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null037: MONOAK

Monoak might not have a release out yet but he’s impressed a few people with his deftly programmed drums and complimentary synth work with Rob Booth taking note and commissioning an Electronics Explorations mix earlier this summer, while Freerotation festival founder Steevio got hold of some demos and invited him to perform at the highly respected techno festival. There’s also a release signed to one of the festivals associated labels coming out later this year and finally Monoak will receive what we think is a highly deserved physical release.

If you caught our last Rinse show we premiered a 30 minute live set from the Dublin born producer which was a kind of reworking of his set at Freerotation this July just gone, it was originally intended to be a podcast here so today we’re able to present it as such alongside an interview with the rising producer to set out his story a bit better…


This mix you’ve done for null+void can you tell us a bit about it? How was it recorded and a bit about your track selection..it’s kind of like an abridged version of your Freerotation set right?

Yeah, I never got it together to record my freerotation set on the night and it was something that contained a good amount of new live-set material so I thought it would be worth re-recording for null+void. It contains all new stuff I had been working on for the gig itself. Its quite short because I didn’t want to repeat tracks that featured on the Electronic Explorations mix. Its hard to do completely new tunes for each show when you play live sets.

The set at Freerotation sounded like quite a more roughed up progression from the last set I heard from you on Electronic Explorations – is that a reflection of the tracks you’ve been making or the big system you were belting it out on?

Well I think the sets always sound better on the big sound systems especially from the MPCs, they have a certain weight that bursts through any system. The tracks I wrote for Freerotation were definitely more focused towards a club system so that may have come through.

Can you take us back and give a bit of history on your music making- how and when did you first become involved with electronic music making?

It started around 2005 when I went to sound engineering college back in Ireland. I started learning about the different DAWs and seeing people make music on them which was new and exciting to me. I had been in a band which meant you couldn’t get things done on your own so It was really liberating discovering music production that I could do by myself.

You lived in Berlin for a while but moved to London ultimately – can you tell us why maybe you didn’t find Berlin the best place for you to get established with your beats?

Berlin was great, a special place to live, but I had very little German so it was hard to find work and earn money there. Although It is a great place to write music, a very inspiring, culture rich city. I eventually thought that London might be a better place for me as I could find work easier and also the music scene in London is just non-stop so I didn’t think I would be taking a step back by coming here. At the beginning of the year I played a couple of gigs there which was a nice reminder of that Berlin pace. I made some great friends there and would go back any chance I get!

What artists would you say have been your biggest inspirations are there any you kind of hold up as templates to live up to?

2562 is great at sample manipulation and finding sneaky grooves in music, I find his music really inspiring. Also a lot of inspiration comes from artists like Aphex Twin, Drexciya and countless other electronic artists. I also listen to heaps of bands and instrumental music. An Irish band called The Redneck Manifesto also had a huge influence on me, they were this instrumental band that play around with time signatures and tempos which I find really interesting and pleasing to the ear. All these artists have inspired me to think a bit harder about my music and what I want to convey with it.

What do you use to produce?

I use an mpc as the sequencer and sampler. I also have a few outboard synths that are constantly in the loop and find their way into most tracks. The computer is involved in the mix down stage, I use Cubase to bounce tracks.

What’s the difference between that and your live set?

Very little actually. I’m able to do my live sets so easily because I make the music on the MPC so I can just unplug it and bring it anywhere! Its really quite easy to use when you get used to it.

What releases do you have upcoming this year?

Im happy to say my first vinyl release will be coming out with the freerotation crew in the autumn. More info to follow!

Monoak Facebook

null036: BILLY NASTY

It’s quite apt that the image supplied by Billy Nasty to accompany his podcast for us is him holding up a record, he’s done a lot to push the format (his mix was actually delivered in two parts recorded to dat tape a first for us) behind the scenes and in the DJ booth. He’s been the record game for quite some time being deemed to have released first ever commercial DJ mix in ’93 as well as generally being regarded as a talented player around the world and also has built massive respect for the output he coordinated on his respective imprints Tourtured and Electrix – which after an 8 year break back came back with a bang in 2013.

He’s kind of a hero in null+void camp so were more than happy when he agreed to exchange some words with us and put together an exclusive mix for us which contains a few super-exclusive first listens from an upcoming compilation coming to Electrix this summer…

So Bill let’s start by talking about your move back to Brighton how come you left the smoke? It was great having you in Blackmarket and your electro wall…

Yes it’s great to be back in Brighton although we did move back to the flat just at the start of the worse storms for 50 years and being 2 blocks back from the sea it felt at times like we had moved into a remote wind battered lighthouse. It’s also been great to get all my records (Approx 18,000) out of storage and to have room in the front room to store them all. I joke that the front room is like a vast musical library and a place of higher learning..although It’s taken me a few months to get them in a workable file and order, its been well worth the time.

It was a shame that working @ BM Soho was no longer a practical option with living in Brighton and the daily commute I would have faced, as I thoroughly enjoyed being behind the counter again working with all the staff there. Setting up my Electro wall & constantly Trying my hardest to convert the shops regulars into proper electro is and trying to convince them its going to be the next Big thing musically. I’d also like to thank Don & Ox from Dub Vendor for getting me into Reggae , Dub and in particular Ska. It was great being there surrounded by loads of records. Which i can now see clearly in retrospect have been my life’s biggest love affair.

You seem to have lots going on now behind the scenes setting up the agency and your new record store Vinyl Curtain, can you tell us a bit about what you’ve been keeping you busy lately?

Yes I’ve started my own agency Electrix bookings and I’m very proud to announce that we look after DynArec, Carl Finlow, Fleck ESC, Radioactive Man, RadioNasty, Sync 24, Pip Williams and obviously myself as well. On top of this I’ve just opened a record shop here in Brighton called The Vinyl Curtain which I’ve been planning & working on since the start of the year.

When I started null+void it really seemed like all the music the covered especially electro was going straight to digital but it looks now there’s more and more getting pressed to wax – is it just me or have you also noticed a growth in electro being released to vinyl?

I’ve noticed a growth in electro labels recently as i think people have warmed to the idea of 200/250 limited presses which is good for collectors and for small labels as that’s all there selling at the moment. Cultivated electronics , Central Processing Unit and Brokntoys for example are releasing some great electro at the moment.

The compilation you mentioned the other day sounds like it’s going to be big – that Pip Williams track I played on my Rinse show for one has already been proved to be a killer – what else do you have lined up for it?

