Three mixes that have been on heavy rotation for me over the past 12 months:

JANE FITZ b2b PAQUITA GORDON

Rolling, sun-kissed festival techno perfection from two of the First Ladies of the scene. Absolutely belting mix.

RYAN ELLIOTT

The inimitable Mr Elliott is now 12 releases deep in one of the standout new house and techno labels of the past few years: Faith Beat.

In this killer set, he expertly blends together all 34 tracks from the 2024 label comp “Have Faith”.

Proper gear. Bravo.

PLOY

I’ve been a big fan of Sam Smith since his early releases on Hessle, Hemlock and Timedance. He is one of the standout UK artists and DJs of his generation.

I’ve been equally taken (although perhaps a little surprised initially) by his recent detour into chunked-out party House, including this future classic on Faith Beat.

This 3 hour session from last year’s Dekmantel Selectors is top drawer:

Normal service will resume next week.

Until then, peace and love.

Rubin

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This week, I am supplying several DJ mixes as an interim measure.

The first is from Joey Anderson, a phenomenal producer and equally mesmerising DJ.

It is incredible how he puts things together, smooth and precise; the percussion choice is always interesting, and I suspect his dance background has a significant part to play.

This selection has a track that gets me every time, ‘In Bed’ by Donato Dozzy.

The next is from the man himself, Donato Dozzy, a true master of the craft.

Speed, yet accurate, that flows. Watching him is quite awe-inspiring.

Next is Nick Marshall, Taeleu

Superb selections. I like this form of mixing; it allows the listener to get into the track for longer. I firmly believe that is a good thing in sets.

And the final one from the master of deep, Fred Peterkin.

Included is a conversation with him. Fascinating.

If you get a chance to see any of these artists live and preferably in a small, more personal space, see them. It will lift you considerably.

Peace and Love

Stef

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My only issue with this analysis is the use of the word ‘secular’. I don’t believe it’s possible to transcend without establishing a connection to the divine.

But, broadly speaking, Lord Sabre and I are on the same page.

So if raves are the ritual and ecstacy the sacrament, then the music is also a crucial component of a liturgical framework that drives the ceremony forward.

Think of these records as ancient wisdom handed down through generations.

Like some kind of cuneiform tablet or Dead Sea Scroll.

Righteous grooves with mystical powers.

Preserved for posterity.

A glimpse into something ancient.

A gateway into another world.

MAURIZIO

I won’t go on at length about individual tracks this week.

Suffice to say I have been blown away once again going through the complete back catalogue of Mark Ernestus and Moritz von Oswald. It really is extraordinary to consider the volume and consistency of output of these two master producers. How lucky some of us were to have experienced all of this first hand, fresh and new.

The Maurizio project alone would be enough to place any other production team into the ranks of the greats. To have it running in parallel with Basic Channel and Rhythm & Sound, as some kind of casual side project, is simply astounding.

I’ve pulled out my favourites from the series below.

The best (in my humble opinion) comes last: M-7, oh my gosh…

As you listen, think about what I said at the start of this post: These are righteous grooves, created for ancient riutals, to achieve collective transcendence and a connection with the divine.

M-1 - ‘Ploy (UR Mix)’ (1992)

M-2 - ‘Domina (Carl Craig Mix)’ (1993)

M-4 - ‘Untitled A’ (1995)

M-5 - ‘Untitled A’

M-6 - ‘Untitled B’ (1996)

M-7 - Untitled B (1997)

Totemic.

Where it all comes together.

Finally, for those that made it this far, one more classic that had nowhere else to live in the series.

Quadrant - Infinition (1993)

It really doesn’t get much better than this.

Thanks for listening.

Until next time.

Peace and love.

Rubin

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Moritz von Oswald is particularly interesting to consider in this manner.

He is certainly no longer the strutting young buck of Palais Schaumburg, the trainer wearing party starter of 3MB, or even the casually attired dub-techno dad of Basic Channel.

In recent years, von Oswald has emerged as a cravat-clad aesthete, scooping out luxurious dollops of high grade synthesis from his premium collection of increasingly rare and idiosyncratic audio machinery. Like some kind of eccentric Victorian explorer from a novel by Jules Verne.

He is, without question, an absolute boss.

