Interview: Stormfield On Combat Recordings’ Ten Years

Combat Recordings are a true bastion of industrialised, uncompromising and concrete hard electronics . Operated out of East London for the last 10 years label boss Stormfield has fearlessly compelled this label’s sound on a solid journey, commissioning releases from his self professed heroes Scorn and Milanese as well as providing a home for some spectacularly epic productions from Dead Fader, Point B and Scanone among many. All these artists through the medium of impeccable sound design deliver a high, high quality of music to the label – there’s always a lot to listen to even though it can be a challenging experience for some. Still this music has it’s place in the rave and it’s actually an admirable thing that we should count ourselves lucky for that someone is still willing to put their neck out and self fund something that isn’t cash viable – that’s kind of what art is about you know.

The first Combat release hit the world back in 2004 and this November as a special gesture Stormfield has put together a stonking 19 track compilation to celebrate this landmark anniversary as well as a commemoratory rave. So with such a huge event imminent we caught up to chat with the man be hind the label Stormfield himself to look back and forward over this time and to share some of the comp’s audio along the way…

What does it feel like to be at this point, when you’ve reached 10 years in operation?

Running for 10 years is a bit of a surprise to be honest, as I never really planned to do a label in the first place.

Combat was born through a very specific set of life circumstances and the need to vent in a disciplined, focused way. It felt like the right thing to do and just grew from there. The thing with living in London is, the pace is so relentless anyway – you end up running around doing stuff week to week, and time simply flies past year after year. Now it’s apparently 2014, we’re somehow at “Ten” and having to organise something special is more of a pain in the arse as I’d rather hide away and get on with making music and visuals :) Gotta be done though.


Looking back at this time what do you feel are your proudest moments?

Here’s few:

Travelling and meeting a lot of people over the years, some of whom have become solid friends. Seeing some really good artists go on to do bigger, higher profile things after their initial push via Combat. Likewise, chatting with some great artists who said the Combat’s output has massively influenced them over the years, offering tracks for the compilation, which turned out better than their releases on other labels! Bringing together unlikely artists from different backgrounds and countries on the same track via remixes, re-remixes and collaborations.

Mary Anne Hobbs dropped Cursor Miner’s “Carnivore” as her track of the week, twice in a row on BBC Radio 1.

Aphex Twin playing one of our tunes at Nordik Impakt festival. Just tried to find the youtube link, someone’s taken it down, but the track in question was Audio Assault by Machine Code.

The development of Combat A.V. around 2009, to bridge the label’s sound and visuals in realtime. This fed into the Fausten project on Ad Noiseam.

Watching Cursor Miner annihilate the place at Trigger Soundsystem in Birmingham. Ending up in a Dominatrix’s house filming sexual torture for the Fausten project, then performing the visuals as an AV set in front of 1500 goths in a German turbine hall, while wearing Hawaii shirts on stage. Bizarrely, playing gigs in a Peckham laundrette and the former SS headquarters in Berlin, both in the same month. Releasing music by my production heroes Scorn and Milanese. Doing visuals for Scorn during his live set at Bangface Weekender.

What in your experience has been the toughest thing about running an independent niche label?

Cash and time limits.

Cash. I decided from the start that Combat’s music is personal and thus has to be kept free from any pressure of hype / sales. Of course I’m happy when more DJs across the board are supporting the tunes, but I’d never go “yeah better make it sound more like [insert trendy bollocks genre]’ just to shift a few more sales. You end up weakening or deforming your sound for the sake of a popularity that is only fleeting anyway, fuck that.

But the cost of this stubbornness is you end up having to power the label from your own funds, which I accept, but unless you’re already rich it does impose a natural restriction on how many releases per year, and not being able to do vinyl for every release. Time is the other pain in the arse, especially if you split it between dayjobbing, producing music/visuals, giving seminars, playing gigs and running a label, bearing in mind that a lot of smaller labels are one-man operations.

Can you talk about the music itself on this compilation are there selected tracks from the archive or are they all freshly commissioned for the release?