Pip’s “Cutty Told Me” is an absolute killer and was in Dave Clarke’s top electro tracks of last year I was amazed when I found out it hadn’t been released yet and quickly signed it to the Electrix Shocks compilation. The LP will be released in 3/4 months from now and will feature trax from artists on the agency + The Exaltics and a few other interesting surprises that I’m keeping secret for now…

Seems a lot to get a handle on – do you enjoy operating on all these different roles or would you prefer to just be a DJ which is primarily how you made your mark initially?

It has been a busy few months with the move and setting up the agency & shop but now that they’re up n running + the usual DJ’ing & the running of the label I’m now finding it easier and learning to divide my time sensibly to each project.

How have you found the reception to the tortured records vs electrix – it’s been a year now since you brought them back…

I’ve been really pleased with the amazing reception to the relaunch of both labels over the last year. As well as the Electrix Shocks compilation I have quite a few strong releases already lined to go. In the 8 year break between the relaunch and the labels’ first runs technology and the music industry has changed a lot but the labels Philosophy, style & direction has not and to me it seems just as valid today as it did 10 years ago.

Have you also been busy with RadioNasty – there was that Dynarec remix that I know is coming soon but are you close to finishing off any more EP’s?
RadioNasty (Keith Tenniswood & Myself) have been working on the next wave of releases over the last 6 months or so and were nearing completion of EP’s for Electrix, Tortured & Craig Richards The Nothing Special label which released our first 2 trax Radio1 & Radio2. on top of this we recently remixed DynArecs Safe scouting guide which will feature on the Harmonic Knight EP – ELECTRIX004 which should be released next month. I really enjoy working with the Radioactive man and I’m proud of all our releases so far.

Cheers for doing the mix too – can you tell us a bit about your approach and the tracks you’ve selected?

I planned the mix using some forthcoming unreleased Electrix tracks from Sync24, Mazzula , Mr Velcro Fastener and The Advent with a few tracks/remixes from some of my favorite electro artists such as The Hacker, Marco Bernardi & Anthony Rother. With all mixes I do I try my best to start slowly and gradually build up in tempo and intensity as the mix continues. I hope everyone likes this mix as i always enjoy doing Electro mixes even though there often harder to program.

Billy Nasty Null + Void Mix tracklisting

1 The Advent – Electro Pandemic (Sterac Electronics Remix) H-Productions
2 Sync 24 – 10 days remix – Cultivated Electronics
3 Antony Rother – Automat – Psi49Net
4 Antony Rother – Medium – Psi49Net
5 Pip williams – Cutty Told Me – Electrix
6 Sync 24 – Poll Wars – Electrix
7 dynArec – Safe Scouting Guide (RadioNasty Remix) – Electrix
8 Morphology – Darkstar (Hacker Remix) – Cultivated Electronics
9 Mr Velcro Fastener – Sulajoki – Electrix
10 Marco Bernardi – Genetic Genocide – Brokentys
11 Advent – Eurodynamic – Electrix
12 Umwelt – Journey Through The Universe – Electrix
13 Mazzula – Sleeping Dragon – Electrix

Electrix Bookings // Electrix and Tortured Records Facebook // Billy Nasty Facebook

null035: CLATTERBOX

The back catalogue of David Kempston aka Clatterbox has always covered a lot of ground in its content; as well as laying killer beats in the electro tempo he’s best known for, he’s also accomplished the electronic funk come hip hop vibe and also used his Z Bop imprint to showcase the more glitchy side of operations. This year, for his latest LP ‘outside the box’ Kempston has gone one further creating an array of tracks that touch on the sublime in their synth work bringing an all together different sense to his production, of course he does still bring the bass in a couple of tracks, but overall this release feels like a collection of beats made not for the dancefloor but for the head.

To mark its release a couple of weeks gone and to present the story of Clatterbox (I’ve been an avid appreciator of his for years) I exchanged some questions over email to uncover the story of the LP and what’s been happening in the world of Clatterbox in the story so far. There’s also a mix recorded exclusively for us to share some of the sounds that feature on the album and the artist in question is digging right now.

Hey David firstly thanks for doing this mix I’ve really been a big appreciator of your music for some years now, when you started releasing in the 90’s it was quite a different environment especially for the electro style you’re mainly known for – how did you first get hooked up with producing and putting records out?

It seems such a long time ago now, but as far back as the early eighties I would tape John Peels Radio 1 shows and re-record parts of tracks I liked, to extend them using a rubbish double cassette tape player… this was my first foray into manipulating beats and loops, the results were terrible but I had fun with it. I would hear some great stuff on JP’s show, early acid like Phuture acid trax, early detroit techno such as the Transmat and Metroplex stuff, then into early Warp, etc.

I was already into Kraftwerk, Jean Michelle Jarre, Vangelis et al, so I had a hunger to here more electronic based music. From my ‘research’ of listening to JP’s shows I would start trying to find vinyl of the tracks I heard. And so started a fascination with vinyl. Trying to find the early Trax stuff, the Detroit masters like, Derrick May, Carl Craig, Shake, UR, all the early Warp releases like LFO and Nighmares on Wax, and onto R&S and other stuff coming out of Europe like the Eevolute and Djax stuff… A little later, on UR there were the early Drexciya releases. I’d like to single out Drexciya if I may as I don’t think anyone has really got close to the magic productions of James Stinson and Gerald Donald, and they both had (still have) a major influence on my music and thought processes.

It was around this time (end of the 80’s / start of the 90’s) that I would meet Tom Middleton (of Global Communication, Jedi Knights etc), and also Steven Horne (with whom I would later set up Z-bop). This was at college where we studied Graphic Design. Later Tom would introduce me to Mark Pritchard (Harmonic 313, Reload, Global Communication etc), and the whole ‘Rave’ scene was going on at this time.

So from these influences after leaving college I would get my first bits of kit. My 16 track mixer (which I still have), a roland SH101 (which I still use), a roland MC202, a Casio FZ1 sampler, a Korg DW6000, a couple effects units and a DAT recorder. This was the equipment used to produce the tracks that would form my first release as Clatterbox in 1995 on Clear. But some of the tracks were recorded around 1992/1993. I met Hal and Claire (who were just starting up Clear) at a gig me and Steve Horne did as ‘Jak & Stepper’ which was a little collaboration project we were doing with Tom and Mark for their Evolution Label. Mathew Herbert did a set also, and I remember meeting A Guy Called Gerald, and Mike Paradinas that night as well. So, this probably leads into your next question…

It’s been 20 years you’ve been involved making tracks that’s a long time i’m interested to know what have been the best moments?