But let’s not get sidetracked. We’re here to discuss music, not pocket squares. And there’s plenty to cover.

I’m going to skate over the Krautrock era of Palais Schaumburg (1983-84) and the sweetly innocent acid house party starters of Marathon (1989-90) and His Name Is Dime (1989) and head straight to the most pertinent material.

It’s been a pleasure putting this together.

Enjoy.

3MB

Three Men In Berlin (3MB) started life as 2MB (Two Men In Berlin), a collaboration between von Oswald and Palais Schaumburg co-founder Thomas Fehlmann. Fehlmann was a pioneering avantgarde musician who would go on to become resident DJ at the original Berlin techno superclub Tresor, as well as being a member of ‘90s ambient pioneers The Orb.

In 1992, von Oswald and Fehlmann produced a couple of solid 2MB remixes for Detroit pioneers Blake Baxter and Eddie Fowlkes before establishing a formal partnership with Juan Atkins as 3MB.

The resulting LP, 3MB Feat. Magic Juan Atkins, was one of the earliest link ups in the Detroit-Berlin axis, and a true piece of techno history.

Two selects from the release:

Die Kosmischen Kuriere (MvO and Thomas Fehlmann remix)

A glorious slice of blissed out techno euphoria.

‘Jazz Is The Teacher’ (Magic Juan Edit)

Your regular reminder that Techno is not Black, but it’s certainly American (which often gets overlooked). And its roots are in Jazz. More on this another time.

I also want to draw your attention to this wonderfully uplifting, Steve Reich-esque composition released by Fehlmann and von Oswald as ‘Schizophrenia’ on Tresor in 1995, during the peak years of Basic Channel.

Schizophrenia (1995)

Speaking of Basic Channel, we’ve already covered that project as well as Rhythm & Sound in extensive detail elsewhere.

So now we’ll fast forward 13 years to 2008 »

ReComposed

Having pioneered dub techno and scaled the heights of reggae, why not turn your hand to reworking some of the most iconic classical music of the 20th century?

On paper, a techno reinterpretation of Ravel’s ‘Bolero’ probably shouldn’t work. But MvO and Carl Craig do an extraordinary job of honouring the source material through an epic 16-minute opening section:

Before dropping the hammer on the second side of the LP:

It’s a classy release. Perhaps unsure of where it’s most suitably deployed (is it really a club record?), but certainly rewards repeated listening. And I can’t quite believe it’s already 18 years old(!)

Moritz vo Oswald Trio

Von Oswald’s later career will of course be defined by his eponymous supergroup; a rotating cast of musical auteurs who expertly blend dub, techno and jazz into an incredible immersive live act.

The trio is led by von Oswald (keys, percussion, and production) and originally featured Max Loderbauer (synthesizers, samplers) and Sasu Ripatti / Vladislav Delay (percussion, live processing).

This core group delivered four groundbreaking albums between 2009 and 2012.

Vertical Ascent (Honest Jon’s, 2009)

‘Pattern 1’

Live in New York (Honest Jon’s, 2010)

‘Nothing 1’

Horizontal Structures (Honest Jon’s, 2011)

‘Structure 2’

I love how the Rhythm & Sound style bassline merges into the Trio’s freeform jazz explorations.

Fetch (Honest Jon’s, 2012)

Probably my favourite LP from the original line up. It brings a raw directness and utility that is often absent on earlier releases.

‘Club’

‘Yangissa’

Blue (Honest Jon’s, 2013)

I should also highlight this exceptional single from the OG lineup released in 2013 which could very easily have come from the Maurizio project (which I’ll be wrapping this series up with next week).

Both sides here, turn up your subs:

‘Blue’ & ‘Blue Dub’

In 2015, Vladislav Delay was replaced by Fela Kuti’s legendary Afrobeat drummer Tony Allen. Thereby shifting the Trio’s sound towards a more muscular jazz-funk fusion that I am a huge fan of.

Sounding Lines (Honest Jon’s, 2015)

Two selects:

‘Sounding Line 3’

‘Sounding Line 6’

This track is where Allen’s influence really comes to the fore.

Incredible drum work.

For the full experience check out this live concert with Tony Allen from 2016.