The original idea was “ten years / ten tunes / ten artists / ten-ten-ten-you-cunts!” but as submissions came in, the tracks were too good to refuse, so the original concept got binned in favour of simply having lots of good music.

And here we are at 19 tracks. The selection hopefully represents the full spectrum of the label’s sound, from darkest bleakness to beautiful melancholia, from heavy soundsystem smashers to intricate cinematic ambient. A friend described it as “brutality and finesse” which I guess is fairly accurate. It features artists from the very beginning of the label’s history (e.g. ScanOne) up to totally new names (Marco Donnarumma, Nonima) who have releases forthcoming. Some tracks are specially commissioned for the release, while others have sat on my hard drive waiting for the right moment to appear.

What else is in store for the celebrations?

We’re going all out for this one with a full audiovisual lineup. Short films and sneak previews of Fausten videowork at the start of the night, followed by a freestyle electronic jam session between Monster X, Cursor Miner, Marco Donnarumma, Stormfield and Emoresh. Then Shelley Parker does a special Combat live set to kick off the rave, with new label signing Nonima doing his first ever set in London. Fausten then smash it up hard with Scorn-type darkness and sinister visuals, and ScanOne doing a DJ set at the end to take things back to our junglist/hardcore roots.

Ten Years of Combat party from Stormfield Slewdem on Vimeo.

What are you looking forward to the most in the next 10 years?

More music, more video/visual work, more sound design, more gigs. Keep on evolving. More Combat!

Combat Recordings release Ten Years on 10th November 2014 and will be releasing audio previews via their Soundcloud page in the run up. / /

Tudor Acid On His Tonamente EP and Full Stream Of Shakker

null+void goes way back with Tudor Acid’s Richard Wigglesworth. It’s quite interesting actually with the timing of this piece because I think our paths first crossed at the first I Love Acid party at Corsica Studios all those 7 years ago – the same celebration of the 303 which coming to its final conclusion next Saturday night. It just puts it in perspective how long Wigglesworth has been producing his abstracted beats and melodies and consistently relaying this through his live sets and release on his label Tudor Beats. His journey’s been well documented on null+void since our beginnings also with him contributing 2 different mixes to our podcast series so we really have felt his progression in sound and moods.

His latest EP, Tonamente, which was released earlier this week on Tudor Beats has received support from both Rob Hall and Craig Richards – both DJ’s who are known for their expansive range of off-kilter selections which is a suitable prop that Wigglesworth is more than deserving of. We really wanted to offer our own support for this release too and instead of asking him providing another live set for the mix series we asked if we could present a full stream of track Shakker one of our favourites from the EP (as well as Wigglesworth’s) just to really to allow you to feel where he’s at now with this EP. We also had a chat about his current state of play and how his machines are always plugged in no matter what else is going on in his life.

Richard with a lot of your EP’s I know that a lot of thought and feeling shape your approach – what went into this release?

Well with a lot of the previous releases, there has indeed been a concept- coastguard advisory service was a hybrid of sailing holidays as a kid combined with these children’s films we used to see at film club in school. With this release, the whole thing was much more personal – instead of writing music about this conceptual thing, I was writing very directly and emotionally about stuff that was happening in my life at the time.

Have you changed your set up around for this one – what did you use this time did you do anything on the technical side differently?

I kept the same set-up which has basically been the same for the last 3 years – Yamaha Motif workstation and various analog bits including 303 and tudor acid box and Logic. Keeping the same set up meant that I was able to do stuff more quickly as there was less new stuff to learn. Having said that – there were some new tricks – I got a quadreverb which warmed things up nicely and the string sound you hear on “Tearbye” is my first attempt at wavetable synthesis!

and you did the artwork yourself again – can you tell us about how you tied in the visual aesthetic to the sound? Is it hard to match these up or does it just feel quite natural

Well, I had the feeling of this EP being hand crafted, hand made and orgain so I think that the artwork/design came from that really – I’ve been into the calligraphy for a while and it felt like with the sleeve I was kind of writing a letter or something like that.