Having my first release on Clear (my ‘debut’ double 10 inch) was very special, hearing your tracks on vinyl for the first time is a great moment. This was only topped by John Peel playing my track ‘Xexa’ on his show… he even phoned me a few days before to let me know he was going to play it so I could record the show. He would go on to play many of my releases, including my first Z-bop release the ‘Solar phase ep’. He will be sorely missed and no one will ever be able to replicate what he did for underground music.
Other highlights would include some of the gigs I did as Clatterbox, in particular a mini-tour of Japan which will always stay with me.

Having the support of people like Dave Clarke is fantastic as well, and I can’t thank him enough for the numerous times he has dropped my tunes on his Whitenoise show.

Other best moments include the simple joy I still get from just making the music.

You set up Z Bop then in 2004- can you tell us a bit about that? Really loved the Golaith releases isn’t that your brother?

Z-bop was an experiment really. Me and Steve Horne (Even Steven, The Horn) wanted to set up a label to release our own material, and to make it more fun we included my brother (who records under the name Goliath) and our mutual friends Mike (Nanobot) Halloran, and Ben Clark. From this meeting of minds our first two releases were born; ZEE001: Clatterbox – Solar Phase ep, and ZEE002: Even Steven – Heatseeker ep. The last physical release was ZEE003 which was my brothers debut release, the album; Goliath – Mineral Kingdom.

After that we concentrated on digital only releases as it was to expensive for us to continue with vinly/CD releases. We got up to ZEE009: Goliath – Hidden Agenda ep. We have put Z-bop on hold for various personnel reasons but we might return.

The rawness and forthcoming nature of your beats has been quite a hallmark of your production – this is quite a shift in the feeling for this album, what inspired the change?

For this new album, I wanted to compile the tracks that were special to me and had more emphasis on musicality and feeling. So there is less in the way of club oriented material on here. The tracks I’m including on this LP span many years, so the only decision I made was what tracks to include. I keep the more ‘club friendly’ tracks for vinyl releases that I occasionally do for other labels such as Trust, Touchin’ Bass, and Frustrated Funk. I never set out to do a specific mood or style of track in any given time. So I could be working on a ‘club banger’ one moment and the next track I do might be a more emotive affair.

Why have you chosen to release this album in the way of bandcamp and not on your label Z Bop? Do you think Bandcamp is a good option for people in general?

I decided to release ‘Outside the box’ on my own imprint which is DJK productions. Z-bop was very much about the collective of artists involved. So I decided to keep my own very personnel projects under the DJK productions banner. Bandcamp for me at least is just the natural evolution of how I want to distribute my music to people. I have total control over what I release, when I want to release it and for how much. It’s simple and it works. I would recommend it to any artist who wants to just do everything themselves and not have to rely on anybody else.

Have you stuck with a hardware set up over the years can you run us through what you’re currently producing on? Am interested to know how you made the really warm sounds on this album.
Some of the original hardware I’ve had from the 90’s is still with me, other machines have come and gone. Currently I’m using a mixture of analogue gear and software.
I don’t want to go into specifics as I like to retain a little m
ystery in how I make my tracks.

Can you tell us a bit the mix, how you went about your track selection and putting it together?
Firstly I wanted to include some of the material from my new album, so that was my starting point. Then it just naturally grew from what other tracks of mine fitted in the mix both sonically and tempo wise. I also just had a bit of fun with it hence the intro and the track I mix into ‘Machine Soul’ at the end of the set.

What’s coming up for you?

Well on 14.02.14 I released ‘Outside the box’ which is be my fifth album as Clatterbox, hopefully people will enjoy it.

I’ve just had the track ‘Transformer’ included on a new compilation for Touchin’ Bass called ‘Present Tense’. I have a track on a new compilation project coming on TRUST very soon, which I think is going to be something very special, so keep an eye out for that one. I plan on doing some more Clatterbox releases on DJK productions (via Bandcamp). Probably next I’ll do a release of all the rare releases that people may have missed and put them on one release, call it ‘Golden Rarities’ something like that. That reminds me actually, I also need to add my first two ‘Clatterbeats’ releases to my Bandcamp page.

Clatterbox’s new album is available to buy on Bandcamp now. To listen and purchase head here.

null034: CYGNUS

Dallas based cygnus first came to our attention for his “wrowreck’ release on the advanced sound art and electronica label Icasea back in 2010. While mainly being on an electro tip there was a definite hip hop slant in there too, something he’s also been developing with vocalist and wordsmith Sensational as well as continuing in his own more electronic direction as cygnus. Earlier this year saw the release of a full length album for Icasea – some more gorgeous electronic work, gliding along an off kilter electro beat as well as four four grooves over twelve tracks.

Now for something completely different in this mix from cygnus, we decided to go for a DJ mix as opposed to a live sampler to get the view from behind his steely cool output as he looks forward to a spurt in productivity over the coming year.

Can you fill us in on your background, where are you at in the world and what kind of music you listened to while growing up?

I am from Dallas, TX and I have lived here all 27 years of my life. I haven’t ever been out of the country. I’m eager to travel and visit some other places. Living in the USA in the deep south has its advantages and penalties, you pay your worst penalties during the summer via the blistering heat. Things are very cosy down here but it is hot as fuck. I grew up listening to Autechre and Gescom and DJ Krush. Nowadays I mostly will listen to Sun Ra. The most recent thing I love is that Gosub & Exaltics 12″, I bought that shit instantly. And I listen to the Legofeet Ska001 which is the best fucking thing ever. Honestly my favorite shit is Sun Ra, Gescom and the old Skam records compilations (Skamplers) the mood of that stuff is just the best. Legendary

When and why did you start making beats?

My first encounter with making music was on a JD800 and one of the earliest versions of cakewalk when I was really young. I always liked messing around with the patches and messing up the sounds. I was started doing the cygnus thing I think when I was 19 or 20 years old. I just kind of am amazed every time I get on my equipment the range of sounds that can be made and the fun involved with tweaking them and building whole ideas out of smaller parts. It’s just huge loads of fun and I have so much love for music and technology

How did you start releasing on Icasea?

Ok let me jog my memory. During the height of Myspace, this must have been around 2005, I came in contact with Tom Knapp (Skeksi, Mortal & Chemist)  and Alex Peverett (Team Doyobi, Zerocharisma, Mortal & Chemist) and they said they liked my tracks. So we started trading material back and forth and talking. In 2006…. I think it was 2006. Alex started a blog… oh man this must have been in 2007. It was all remixes of super popular bands by underground artists. Looking back it seems like that was the first incarnation, a small piece of a larger picture that was in planning. I was not too involved with it though, I just did one remix.