For their 2021 album Dissent, the trio underwent another transformation, replacing Tony Allen with jazz drummer Heinrich Köbberling and Loderbauer with electronic musician Laurel Halo (keys, Wurlitzer, Rhodes). Dissent marked a return to a murkier, more abstract sound, highlighting Halo’s bright tonal center against von Oswald’s dub techniques.

Dissent (Modern Recordings, 2021)

‘Chapter 4’

‘Chapter 5’

I absolutely love the loose, up-tempo shuffle of this track. Proper gear.

Oh, and before we sign off this section make sure you get to know about this extraordinary 2010 link up between MvO Trio and Dubstep pioneers Digital Mysticz. A match made in dub heaven from a golden era of bass music.

‘Restructure 2’

Nils Petter Molvaer

After the fourth MvO Trio LP dropped in 2012, von Oswald somehow found time to collaborate with Norwegian jazz trumpeter, Nils Petter Molvaer. The resulting 1/1 LP, released in 2013, is a brooding jazz-meets-dub techno gem.

‘Future’

‘Noise 2’

Borderland

At the same time, von Oswald was rekindling one of his oldest relationships with ‘Magic’ Juan Atkins. They released a collaborative LP in 2013 called ‘Borderland’, which they then decided to use as the name of their joint production project.

To be honest, some of these tracks are a little bland and edge into ‘dad house’ territory. But there are some definite highlights.

‘Odyssey’

‘Merkur’

‘Concave 2’

Ordo Sakhna

In 2017 von Oswald collaborated with this long-standing musical collective based in Bishkek, devoted to the roots music of Kyrgyzstan.

A couple of gems from quite a challenging release:

‘Draught’

‘Drums’

Silencio

And finally, after so much collaboration: a solo release, a profund statement of artistic maturity, and perhaps a career highlight from 2023.

Silencio shows how, even after a creative life as storied as Moritz von Oswald’s, it’s still possible to reach new levels of artistic expression. This extraordinarily ambitious album would sit comfortably alongside the work of Phil Glass, Steve Reich, Aphex Twin or any of the other late 20th century masters.

Bravo, Moritz.

Two favourites below, but make sure to check out the full release.

‘Silencio’

‘Volta’

So there you have it.

A 40+ year career that’s traversed the night club, the opera house, the jazz shebeen and the sound system with an elegance and style that really nobody else can match. And even at this stage of the game, the question I’m asking myself is ‘what’s next?’

For now, I’ll leave you with one of my top 10 all time records. The Moritz von Oswald rework of Sebbo’s ‘Watamu Beach’, released on Desolat in 2008:

Peace and love.

Rubin

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Now we’ll take a look at the men behind the music, starting with Mark Ernestus.

Both Ernestus and his production partner Moritz von Oswald have been notorious over the years for their aversion to public statements and profile building, preferring instead to let their music do the talking.

In fact they pioneered the minimalist, anonymous white label culture that in many ways continues to define serious club music. For many years nobody knew who was behind the era-defining rhythms they were unleashing on the world.

In a rare interview with the Wire from 2010, Ernestus recalls:

“When I first got involved with producing I remember thinking for myself, what is it you try to achieve, you know. Because you definitely don’t want your face or your name all over the place. And you’re shy, you’d rather be invisible. I realise that I really loved the idea to have my genetic code in the genetic code of music. That would be a huge goal, that would be the biggest achievement in a way”

I think we can say with absolute certainty that Ernestus has achieved his goal. His DNA has infused every area of electronic music and he is a foundation stone of the entire culture, the Berlin scene in particular.

As founder of the city’s legendary Hardwax record store (Tip!), which opened in 1989, he played a critical role in establishing the Berlin-Detroit nexus. By facilitating the import and distribution of Detroit techno across Europe he helped cultivate a sound that would become completely central to the continent’s musical identity.

As co-founder, alongside von Oswald, of the Dubplate & Mastering cutting house, he brought specialised club music mastering to Berlin for the first time, inspired by the high quality independent sound engineers he admired from the US and UK.

As a solo producer he’s been behind some of the most important electronic music of the past 15+ years; delivering a slew of high quality remixes, versions and collaborations with top tier artists, as well as playing a central role in one of the most compelling live acts I’ve ever seen; Ndagga Rhythm Force.