I know you’ve just moved location in your hometown of Bristol – has that impeded your work in anyway/? what else can we look forward to from Tudor Acid and Tudor Beats over the coming year?

Well I was working on tunes right up until I moved house and of course the studio was one of the firt things I set up! So there was about 3 weeks where I wasn’t able to write which made me all the more grateful when I was able to get back into it! I started the EP back in august/september when I was still in the old house although some of the melodic ideas stretch back a bit. As to the future, I have a remix EP of tracks from the coastguard advisory service album coming out in the next few months, more remixes from friends in the pipeline and have been talking to some other artists about releasing music on Tudor Beats. I also have a remix coming out soon that I did for Bristol alt-space rockers Ersatz and have started work on some new material!

Tudor Acid Tonamente EP is available to buy now via the Tudor Beats website here.

Gabriela Dworecki + Derek Stormfield Interview: The Making Of Werewolf Gangbang

It’s not often these days we get videos for electronic music, a promo video accompanies every single released b a mainstream artist it’s a necessary to meet the demands of MTV play list, however a position on the MTV playist is not within the grasp (nor even is it desired) of today’s independents when it comes to electronic music so they are a rare occurance and invoke a more interesting premise than the commercial promo. 
However, the visual element made to accompany electronic music is alive and strong in AV live sets like those created by our interviewees Gabriela Dworecki and Derek Stormfield who are past collaborators using Gabriela’s imagery alongside Derek’s dark sub fused beats. These mainly accompany live music outings but something different is being explored by Derek who recently released a bashment AV project via Rob Booth’s Electronic Explorations podcast, a half hour DJ set accompanied by bespoke visuals.
So the story goes at some point an idea came inspired by Monster X’s Werewolf Gangbang track the team set upon creating a ‘proper’ music video for it, it was released last Friday, again, via Rob Booth’s EE site so we got to talk to the two creators about the video’s inception, production and imagery.

null+void: You’ve  both collaborated on in the past, how did you start working together?

Gabriela: I met Derek at a Yardcore party in December 2008. In 2009, we became friends and Derek was interested in start experimenting with live projections. Our first collaboration happened in October 2009 when he invited me to do the visuals for Scorn, at a Plex Party in Corsica Studios.  I was amazed when he told me he would sample all the material and give it to me so I could work on it the way I wanted. In between abyssmal underwater caves, scary sea creatures, octopuses, carps and abandoned industrial landscapes, I was an excited diver. I guess Derek was really the first person to understand what I seek when I prepare customized images for a set. After that we performed together in march 2010 on the launch of the Combat AV set, again with Derek giving me all the material to be worked with. But I will let him tell this part.

Derek: Yep it was at Yardcore, we have friends in common. It’s not a huge scene, the same faces pop up. Anyway, it was autumn and I had just come back from a gig in Latvia, inspired by a couple of really good VJs (Voitech & Gaffa) and keen on learning the visual element. I was also getting bored of just DJing and wanted more of a challenge, to try and combine sound and visuals in the same set. Gabi’s background is film directing and VJing, the opposite of where I was coming from. She was well into the music on Combat so we got talking and stayed in touch, trading skills and eventually gigging together for AV stuff.

How did you get the idea for the video and how did it come about?

D: It started from a drunken conversation in my kitchen around Christmas 2009. Julien (Monster X) had the Werewolf Gangbang EP coming out on TigerBeat6, so we decided to do a video for a laugh.

G: I was on holidays in Brazil when I received an email from Derek saying Julien would release an EP called Werewolf Gangbang and they had an idea for a video that would include basements, S&M, werewolves and kebab. The initial idea was a more simplistic, but as I entered the project I suggested a few additional scenes.

D: Gabi came on board, she’s the film expert and the project kind of snowballed. When she was back in London, we sat in the kitchen looping sections of the music over and over, writing down whatever images, moods or movement came to mind during specific sounds. An hour and a half later, there was a script! The video wrote itself from the music, literally.