So in 2008 that site closed down and Alex, Tom and Satoshi Aizawa (Collapsoft) started the ICASEA blog (icasea.blogspot.com) and included me as a contributor. I really liked it because it was all this 70’s, 80’s science fiction influenced stuff, strange digital art, and part of visual aspect that I think all this music is about. So they said they’d be putting out a series of albums, compilations, and mixes by artists. When they said I’d be one of them I was very, very happy.  I took it to mean that the time I spend working on tracks is not a waste. So my first release with them “wrowreck” came out on Itunes and sold one billion five hundred million digital copies and made us all rich, and then cybercity Z-Ro came out and sold twice that and made us Gods

Why them? Why not someone closer to home in the states?

I don’t know. I don’t think any one in America gives a shit. I don’t think the kind of shit I do would have a healthy upbringing in America, haha. It would be abused and be really ugly later on

One of the reasons I really like ICASEA is because it’s completely international and completely digital besides the physical merchandise. (And our bodies). And unlike a lot of net labels there aren’t 1 million artists on it who are all doing the same exact thing. We’re all friends and keep regular contact.  There’s something to say about the digital world and the cultures that exist in it. You walk away from the computer but the internet still exists as something in your mind and stays with you. Your brain is all like wrapped up in some psychic membrane. So I like ICASEA for that cause it feels like its ubiquitous but totally nowhere at the same time. Tom and Alex are great guys, no one has supported my music more than they have so I’m thankful for all the support I’ve gained from them and everyone over the years.  I haven’t spoken much yet with Satoshi (Collapsoft, and co-founder of ICASEA) but the arrangement with the whole group is just very laid back and non-stressful and nothing feels forced, rushed or anything like that. It’s cool

Can you tell us more about your hip hop side project?

Me and Sensational (Wordsound) recorded a few tracks for an EP but due to some creative decisions we pulled the downloads minutes after we released it, hahaha. So if you wanted to buy that EP and you’re wondering what happened to it, we are still working out some stuff and are going to try and get that out. We have to make some changes to the tracks.

Sensational’s raps are so fucking good on that one and the beats are really good too. It’s just 4 tracks but it took me a fucking year to make it. From my end of the design it’s just me having fun on the drum machines and synths… but I can’t categorically deny that it’s not a response to some of the shittier things that are considered avant garde hip hop.  I mean those acts that are like ‘hey, look, we do drugs. also: we are crazy”.  

I think you can do the whole mentally insane rap thing without revealing to everyone that you do drugs, or you belong in a mental hospital, without screaming in the mic all the fucking time – and without telling people to suck your dick, or that women are bitches. So on our EP “In touch with a Frenzy” me and sensational just kind of do things from an aesthetic point of view rather than trying to pass along some explicit idea

What’s your studio set up like?

The current arrangement includes the mainframe which is “Icosahedron” (my MPC1000) , or “Hedron” or “H”, which holds sends/receives/saves pattern data from “Nexus” (Nord Lead) or “N2X”, and is synced to “Moebius” (Acidlab Miami), or “M808”. This set up is good for the time being because a lot of ideas are getting recorded very quickly and there are not very many steps in between having an idea and then hearing it and being able to manipulate it further. It’s just a really fluid process and it’s really easy and ideas just come up and get written and stored almost effortlessly. Very ergonomic.

This set up is also preferable because there is no computer involved. No vanishing point. I feel like the mouse cursor creates a vanishing point (if your field of vision is a cone, it reverses the cone is what I mean) and there are penalties for that. But I could be wrong about that. I think it’s really important to name and personalize your equipment so as to prevent any possibility of passive involvement too, so I gave them those cheesy names.

Where can we look to future Cygnus releases? Any news?

I‘ve got a 12″ coming out soon under a brand new label called Central Processing Unit. That should be out very soon, I just finished editing that album and I like it. It’s the first album I put out on the aforementioned setup. There’s a 12″ of mine that’s supposed to be coming out soon with some OLD tracks on it. The Sensational collab should be coming out pretty soon once we change up a couple of things. I’ve already started doing a lot more new tracks, I think I may release another album by the end of the year or put out a 45 on my own, I don’t’ know. I’ve never been in high gear like I am now, lots of great things happening. The equipment is responding (that’s my word for not breaking) and the avenues are opening up for people to buy this music, so I’m feeling alright about it. I just don’t want to force or rush anything.

I’ll be doing a bunch of random live streams on my Ustream TV channel. Some may be unannounced, others will be announced. If you stay tuned to Watmm, Xltronic or my facebook page or Twitter page you’ll be able to find the link. There’s definitely something to say about the live show thing now — You don’t even have to leave your house. Crystal quality sound can be streamed as well as HD video – so maybe there’s some way to monetize that shit and have it be a regular thing and also include perks and extras for paying listeners/watchers.

Tracklist:
sun ra – disco 3000
suzanne ciani – eight wave
mystik journeymen – spiritworld
gescom – cake mic
koyxen – 568_491
autechre – notwotwo
sun ra – cosmo darkness
suzanne ciani – lixiviation

Cybercity Z​-​ro is available to buy now here.

null033: SCRASE

Considering the amount of time I’ve known Greg Scrase (back where it all started in those glory (sic) days of Reading), there are relatively few releases that have seen the light of day. However, what we have been privileged listen to have been so damn good we really hope you get his bug too. Looking back to his Platz EP we get tracks that melded a minimal style of techno with dubstep markers but really what made the tracks stand out is their structures – the music didn’t sound like things that have come before or after Scrase. Then came Ford a split single on Militant Science with label boss Paul Blackford a mad track of splintering drum and bass, or was it electro, it was something else that was intense and exciting. 

Between releases I’d meet Greg at various electronica outings and spend hours listening to tracks he has in the works being completely bamboozled by what he’d concocted of late, privileged to listen to tracks someway down the line in his. It was a year ago now I first heard the workings of his tear up jungle goings on and a longer wait still until his next release on Love Love Records the Silo Fin EP – five tracks of truly exceptional electronic music. From the tear out jungle of Broke to the gorgeous flow of title track Silo Fin I think we’re getting to what makes Greg’s music stand out. He works in all his influences from the braindance of Aphex to the dancefloor grooves of techno and the dark bass of his jungle and dub step influences into something that is uniquely him and carries over feelings when you listen to his tracks that actually this is something special, refreshing and exciting to take note of.

This mix I think represents that and introduces his sound in the best way, including his own production across the board of the sounds he makes. Also check the interview for the background on Scrase’s working processes, influences and all that jazz. 

What’s your name and where do you come from?

I’m Greg Scrase, originally from Reading but now living in South London.

Who were your earliest musical inspirations?