Let’s start with the versions.

VERSIONS

A few favourites for your delectation.

Tony Allen - ‘Moyege (Mark’s Disco Dub)’ (2006)

A rare disco outing for Ernestus as he expertly re-rubs a slice of afro-funk for Fela Kuti’s legendary percussionist Tony Allen.

‘Mark Ernestus meets BBC Version’ (2011)

Taken from Honest Jon’s now classic 2011 Shangaan Shake remix compilation. This beautiful, deep, rhythmic ambient workout demands serious amplification.

Mark Ernestus vs Obadikah ‘April’ (2016)

One word: Triumphant.

Calibre & DRS v Mark Ernestus ‘Bad’ (2021)

A dream collaboration for any bass music connoisseur.

Now let’s turn to Ernestus’s primary musical focus over the past 15 years.

NDAGGA

I first came across the Ndagga project back in 2015, when I picked up the Yermande and Lamb Ji 12”s by Ndagga Rhythm Force on a trip to Honest Jon’s.

I was immediately struck by the depth and richness of this music; the complexity of the rhythms and the obvious joy and passion with which they were delivered.

For the origin story of how the whole project came together, you can’t do better than listen to the man himself in this excellent recent interview from RA.

Long story short: Ernestus had become increasingly hooked on the extraordinary Mbalax polyrhythms he found in youtube clips of Sabar drummers from Senegal. His online obsession soon became a real life quest as he travelled to the country seeking out original recordings and then collaborating with some of the culture’s leading artists.

He became a founding member of Jeri-Jeri, a group formed of more than 20 Senegalese musicians whose name came from the tribe of the participating artists. In true Rhythm & Sound style, the results of these studio sessions were released as a run of 12”s, followed by two albums of original tracks and dub versions. Two standouts:

‘Ndeye Gueye’

‘Gawlo” w/ Baaba Maal

After these initial releases, the project evolved into a more focused and polished live act and was renamed Ndagga Rhythm Force in 2014, with most of the Jeri-Jeri members joining the new group.

And while the early recordings from 2011-2013 are undeniably excellent, for me the sound is truly elevated when Ernestus begins to fully flex his hi-fidelity studio chops alongside the raw Senegalese tribal drumming, creating a more minimal, polished and dub-inflected sound.

Two particular stand outs from the original Ndagga run:

Yermande (Prophet 5 Mix) (2015)

‘Lamb Ji’ (2015)

You should absolutely check out the full LP.

Then after more than a decade of honing their stagecraft, Ndagga returned in 2025 with a new long(ish) player ‘Khadim’. My choice cut:

‘Lamp Fall’

Finally, Ndagga must be understood first and foremost as a live act.

I had the absolute pleasure of attending one of their first UK gigs at Cafe Oto in (I think) 2016, which was simply one of the most perfect musical performances I’ve ever experienced. Some footage here:

I seem to remember bursting into (happy) tears at one point during the performance; it was really that good.

If you get a chance to see them live, make sure you take it.

For now, ultimate respect to Mark Ernestus.

A true giant of the culture.

Peace and love.

Rubin

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You can watch the full interview here, where the first 15 minutes or so is focused on music festivals.

I found the conversation troubling for two reasons.

Firstly, because Mahon sits on top of an extraordnarily powerful collection of cultural assets, all of which are now owned by private equity in a direct affront to the grassroots of rave culture.

Secondly, because the Ditchley Foundation is a hub of military, intelligence and political actors who have been at the forefront of Anglo-American imperlialism for the past 70 years.

These things should not be mixing together and Mahon’s decision to give this interview in the very first months of her new role tells you everything you need to know about Superstruct and the state of the modern music industry: i.e. it has been weaponised by the global ruling class.

I’ll start by giving you a brief overview of Superstruct and its role in the centre of the corporate takeover of European music culture, followed by an introduction to the Ditchley Foundation and some of its key people and activities.

SUPERSTRUCT AND KKR

Anyone paying even the most casual attention to club culture over the past few years will be familiar with the controversy surrounding Superstruct; the huge festival operator, now wholly owned by private equity pioneers Kohlberg, Kravis and Roberts (KKR), which has been steadily hoovering up many of your favourite festivals and music brands into its soulless global investment portfolio.