The tricky thing was to find a girl who was happy to roll around in kebab meat, in a cold grotty basement wearing only bondage gear and a werewolf mask.

We had in mind a mate’s girlfriend, a professional climber who is quite an attractive girl and who happened to into various twisted stuff. But they broke up shortly after, so it was a no-go. By chance, I mentioned the video to a mate in the pub, who immediately volunteered his missus, and a couple of pints later her friend said “yes” too. So suddenly we had two attractive werewolves :)

What were each of your roles in the production of the video?

G: script, production, scenario, costume, direction, edit. Julian bought the masks.

D: Co-wrote the script, helped out on set and did the effects / post production. We both edited the video together, swapping back and forth over a few months on a hard drive.

n+v: There’s quite blatant deviant sexual themes in the video, what’s the significance of this?

D: The music is deviant and sexual, so the imagery has to be as well. Plus, I can’t honestly say we didn’t enjoy doing it :-) It’s not something we feel uncomfortable with. Gabi’s done a short films based on an S & M character, while Julien and I have a dark ambient A.V. project called Fausten (German for fisting). The imagery can be quite unsettling. The screen got switched off by a certain festival halfway during a performance in Europe last year :-) It was funny to see fake blood, bondage gear, devil masks, dog collars and leashes turning up in the post in the weeks leading up to the shoot.

G: Well, I am not sure S&M is still considered so deviant now a days. You can find outfits and paraphernalia easily available. It has come out of the underground and it feels mainstream now a days. Many of the sellout R’n’B divas wear them for millions of people in football stadiums, so in this sense I didn’t feel we were doing something so deviant. But the original idea didn’t include the final scene, where Master Combat releases the 2 werewolves and they attack Monster X, leading to a playfight threesome that ends on Monster X being “terminated” by Master Combat, who is also a woman. I needed to make sure they took revenge on the typical controlling macho behaviour that I can’t bear with…

What’s the kebab meat thing about?

G: I will leave it for Derek to clarify. I absolutely dislike kebab and I think Londoners would be healthier if 77% of the crap kebab shops were closed. I can just say during the shoot I felt bad for the girls, and after the shoot the kebab looked like some sort of nasty elastic plastic.

D: It’s from a running joke that you find all sorts of random stuff in the average London kebab: rats, pigeons, hair, mice, syringes, dead bodies. So getting werewolves in bondage to wrestle around on a bed of rancid kebab, it pushed all the right buttons on the wrongometer.

On the afternoon of the shoot I rode out to City Kebab and bought a £4 special. It was huge. Enough to spread on the floor for the final scene. It smelled really wrong by the evening. Fortunately the warehouse was being renovated for new tenants, so the whole room was getting scrubbed and painted over the next day. The kebab guy was really friendly and offered more chilli sauce though.

n+v: What do you think about promo videos today, there’s not that many made for electronica any more, why is this so? Why do you think they’re important?

G: I have to be honest; I lost interest on music videos as I think we are flooded with a lot of productions that are more about fashion buzz and trendy camera movements, rather than showing something new or exposing interesting ideas. I am also a bit suspect to give opinion on this because my favourite producers or musicians hardly ever get videos done. In general, I guess there is a link missing between the most cutting edge musicians and producers and the filmmaking world, which music wise (imo – again) is still very conservative. I love the joint production between the filmmaker Charles de Meyer and Amon Tobin for his track called Esther’s.

D: I wasn’t aware there’s fewer music videos today, but then I don’t really follow what’s going on. I’d have assumed it’s much easier to create promo videos now given the overlap between VJs and musicians. They complement each other. You can even jam with videos inside audio programs like Ableton and Serato. Since the 90’s, there’s been a huge shift away from traditional media outlets, powered b
y fast internet and sites like Youtube and Vimeo. I remember MTV back then had the same few electronic music videos on rotation. Some were nice, and it was exciting to hear bits of underground music on MTV but you had to put up with a lot of crap rock videos as well.  Nowadays, music via broadband means people are not force-fed like they are with TV. You can type the name of your artist into youtube and somewhere, somebody has uploaded it, along with a still image of album artwork.