When I started at Music Tech course at college years ago I was really into people like Meat Beat Manifesto, Nine Inch Nails and other randoms. One day we had a lesson where our lecturer would play us music and asked what we thought. I decided to stay in the break and not go for food and heard Xtal by Aphex twin. I was seriously moved and it changed my whole feeling for electronic music. I’d heard his music before and liked it but when I heard that track I’d never heard anything that moving and from that point brought that album and got properly into it and everything relating to it. I still love it today and the second tune that is probably my favourite track ever!

Around that time I used to go to a mini rave type squat party in Reading called “Kraked” which really opened my ears and eyes to loads of fresh and mental stuff. The people who ran it where really sound and organized these amazing little intimate events the second Sunday of each month where they would book lots of amazing underground electronic people . You sat listening in front of these big loud speakers on some nice cushions getting baked, drinking beer and eating cake watching strange films which where shown on a massive pile of broken TV’s that where placed all over the speakers. Each TV had its own broken way of playing the films, which worked amazingly with all the music. It was immense! Saw artists such as Venetian Snares, Chris Clark, Leafcutter John, Noodles (visual guy who did well funny set I won’t forget) Zod Records stuff which was mental and Tim Exile before he got signed to Planet Mu doing his improvised live set thing which completely blew my mind at the time! I have never been to anything with that kind of vibe since then.

What are you listening to now, has it changed much?

At the moment I always have a lot techno stuff on. Got into Regis about a year and a half ago and his stuff which led into Sandwell District and the whole Downwards techno stuff which I really like

I really love old school Jungle, my friend Benedict Siddle who did the artwork for Silo Fin and Platz and loads of other mad art who is a mad collector of the really rare hard to find vinyl only stuff from 1994-1995 which is amazing to hear has some amazing groove bass and edits and mad samples that you don’t hear anywhere else:

Aphex twin all the time really, Photodementia :O

I love the DMZ really deep bassy proper Dubstep sound so always got music that on. People such as Coki, Kromestar, Hatcha, Commodo loads more.  Loving Paradox his groove and drums are just beyond. 

Love Steve Reich’s music and the Vangelis Bladerunner soundtrack incredible! Boards of Canada, Pretty much everyone playing at Bloc this year. Apart from that my own music I’m working on and loads more…. When I was at College about 8 years ago I witnessed a student doing a live jam with lots of outboard electronic music gear and thought it was pretty amazing and thought I really want to do that! I brought an Electrode and K station and just messed around with them recording to a tape machine that my dad borrowed off a mate. The tape machine had a speed dial so you could pitch the synths you recorded up and down and the tape made the crappy K Station sound really analog and nice. You could also put these recorded tapes into a normal tape machine and it made the pitch even slower. I did that for a bit and then got into cutting up breaks in Cubase and through accident just found out if you copied and pasted audio it glitched up! I started putting everything together and made lots of ambient glitchy jungle type music with no real timing just messing trying work stuff out and make these sound collages, I made everything at Collage as I didn’t have a laptop at the time.

At this time a producer called Alan Gubby who ran this record label called Nanny Tango was helping students on my music tech course and asked me to do a remix for his label after hearing some of my tracks. The remix came out on 7″ vinyl of one of his tracks called Heart Machine under my full name and I’ve just carried on from then really. I didn’t really play my first proper gig until this tiny little free party in a rainy field in Devon, which was run by the people who do this festival now called Wattfest. It was wicked!

What sort of parties and labels are you involved in?

Love Love who have just released my EP Silo Fin. Militant Science an electro bass label run by Paul Blackford. Two 2 tracks of mine came out on there that you can download for free of the website called “Stakker” and “Ford”. I’m good friends with Delete who run a wicked Techno night in Bournemouth . Also a new label called Organic Analogue which should be putting out some records and starting a new splendid night in London.

You’ve gone from producing techno to all out jungle, personally I think you have your own significantly unique take on music within your trax – do you think when you start putting a track together it’s going to be this particular style, this bpm this vibe or not at all? how does that process work for you?

It’s just a mixture of listening to lots of different music that I like. Mixes, recorded live sets, going to gigs, music friends give me, and watching badly recorded live recordings on Youtube and getting inspired by what blows me away and making sounds inspired by that stuff that excite me. Mixing all those things together and hopefully making an entire song happen if the sounds I’m making have a strong enough vibe to them. I jam out loads of different noises and have a big library of loads of random sounds tones hits and loops that I’ve made over the years and add these to the tune as it slowly builds up until its done. I don’t really think about what I’m doing apart from having a bpm at the start that I set. When I’m making something the sounds just sort of lay out a vibe and set of rules that structures it into being something finished. If it doesn’t get finished I just sample or process it and try something else.

Can you run us through your studio set up?

I’ve got two Macs one really old desktop and a quite old Mac book pro that’s dying that are both joined in a loop of outboard gear so I can write something in the main one, a track, noises, loop or just solo tracks in the tune I’m making and sample the sound on my other computer and then send that through my gear. The audio goes through plugins, different boxes and effects that dramatically or subtly breathe life into something that would have been a boring and plastic before. This makes new sounds that give me more ideas that I sequence and then I just repeat the process. I use an Electribe ER-1 , 2 broken Kiaoss Pads (2 and 3) , Guitar Pedal, Akai S2000 and S2800 samplers, SH-101, K-Station, Jomox kick maker. My crappy mixer just died so I’ve lost some really nice effects and reverbs.

I’ve just had all the same gear for years so really know it all inside out. There’s tons of different features and setups you can do with each thing if you use all the outputs, inputs and midi. The Electribe is an amazing drum machine and my favourite, the things you can do with that are immense! It’s already died once but has been brought back to life!

You’ve told me at stages you got a compressor but then on some older tracks you feel there’s too much compression looking back now – what would you say to date is your biggest lesson in production you’ve learned?

I just make sure to use some sort of outboard gear effecting or adding to the tracks as a sound as it really makes making music with a computer and lot more fun. It also helps in getting sounds that would take ages of wafting around to do in a computer take seconds.

You’ve told us that you’ve learnt some new DJ tricks that have gone into this mix tell us more about them…you’re using Ableton right?

I wouldn’t say I have any tricks! I’ve just been really trying to get into DJing in Ableton in the sequencing screen instead of the clip screen in the last year mixing without warping the tracks at all. Its well good but I would love to get Traktor for playing out instead as it’s a lot tighter and the EQ’s sound nicer. My computer won’t run it without updating loads of crap which I can be bothered with at the moment as I’ve got everything working music making wise the way I want it.

Can you talk us through some of the track selections for this mix?

