit.
Cam’s debut European tour in 1994 was a baptism of fire, playing alongside soon to be legendary acts like Laurent Garnier and Daft Punk, with his first ever audience on the Continent a modest 25 000 people at Germany’s Mayday Rave, one of the earliest and most reputed techno festivals in Europe. That tour also saw him play an inspiring set at E-Werk, an incredible German warehouse club which Cam describes as, “the Berghain before Berghain”. For that matter, several of Cam’s most popular releases such as ‘Marauder’ are still smashed out by the likes of Ben Klock and Marcel Dettman in Berghain proper to this day, making him one of the first and most long lived Aussies to make a splash in the parochial Berlin scene.
Returning from the European tour, Cam went on to create new label, Dirty House, a new home for a new direction of sound inspired by his travels which started with the releases ‘Phreakin’ and ‘Cum On’. “For some reason people really took to that sound. A lot of different people too - gay and straight… and through that we put on some amazing underground parties.” His face lights up when he thinks of those mid ‘90s parties, “they were amazing, they really were”.
1996’s ‘Marauder’ was to be Cam’s last release for some time, as he took an extended hiatus from the music business. Eventually the siren call of house music was too strong, however, and after playing a hugely successful one-off party to a supportive group of friends old and new, Cam realised DJing was what he was meant to do and returned to the scene as Late Night Tuff Guy. The inspired piece of production that would herald his return to form was, of course, ‘I Get Deeper’, one of the best loved and most played modern house records in the world.
Taking the plunge and returning to the global touring circuit was no easy decision for Cam, but it was one that truly paid off, climaxing with an emotional “homecoming” to Berghain and Panorama Bar as both HMC and LNTG respectively, one of the few artists to have ever played in both rooms under two aliases.
These days LNTG’s edits have earned him respect with disco lovers young and old, and his labels Reflector, Tuff Cut and Soul Cut an opportunity to remix his old classics as well as offering fresh meat for modern dance floors. “I don’t do digital anymore,” Cam explains, “because I feel like I’m cheating by doing that. Anyone can have a digital label, but to release a physical record is not easy in today’s music industry. And I applaud anyone that does that.”