It’s an important format because, live performances aside, it’s also a very good way to push music. Sites like Youtube are Google searchable, and you can share links easily. Of course with technolgy being more accessible, you’ll get more rubbish videos but also some really good ones. With that many fans posting stuff anyway, artists might as well have a go doing it themselves. There’s tutorials all over the internet. You can get really good cameras for less now, and make stuff that would not have been possible in the 80’s / 90’s without a big budget.

n+v: How was this project different to your previous work?

G: Before this project I had shot my first short film, which was much more planned in terms of shots, and I directed only one actor that was fairly experienced.

D: I’m not really a “people person”, and so tend not to collaborate often. This video is unique in that it combines our different backgrounds, in Gabi’s case film and narrative, and audio / visual fuckery in my case. The video would have looked very different if either of us had done it solo.  The common ground was having a warped sense of humour. Combined, we also had a bigger pool of time, energy, materials, gear and locations and helpers which certainly made a huge difference.

n+v: What technology did you use to create the film?

D: Nothing flashy. A Sony HD camcorder,  a £4 special deal from City Kebab plus a couple of iMacs running Final Cut Pro, After Effects and VDMX.
G: But I have to say I am not fond of the final look of the video, so I did my version of the cut.

n+v: Were there any new challenges you faced in making the film?

D: She had the toughest part on set managing everyone (about 8 people). It was a few missions getting the props on set, several journeys, plus our mate Kuba’s van got a parking fine.
G: I was directing three non-actors at once, myself doing that for the first time. Challenging, especially towards the last scenes, where the actors and crew were already tired and they had to bring a wide portion of wilderness and openness for it to happen. So I struggled a bit to try and get the performance out, but they were very patient and there was a level of excitement in the air that helped a lot. It was a friendly atmosphere. Derek was playing specific parts of the track so we could sync on the edit, and Julian was a good surprise as actor.

D: One of the conditions the girls had before filming was that we’d provide wine so they could get through the later scenes (it worked!). I think overall everyone worked together on set very well, no egos, no arguments, just had a laugh and got the job done. The werewolves’ boyfriends were on set enjoying the spectacle, and also helped out a lot with moving stuff round, lights and moral support.

n+v: What other visual projects are you working on? What can we look forward to?

G: I am about to go become a full time student for a year, so nothing really coming up. I have produced things in the past that have been kept quiet for years that will be set free on the net on the next few months. There is a film remix, a short documentary, a short film and a some av sets. I have a few short film scripts I would be happy to produce as well, but as a filmmaker I see a very long road ahead… lots to learn!

D: Gig-wise, I’m continuing to push Combat A.V. which travelled to Spain, Czech and Croatia last year, and will hopefully see more gigs and travels this year (promoters, hint :-).  Speaking of travels, this summer’s big mission will be a motorbike ride around Norway. It’s linked with a music therapy charity. A couple of us are bringing along cameras and filming the bikes for 2 weeks as we sweep through the mountain passes and fjords. Once back in London, I’ll edit the footage into a video which can be downloaded for donations/charity. Music will come from myself and friends who want to contribute.  I’ve been testing out a HD helmet camcorder and it’s working fine. Quite excited! Video-wise, I’ll make one for Anodyne, an artist who has just joined Combat Recordings. His music is really lush, with fierce, rolling old skool drum breaks, warm synths and dissonant atmospheres. And Julien and I will continue to experiment with Fausten, which is like the dodgy uncle in the Combat A.V. family of projects :) There’s always room for dark ambience and shocking visuals.

Here’s the video:



Chordata Interview + Mix


I’ve recently started speaking with and listening to Glasgow based electro producers such as Galaxian who has provided a glorious 72.99 minutes of dark sounds that have even reached across to DJ Stingray in Detroit. Similarly from Glasgow, Chordata is embracing hardware sounds and recently posted a first live mix online (above), following a debut release for Militant Science. We speak to the Glasgow based producer casting some light on the emerging producer carrying a passionate torch for real electro.