I just wanted to do a mix that got faster as it went along so I could put loads of my music in. As it’s all at different speeds that was the best way and its good as I can play all the different music that I like.

What are you working on right now?

Loads of stuff from Jungle, techno, electro to melodic sh-101 type epics, noise, bass music and random remixes for fun.

What do you have planned next?

I’m good mates with Oli Warwick who runs the Bristol house/bass label Schmorgasbord Records. There should be a rather strange house track I’ve made coming out on vinyl with a remix and track by a artist from Bristol who music I really like on it, plus a remix of his track by me. Will be an epic record! Hopefully a free EP split between me and Paul Blackford for Militant Science. Also playing a gig in London on this date at a night called Mandembrot on the 28th April , a festival in Oxfordshire in July called Hodgepodge Festival and if it happens a special back-to-back set at a big free party with Paul Blackford which will be epic.

 

  1. Scrase – Monoforiscra
  2. Scrase – Silo Fin 
  3. Fis-t – Night Hunter 
  4.  Scrase – Sopg 
  5.  Scrase – Ov adk 
  6.  Paradox – Dystopia
  7.  Scrase – Alopog 
  8.  Regis – Blood Witness 
  9.  Jerome sydenham – Darkroom + added noise 
  10.  Digital Mystikz – Eyes 
  11.  Aphex Twin – Blue Calx (Scrase Remix) 
  12.  Loefah – Disko Rekah 
  13.  Scrase – Bonestep 
  14.  Objekt – The Goose that got Away 
  15.  Scrase – Pilon + Scrase – Aregal 1 
  16.  Scrase – Watch your step 
  17.  The Bug – Skeng (Autechre Remix) 
  18.  Commodo – Eastern Bloc 
  19.  Mossman – Tamazigrad 
  20.  Galaxian – Warhead 
  21.  Scrase – Blackford Jungle 
  22.  Skeng Gee – Connections 
  23.  Splash – Soundboy 
  24.  Plug – Drum N Bass
  25.  Scrase – Para 
  26.  Scrase – Broke 
  27.  Scrase – Devon + Scrase – Ice Exploration Party

 Scrase on Facebook

Scrase on Soundcloud

null032: DEFEKT

My first experience of Dublin based producer DeFeKT was this summer in Dublin, that most memorable gig experience with Carl Finlow, Radioactive Man and Dexorcist. He was on straight after me and pumped right in over the Funktion One system through the pure analogue power of his modular synth – it was electro proper indeed. He’s not just on our radar, but featured in Dave Clarke’s end of year chart and gets regular mentions on DJ Madwax’s Vocode Blog. You can check his releases on Takeover Recordings and he has a new twelve out today on New Flesh Records you can check the previews on the label’s Soundcloud player here. Keep your eyes on Acid Lab Records for his next release – a split with his alias ESS more info on which is revealed in our interview below.

He’s recorded us a vinyl set – a hand picked selection of his favourite tracks deleberately kept down to the 45 minute mark to represent the ones most special to him.

You’re output consists of purely electro – what drew you into writing music in this particular style?

My brother has always been into techno and I grew up hearing his music collection from an early age, from listening to his techno collection and always been interested in sound it led me on to getting my first pair of turntables when I was about 14; they where cheap all in one console things that had no pitch control, so basically I couldn’t do much on those. I then progressed on thru few other pairs of decks and landed on Technics, which I still have. I was then collecting and listening to techno at that time and I always noticed that there was electro mostly on the B sides, those tracks always caught my attention even though at that time I wasn’t playing electro much. I then got bored of techno at that time and started listening to electro and started to mess around trying to make my own beats on computer and any time I went to make beats it was always was a break beat I never programmed any 4 to the floor, my kicks always seemed to be broken. Then went to college to study music technology and learned more about production and equipment, which led to me getting into analogue gear and setting up my own small bedroom studio which is a never ending adventure till present day.

Who were your inspirations?

From and early age hearing my brothers techno collection and always messing around with speakers and sounds in my room. I used to have these CDs that were made to be used to test car sound systems – they just had sweeps through low frequencies. I would put them on in my room and see how much bass I could push through the speakers for hours on end.

Then later on, I learned in college about the roots of electronic music from ‘Musique concrète‘ through to early analogue synths, those early forms of experimentation had a huge impact on me, learning what the early electronic music pioneers did with tape loops and synths. When I heard those really early recordings they just sounded like techno and electro to me it was so interesting to hear the effects they had on modern electronic music today. It’s somewhat forgotten how important those early experiments with tape from the 50s and 60s were.

 

You’re from Dublin, somewhere that really shines with talent can you give us a view through the keyhole of what’s happening there in electronic music? 

I’m actually originally from the midlands (the country side) I moved to Dublin when I went to college. Yeah Dublin city is an interesting one allot of good heads around into music, defiantly allot of good producers. The music thing in Dublin is starting to get interesting again slowly but still seems to be a lack of good events going on to be honest. Allot of the same people playing at every night and then lot of the really good DJs who are really into music don’t get enough gigs or exposure because of that. It’s a thing that I don’t understand really. But besides all that some great music around the city and allot of good artists and DJs doing great things.

Any plans for an album is that something you’d want to aim for? Or do you see your music more fitting for single releases?

I did a small album in 2010 called ‘Stimulus’ which was an 8 track mini album and I want to do part 2 of this soon for sure of similar style. A few things are set to be released over the next while, two new vinyl records are out very soon one of which is called “Sequence One EP” which will be on Umwelt’s New Flesh records and the other will be a split 12″ EP with my other alias ESS (Electronic Speech Systems) on Acidlab. A remix I did for Anodyne, which will be out on Combat Records too. So I’ve got a few a few things to in thepipeline..

You normally play live as DeFeKT but you’ve done a vinyl only mix for us – can you explain what inspired the mix and track choices for us?

Yeah for the past while I’ve being doing live hardware sets with a modular synth and drum machines, but for this I wanted to do a short mix of some tracks that I play when I’m DJing or listening at home. It’s more of a selection of artists and tracks I like at the moment. I wanted to do a short DJ set of some good electro tracks that are around these days not a
long never ending mix.