Snowbombing, Hideout, Elrow, Awakenings, DGTL, Lost Village, Sonar, Field Day, Boiler Room and many others are now fully embedded into the beast system and steadily generating corporate profits for KKR alongside its investments in Israeli weapons manufacturers and companies promoting illegal settlements in the West Bank.

So much for Peace, Love Unity and Respect.

Thankfully we’ve seen consistent and escalating push back from the music-loving public, and Sonar festival was notably hit by over 70 artists boycotting last year’s event in protest at the KKR link up.

But this has really only scratched the surface of the problem.

And you won’t fail to have noticed that none of the protests have changed anything whatsoever about what’s happening on the ground in Gaza.

Mainly because people don’t really understand what these investments are actually for.

Let’s be clear, KKR isn’t trying to make a few quid selling you overpriced water. It’s actually engaged in full scale psychological operations against European populations so the imperial war machine from which it so handsomely profits can keep grinding on towards its ultimate goal.

How do festivals help progress this agenda?

In at least three ways I can think of:

1. Bread and Circuses

By keeping the peasants (you and me) fed and entertained the global establishment, of which KKR is an important part, are able to keep us distracted, complacent and unquestioning of its wider policies.

2. Divide and Rule

The music industry has been at the forefront of pushing woke neo-Marxist political ideas that have been custom designed to split Western societies into warring factions more interested in fighting each other than uniting to tear down the corrupt establishment that is actually persecuting all of us.

The massive and ongoing controversy over the supposed racial roots of techno music is just one example of how this plays out in practice.

Yes, the billionaires fund Communism when its useful for them to do so. But more on that another time…

3. Mind Control

Military intelligence agencies have invested $trillions over the past 80 years in carrying out psychological operations against their own citizens. The CIA’s MK Ultra programme, as just one example, is well-documented and the lessons learnt are still being applied to this day.

Large scale public events, especially those where attendees are intoxicated and being exposed to high levels of sonic and visual stimulation, are extremely fertile ground for those seeking to plant new ideas into public consciousness.

They literally want to control what we see, hear and think on pretty much any major issue. Festivals are a perfect place to make this happen.

All of which might explain why the Ditchley Foundaton were so keen to speak with Alex Mahon at the start of this year.

DITCHLEY FOUNDATION

Ditchley was established in 1958 as a way to promote international relations between the USA and Great Britain.

It sits at the core of the Anglo-American partnership that has dominated global affairs since the end of the Second World War.

The Foundation is based at Ditchley Park in Oxfordshire, an extraordinary country house first built in 1720.

The Foundation’s Governors include some of the most prominent figures in British and international affairs from the past several decades, including:

• Lord Cameron of Chipping Norton, aka David Cameron. The former British Prime Minister and ultra-Zionist change agent.

• Bill Emmott, former Editor of the Rothschild-owned Economist and former Chair of the International Institute of Strategic Studies (IISS), one of the key global think tanks of the military industrial complex.

• Dominic Grieve, former Tory MP and former Chair of the House of Commons Intelligence and Security Committee, which oversees MI5, MI6 and GCHQ.

• Sir John Major, fomer british Prime Minister and former European President of the Carlyle Group (the largest financial beneficiary of the Iraq War, alongside Halliburton).

• Sir John Sawers, former Chief of MI6 (2009-14)

• Lord Robertson, former Secretary General of NATO.

I could go on at length, but I’m sure you get the picture: Top level political, military and intelligence operators, including some of the biggest bastards in recent British history, are cosying up to the Chief Executive of the largest festival operator in Western Europe in order to get her thoughts on how to exert influence over young people and inject their ideas directly into public discourse.

Why else would James Arroyo be so keen to talk with Alex Mahon about the “role of festivals in bringing societies together”, the need to “establish shared experience” and to “create a space for discourse, discussion and debate”?

Absolutely nothing good can come of this, and the sooner artists and ravers wake up to how completely rave culture has been stolen and weaponised by the ruling class and fully boycott the entire Superstruct portfolio, the better.

Oh, and this one is still hyper relevant:

Peace and love.

Rubin

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But even these two extraordinary achievements couldn’t contain the full scope of their creative ambitions.