N+V: Where are you from and Where do you live?

C: I’m originally from the north east of Scotland, middle of nowhere really but one of the most beautiful parts of the world. I’ve lived in Glasgow now for ten years and I love it here. Its such an inspiring city and has a real rugged beauty to it considering how industrial it is.

N+V: What is the electronic music environment like there? has it influenced your work?

C: I think the city itself inspires me most. The architecture and the people are some of the most unique in the world.

The scene here is very changeable, it used to be amazing for really good electro and banging techno nights, and I know that there are still loads of die hard fans putting on great nights but they’re just not getting the attention they used to. A lot of people seem to be getting into house and garage and music/’genres’ that I’m really not feeling. There’s nothing me and my boyfriend (Espee) love more than sitting in with a couple of bottles of ‘fine’ wine and listing to amazing music from both the legends and quality new artists we keep finding, and ‘occasionally’ our own.

N+V: How long have you been making music for?

I started playing classical piano when I was old enough to walk, but I’m really rusty now from lack of practice, I used to play guitar too but I was never really that good. Then I started making electro about 6 years ago. Just messing about at first really, venting my own frustrations and emotions through just making noises and mad beats.

N+V: What inspired you to start?

C: I’ve always been obsessed with music. When I was younger I started off listening to a lot of classical music which is so magical and inspiring, I loved old bands, old school rave and electro and all kinds of music (even a bit of trance which I sadly admit to) and I was just fascinated by how it was made. I just stumbled into making electro and found myself so inspired by all the amazing artists out there that I just kept going.

N+V: What’s your set up?

C: I started making music on FL3 but I’ve finally moved up to FL9 and just started using Deckadance although I’m still getting the hang of it. I have loads of random instruments lying round the flat I always mean to hook up but never get round to. Eventually me and Steven (Espee) plan to set up a studio and sync up all the odds and ends we have and make mad music, I’ve even got an old Hammond Organ which makes beautiful sounds, it’ll happen one day I hope.

N+V: What releases do you have coming up?

C: I’ve just had an E.P. out on Militant Science and I have to take a moment to thank Paul Blackford because if it wasn’t for his support and advice I wouldn’t be where I am now.
I’ve hopefully got a couple of E.P.s coming out on Napalm Enema Records, Militant Science and a track in a free compilation on a french label called Pavillon36Recordings although I’ve got a lot of work to do first.

N+V: Who are your greatest influences and how do they influence you?

That’s such a hard one. I’d have to say number one would be my mum. She can play nearly every instrument and listening to her play the piano while I was growing up was a huge influence. I always loved dark, nasty melodies which is why I was drawn to my next influence. Which has to be Richard D James, the man’s a genius I don’t even need to say anymore. After that Drexciya (and all their pseudonyms), Espee/Soundex Phonetic (I’m not being biased here but the new material he’s working on is on is sounding incredible)
I know I’m going miss loads out but Lory D, UR, Rob Hall, Rephlex, Warp, Letroset, The Doubtful Guest, all the Militant Science artists (particularly Chromia) and so many of the talented artists coming out of Glasgow at the moment are a constant influence.

Mothers Against Noise This Thursday + Idiron Soundtrack Interview

More AV experiences in London this week as Mothers Against Noise returns to Corsica Studios Funktion 1 sound system and fierce line up. 

Heading up the line up is Combat Recordings’ Stormfield, there’s a really great interview on the Mothers Against Noise site here with him and we have a previous post on his AV project here. Joining Stormfield are Sam’s Myth w/ Daytime Televisuals (Amen-tal); Idiron Soundtrack; Team Toothpaste (Shedcore); Duskky (Carbon Logic/Mothers Against Noise) and Slavetothewage (Mothers Against Noise) with live visuals by I|O Motion.