Tracklisting:

  1. Stingray enters the unkown – The sadist(einrich mueller remix)
  2. Morphology – Euckidean Algorithm
  3. Drexciya – Rubiks cube
  4. The Exaltics – Things fall apart
  5. Pip williams – Cold love
  6. Boris Divider – Ultralink
  7. Morphology – evaporation Residue
  8. Time Light curve – Acidlab
  9. DeFeKT – Modular System
  10. The Exaltics – The hunch

DeFeKT on the web:

http://www.defektedelectro.com/
http://soundcloud.com/defekt-2
http://soundcloud.com/e-s-s-1

null031: LAKKER

Both natives of Dublin – a city that is becoming evidently more and more known for innovation in electronic music – Lakker are a divine concoction of sounds from the darkest warehouse techno to the complexity and brain melting structures of IDM. Ian Mc Donnell and Dara Smith make up the beat stirring duo getting together 10 years ago now and today they’re enjoying a toasty reception of their latest release for Berlin left of techno label and party Killekill with their Spider Silk EP. They’re set to play an AV set this Friday to launch their new twelve – Smith is a dab hand at the visuals as evident in the accompanying videos so you can look forward to an immersive experience at Berlin’s infamous Suicide Circus club. They’ll also be in Hamburg the following evening – more info here.

Another thing, which is a very cool thing I’m sure many of you will be envious of, they’re one of very few artists that can say they have the support of none other than Aphex Twin, that really is the king of musical endorsements. So, take it from us and Mr. D. James – Lakker are worth your time. So, be sure to read onto our wee interview with the pair and get on the download of this killer mix. 

Null030: Lakker by Null+Void on Mixcloud

How did you connect with Killekill?
Nico from Killekill got in touch with us through Simon (Swarm Intelligence) who runs the Stasis label. Simon did a mix of Irish producers and one of the solo Eomac tunes was on there. Nico really liked it and got in touch and asked for more tunes. We then sent him a bunch of Lakker stuff aswell and he was really into it and decided to put out the Spider Silk 12″. that just came out there recently.
What other releases do you have scheduled in / ready to go?
There’s nothing in concrete for 2012 yet, but we hopefully have a follow up release on Killekill, an EP with Acroplane, and another 12″ on Love Love Records. Nothing definite yet, but we’ve a bunch of tunes finished, and even more very nearly finished, that we want to get out.
How did you guys get Lakker together? How long have you been making music for?
We got together in 2001 I think it was. We were both in a four-piece at the time called Undermine, and when that broke up we wanted to continue working together as we were on the same musical wavelength and thought we had some good ideas. So about 10 years we’ve been making tunes together.
Do you intend to always play an AV show live when you play out?
for the moment I think yes, we’ll do it for most gigs, if there’s room for a projector and decent size screen. some venues just dont have the space. It’s something we’ve been planning for a while and we’re just about ready to do it properly, got some stuff that Dara has been working on that looks great, so we’re pretty excited to premiere it at our upcoming German shows.

 

 

01. Leyland Kirby – Neon Lit Atoms – (History Always Favours The Winners)
02. Gescom – Slow Acid – (Skam)
03. Aardvarck – Afrika Slang – (Eat Concrete)
04. Sunken Foal – Low Mountain Light Socket (Acroplane)
05. Hecker – Δ Chant / Δ P.groy – (PAN)
06. Mika Vainio – Behind The Radiators – (Touch)
07. Alva Noto – Module 2 – (Raster Noton)
08. Autechre – d-sho qub – (Warp)
09. Lakker – Pano – (unreleased)
10. Grischa Lichtenberger – 0607 lv 1 re – (Raster Noton)
11. Autechre – Gantz Graf – (Warp)
12. Steve McPherson – Blanket Song – (unreleased)
13. Steve McPherson – Ghost Song – (unreleased)
14. Autechre – Gantz Gaf (Lakker’s unofficial Edit) – (unreleased)
15. Emptyset – Avichi (Monoloc Remix) – (CLR)
16. Jape – The Oldest Mind – (Music Is For Losers)
17. Jeff Mills – Human Condensing – (Axis)
18. Snuff Crew – Domo (excerpt) – (Killekill)
19. Lakker – Spider Silk – (Killekill)
20. Kangding Ray – Odd Sympathy – (Raster Noton)
21. Eileen Carpio – Humming (Unreleased)
22. Powell – 09 – (Diagonal)
23. Lakker – 8Blip – (Killekill)
24. Colin Stetson – Fear of the unknown and the blazing sun – (Constellation)
25. Lakker – BKRO – (unreleased)
26. Sleeparchive – Ronan Point 1 – (Tresor)
27. Johan Johannsson – Part 5: The Sun’s Gone Dim And The Sky’s Turned Black – (4AD)
Extra sounds, FX and production by Lakker.

null030: SYNC24 B2B INNUME

Scand established itself as a club night at the height of electro’s first coming and popularity in London at the infamous Fortress Studios. The current resurgence in the genre’s popularity hasn’t yet been traced the history back to these guys yet – apart from Dave Clarke who, like, Sync24  has always maintained a relationship with this breed of beats, keeping in touch with the ever present underground sound. That includes whether it’s in fashion or not. Another track from Phil’s label Cultivated Electronics also featured on the man DC’s fabric60 mix and 4 years on from it’s first twelve they’ve now signed a distribution deal with Clone –  a stamp of quality if there was ever one needed.

I bet most readers of this blog will already be familiar with CE’s output,  if not check their back catalogue here. The night is currently run by Phillip Bolland aka Sync24 with residents Innume, Agent2 and Steve Allman both of which keep to a vinyl only set up with their impeccable record collections stretching back across the genre right up to present day cuts – there’s nothing else in London quite like it. Since Scand was rejuvenated after a couple of years down time, the event has been success after success reaching out to a hardcore crowd and creating a roadblock at its current venue The Horse & Groom. The next event is next Friday where Stilleben label boss Luke Eargoggle is being flown in to perform with Cosmic Force and Abstract Forms label head Deixis.

We’re proud to present this mix of Scand promoter and Cultivated Electronics man Sync24 going back to back with Innume alongside an interview with Phil to promote the forthcoming party a week on Friday.

For more info on the event click here.

How long has Cultivated Electronics been running as a label now?

Cultivated Electronics was started in late 2007.

And what is its ethos?

To release high quality underground Electro music.

At what point did you start Scand?

The first official Scand party was just over 9 years ago at the Fortress Studios in Old St. At that time I was playing every Sunday at Cafe 1001 in Brick Lane with 3 other guys, Rob Smith (Innume), Chris Edwards and Paul Crognale. We decided to start a club night and Scand was born. About 3 years after our first party the Fortress shut down and Rob and I split from the other two guys and continued to run Scand alone. We held parties at various venues across East London then in 2006 took a 3 year hiatus. In 2009 I restarted Scand with a friend Tom (Truss) with the intention of it being a 2 room event with house and techno in the second room. After 2 parties together we decided to not collaborate anymore. I now run Scand myself although Rob is still involved as a resident.