Main Street launched in 1993 as a Basic Channel sub label. This was a house-flavoured side hustle for the duo’s more soulful output, and a place to explore the spaces and overlaps between their two better-known projects.

While the label’s discography is small, it is perfectly formed. Containing, as it does, a near flawless run of soulful deep house and dub flavoured dancefloor gems.

All the tracks were compiled on the essential 1999 compilation ‘Round One to Round Five - 1993-99’ which you should really just stick on right now. But before you do, let me direct your attention towards a few key items:

Round One ‘I’m Your Brother (Club Vocal Edit)’ - MSR-02 (1993)

A sublime deep house vocal that could easily have been produced by Chez Damier or one of the other early Chicago masters.

Round Two ‘New Day (feat. Andy Caine) (Vocal Mix)’ - MSR-04 (1995)

For me this is quite simply one of the Great Tracks of House Music.

Bittersweet and soulful.

Melancholic yet deeply uplifting.

A work of true and timeless genius.

Round Three feat. Tikiman ‘Acting Crazy (Club Vocal)’ - MSR 06 (1996)

A stunning fusion of dub and house music delivered with long-time Rhythm & Sound collaborator Tikiman.

Round Five feat. Tikiman ‘Nah Fe Throw It’

The boundary between Main Street and Rhythm & Sound blurs with this sublime dub excursion. Stick me on a beach somewhere with this on repeat and I will die a happy man.

Round One ‘I’m Your Brother (Quadrant Dub II)’

Finally, the track where Main Street and Basic Channel collide as ‘I’m Your Brother’ is elegantly fused with one of the key slabs from BC.

A deep, glistening, hypnotic groove that simply never gets old.

Have a blessed weekend one and all.

Peace and love.

Rubin

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Prominently producing under the name DaRand Land, releasing two Long Players, one of which is a mini-album and twelve EPs across Deep4Life, Downbeat, Pulp, Urban Imagery; his label, Confluence Records, Scissor and Thread, and Sound Principle. He also belongs to one group, Dark City Ensemble, with Chris Gray, and the two have released two EPs on Freebeat and Urban Imagery.

Buffalo, a city whose musical legacy is often overlooked, once brimming with industrial might and strategic geographic importance, is a city at a crossroads. Urban Imagery was set up and is ‘the reflection of the struggles and emotions of the inner city through music’. His productions do capture the atmosphere of this post‑industrial city well. Though I recognise that from 2013 there is a slight sonic shift, these heavier, moody lines that represent harshness bring it to the fore, deepening that feeling and inviting deeper thought. The genius, for me, is the use and placement of delicate, soothing chord lines and finely honed elements that captivate and astound me, allowing for a transformative place-switch, or rather a shift in a positive direction. Not only is this a sign that the balance of his production technique, sound element choice, and structure is creating an absolute cognitive effect, but it is also what this effect brings forth.

Chris introducing DaRand Land was a thing of beauty, with his undeniable ear for 70s/80s funk filtering through, and there it was, I became instantly captivated. DaRand Land emerged on the scene with a profound statement of intent, no more so than in his first two releases: it is a sound that was fully formed: deep, delicate, atmospheric, and emotionally articulate.

GENTLE SOUL

Starting with ‘Blessings’ from 2000, this is one of the most beautiful house records made, with its artwork adding to the depth of the message within the music; one of freeing from life’s harshness, which is what his label Urban Imagery music represents: more precisely, it leans towards gritty music lines to create that sensation.

Embedded is side B.

‘Sonic Vision’

Equally mesmerising, Side A ‘Blessings’.

Next came ‘Calming Effect’ in 2001 and it is a masterpiece, Such a special release for me, rather than me speak about just how good this is, I simply ask for you to go listen to every track on this mini album, to take it in and contemplate and understand what has graced you.

One selection from me.

‘Edge Of The Looking Glass’

The above two releases are art that truly transcends your inner-being to a place of tranquillity, yet provides resilience; incredible tracks to share with people in a music setting, however I wish to share personally for me It was only in a time of anguish that I came to truly appreciate both these records and the power they hold within them, I remember distinctly that period and it was how this music transferred to me at a very low point and brought me out; did things that I will never truly understand and I do not think I will be able to ever explain in a way of gratitude to the artist how important their music was at that precise point, it was a deep connective experience that turned an extremely fragile situation in to one of forward motion and will be cherished forever.