Looking forward to some savage sounds at this one, check the event page for more info.

We had a little chat from Idiron Soundtrack who has been busying himself with his animation project Close Encounter of the Misanthropic Kind:


Close Encounter of the Misanthropic Kind from GSinnott on Vimeo.


What inspired the visual aesthetic? And how did this work with the audio aesthetic? 
It’s a skit/homage to my favourite science fiction, especially older stuff with a post-apocalyptic theme, but I also really enjoyed recent stuff like Wall-E and 9. I wanted to emphasise the conflict between the old decaying technology and the futuristic pod, so alot of the audio was made with analogue synths. The monster’s voice is my best gollum impression vocoded with recordings of a dirty Soviet-era synth I got late last year, while the pod’s voice is a nice clean oboe (like in the original Close Encounters).
Which came first?
Visual first, but it was done with the sort of soundtrack I wanted in mind.
What hardware and software did you use in this project?
 Software; 3DS Max, Photoshop, Illustrator, After Effects, Final Cut, Ableton Live and Logic Studio. Hardware; Formanta Polivoks, Roland JX3P, Oboe, Viola, Violin. 
What issues did you come across during the project?
I spilt a pint on my computer after I came home from Bangface before Christmas. It was a complete write-off so I had to work in stuffy computer labs for most of it. Too many sleepless nights there didn’t do my immune system any favours either. I was on antibiotics by the end!
How will you adapt your set up for live AV performance?
This was actually done seperately to my AV project, but the amount of 3D modelling I’ve learnt is definitely invaluable. I’ll keep quiet for now because I’m not sure how it will eventually pan out, but I tested it live for the first time last night and it went well. The tools/system are there.
What’s next for Idiron?
I’ve been sat on a new EP for a while now and that’ll be coming out later this month (for free) on Swishcotheque. It’s about intergalactic kittens and features remixes from friends and musicians I admire; more of a progression from the stuff I did with Netlab. Aside from that, I guess look for a job?

Pixelh8 Interview + Video

Observations from Pixelh8 on Vimeo.

Pixelh8 is near the culminating live performance of his latest project, Oberservations.  A work that sets out to explore what it means to be an astronomer as part of Cambridge Science Fair. 

It’s hard to fit in what he’s doing, but he’s a writer now for Wired, teacher, academic, musician, inventor, engineer, composer and artist into this one article or even here, you should definitely subscribe to his blog and mailing list via His projects range from a DS samba band for which he has programmed software for and is about the launch the project nationally, encouraging children to make music together or ciruit bending the world’s oldest and most historic computers at Bletchley Park last year.

Pixelh8 is one of my favourite artists and also damned nice guy so it was a real pleasure to speak to him about his ideas and ways of working.

Read my interview with Pixelh8 on 

Riz MC Interview + Video for

Riz MC is a highly talented, motivated and inspirational individual known not only for his music but for his acting in films like Shifty and Road To Guantanamo and even Charlie Brookers Dead Set. I first came across him not with his acting but I went down to The Social for the filming of a TV pilot (a privalidge invitation and excellent night shame the TV show never happened). Riz was one of the three acts playing and it absolutely blew my mind with the power and vitriol of the lyrics and the beats and sounds behind them were so strong.

That was a while ago now, and with a recorded album on Cross Town Rebels behind him the emphasis is on live events already once this year throwing a cross media terrace party at The Southbank Centre he is now taking over the Southbank Centre this weekend previewing the new album in an event that is part rave, interactive art experience theatre and gig.

Head over to to read my interview with Riz and see an exclusive video.

Radioactive Man Interview on

I’ve done a little preview piece on the Bloc weekend in my mind the most exciting line up for a music festival I’ve seen in years and still they tell you it’s not all about the music but the whole experience so my expectations are sky high (strangely yes it’s my first year at Bloc).

Read it here and also it’s worth looking at it to listen to the Paul Blackford remix of Lungfull of Bass Keith let me put up there. I think it’s one of the few music items up there amist the fashion week mega coverage.