What would you say the basis of the party and how do you choose who to book as your guests?
There is a real sound to the Scand parties which I feel is reflective of the label and this is what the night is about, to push a particular sound that I don’t feel is really getting a massive amount of exposure anywhere else.  There are other really good nights in London which push the Electro sound along with other styles of music such as Wang, Plex, Colony and Bleep 43. With Scand however it is purely about Electro.

There is no real fixed booking policy for Scand, I just book artist’s whose music I like and respect.  I also try as much as possible to book people that are not necessarily a massive crowd puller but have a good sound.

Can you tell us about your residents, they’re also a hug part of the night right?

The Scand residents are myself, Innume, agent2 and Steve Allman. The residents are really important for the night as we shape the overall vibe of the party. Each of us brings a slightly different style which helps to mix it up and keep things fresh.

It’s really one of the only electro parties in london, it’s become a real hub for the timeless style of music, why do you think it has been so successful?

I think by being purely focussed on the Electro sound the night has built up a bit of a reputation and people always know what they are going to get at a Scand party.

What’s next for CE and Scand?

CE has just been taken on for distribution by Clone which I feel is a really positive thing for the label. CE009 is out on the 17th of January and that is a release from Morphology with a remix from myself. I then have a V/A compilation lined up for EP 10 and forthcoming material from Dynarec as well as a possible EP from Innume and I.

Scand’s final party of 2011 is next Friday (the 16th) at the Horse and Groom with Luke Eargoggle, Cosmic Force and Abstract Forms label head Deixis which should be wicked. I am then teaming up with Colony again for a string of events at the Horse and Groom and Rhythm Factory throughout 2012 with our first party being on the 3rd March. Line ups announced very soon!!

null029: SQUISH KIBOSH

Both visual and electronic music artist Squish Kibosh is based in the creative hive of activity that is Glasgow. His musical work is mainly self released, consisting of acid jams to mind moving electronica one of our favourites you can listen to here. For null+void he’s compiled a mix of old and new tracks which he described as ‘discordian disco’.

Check out his artwork here production here and mixes here.

Tracklisting:

  • Throbbing Gristle – Hamburger Lady – Industrial Records – 1978
  • Arpanet – Innershell Shielding – Rephlex – 2005
  • MR.SQUISH – Smeets – unreleased – 2011
  • +10 – Fug Nasty Acid Flakes – Napalm Enema Records – 2008
  • Acid Druid – Lunatic Wandered – Zanderhythm – 2011
  • Boogie Times Tribe – The Dark Stranger – Suburban Base Records – 1993
  • Venetian Snares – Chainsaw Fellatio – Planet Mu – 2009
  • DJ Rashad – Drop Juke Out – Juke Trax Online – 2009
  • DJ Spinn – Fall Back – Planet Mu/Loose Squares – 2011
  • Aphex Twin – Windowlicker (Demo Version) – Sire/Warner Music Japan Inc – 1999
  • DJ Stingray – Mindless – WéMè Records – 2007
  • Mixrace – Mixrace Outta Hand – Moving Shadow – 1993
  • Razor X Productions – Imitator ft. Daddy Freddy – Rephlex – 2006
  • Aphex Twin – Avril 14th – Warp Records – 2001
  • Squarepusher – Star Time 1 – Warp Records – 2009
  • Kool Keith – Same Sound – DMAFT Records – 2003
  • Luke Vibert – Dirty Fucker – Planet Mu – 2005
  • Bodenständig 2000 – In Rock 16 Bit – Rephlex – 1999
  • Flying Lotus – …And The World Laughs With You ft. Thom Yorke – Warp Records – 2010
  • Señor Coconut And His Orchestra – Riders On The Storm (Merengue) – Multicolor Recordings – 2003
  • Universal Indicator – Untitled (Green C3) – Rephlex – 1995
  • Bruce Haack – Word Game – Columbia – 1970
  •  

    Artwork credit for header image: Squish Kibosh
    Artwork credit for soundcloud graphic: Hannah Milam

    null028: URSA

    This time we asked The Centrifuge’s audial communique to showcase this favourite sounds featuring tracks that range from the familiar to the emerging from Koolmorf Widesen, LFO and Instra:mental. Ursa is a tireless worker at the heart of London’s underground electronica scene, an early collaborator for The Centrifuge’s net label he has been holding the reins of their fortnightly online radio show on brap.fm for over 2 years now with insurmountable levels of lost sleep and dedication. 

    He’s decided to take his passion for the artists who have become a big part of the output of the show, and the scene and network he’s created into the live sector in a new event ‘Freelectronica’ kicking off on August 3rd at 93ft East on London’s Brick Lane. For the first show he’ll be bringing in Volitune and Oxynucid both producers of The Centrifuge ilk the former who will be debuting a new live set. I have also been invited along for the ride. More info on that here

    Tracklisting:

    1. Repetition/Distract – Old Weevil Neighbourhood (Weevil Neighbourhood)
    2. Demdike Stare – Desert Ascetic (Modern Love)
    3. Pinch – Croydon House (Swamp 81)
    4. LFO – Mentok 1 (Warp)
    5. Instra:mental – Thomp (Nonplus++)
    6. Myoptik – Berlin (The Centrifuge)
    7. Drumman – White Tie, Black Hole (Lux)
    8. Instra:mental – Aggro Acid (Nonplus++)
    9. Neutek – Orinoco (ROTR Lazer Dome rmx) (The Centrifuge)
    10. Oxynucid – Cod Liver Oil (V67 rmx) (Complex Sound Sagacity)
    11. Koreless – 4d (Pictures)
    12. Baconhead – Wookie (Acroplane)
    13. Vaetxh – Clipper (unreleased)
    14. Funckarma – Technology Boom (Thin Consolation)
    15. Luke’s Anger – Halfstep (Soundcloud)
    16. Wax – 20202 (Element rmx) (Hardwax)
    17. Tom Yaxley – Ambienty (Carl Brown ’92 Cornwall rmx) (The Cenrtifuge)
    18. Dorian Concept – Toe games made her giggle (Ninja Tune)
    19. Siriusmo – Bad Idea (Monkeytown)
    20. Oxynucid – Leffe Blonde (Zanderhythm)
    21. Martsman – Interreign (unreleased)
    22. Skitty – Dublin (foundation X)
    23. Eschaton – Bohr (Ursa rmx) (unreleased)
    24. Modeselektor – Monkey Flip (Monkeytown)
    25. Koolmorf Widesen – Bow’94 (Scrubber Fox rmx) (The Centrifuge)
    26. Jimmy Edgar – Turn You inside out (Baconhead rmx) (unreleased)
    27. Neutek – Busby Soundsystem (unreleased)