DECADE BREAK

In 2011, a return to production, not so much a new chapter but instead a continuation from the Deep4life era, using similar thinking and production techniques from then; building on the same principles, staying with his music roots with delicate atmospheric textures, low to mid range chord lines, crisp and deep percussion.

Foregrounds And Backgrounds - 2011

‘Middlesex’

It is here that this sonic shift I spoke of in the third paragraph is represented and brought to the fore for the listener; it is that reminder of the grind the system has people in, and how that plays out in a multitude of ways, encompassing difficult times. Not a bad thing to convey in music, and the selections I have embedded emphasise this fact. You will also find finely placed elements, as well as delicate and beautiful chord lines that directly connect the heart, bringing the message full circle and leaving the listener with reflection, strength, resilience, and the ability to push forward. It is so powerful.

One track from each EP.

Love’s Cosmos - 2013

‘Soothe Me’

Heaven Electric Pt.1 - 2014

‘Lets Interact’

Aspects Of NYC - 2014

To think that he produced ‘Aspects Of NYC’ during his most difficult period in life is hard to contemplate. I had to go and find my copy to listen to ‘Luv Rekindling’ in full. Incredible lead synth with the male voice saying ‘inside’ for this delicate 120 BPM number. All tracks: Incredible work during a demanding situation.

‘Of The Time’

Exposure To Form - 2015

‘Kin-Folk’

Heaven Electric Pt.2 - 2017

‘Emanation’

Collection Of Perspectives - 2018

Whole EP.

In the following releases, I sense he is moving towards his Deep4Life territory, showing maturity in technical elements and soundscape.

Discover You - 2018

‘Marcela’s Sense’

Sound Principle 01 - 2018, Joint EP with Jose Lau

‘Move-Listener-Emotion’

Whispers From The Lake - 2023

‘Melanin Vegan’

The Vermillion Room - 2024

‘Remember The Violets’

Wander Being - 2024

Whole album.

An album created in four months after redesigning his studio, modelling music-making tools and processes from the 2000s; it was strictly hardware for production, arrangement and mixing. Every track on the album used the Minimoog Voyager. Beautiful. Needless to say, it is an incredible album that represents a mature synthesis of his decades‑long craft.

In his own words.

‘Was a desire to return to the essence of some of my original Deep4Life productions. How was this accomplished? Principally, through the exclusive use of hardware components, minimalist arrangement, and a minds-eye approach to source the musical elements. In particular, the single, The Nature of Reality was written to convey a sense of what it feels like to be in a state of suspended animation. There is a natural tension introduced via the organic, swirling pad progression juxtaposed against endless vocal echoes and the low-end groove of the bassline. Thematically, I wanted to carry this forward through the entirety of the album.’

To hear of shifts like this, delving deep and returning to where it began, deeply moves me. Lovely.

DARK CITY ENSEMBLE

A collaboration between Chris Gray and DaRand Land: the first release, a double 12-inch from 2013, ‘Dark City Ensemble’, and ‘Past Life Connection’ in 2016; I adore this EP in its entirety.

‘Aquatica’

Here is Chris setting the record straight.

‘All composed from scratch using Korg Trinity Plus and Tr-racks. No samples involved and that ‘Aquatica’ was composed along with ‘Ocean Floor’ & ‘Coral Reef’ back in the 90s for what was supposed to be an EP. ‘Ocean Floor’ was then released on the LP ‘Emotional Distortion’

I have followed Chris from the beginning, a deep listener of his work, and in the coming weeks, I will delve into his career.

DaRand Land made an incredibly strong statement of intent with the first two releases, and if that were all he produced, that would be enough to cement his legacy.

Recently he opened up and spoke about how the scene has challenges to who becomes a known quantity and how success is measured and compensated. He is correct and for me this is one of some longstanding concerning areas within the music industry; handpicked individuals not because they create timeless art but rather as showpieces for manipulation to drive something that is incredibly fake and lacks any heart, it troubles me that people want to do this and put themselves in that kind of position; this is not self-respect.

DaRand Land is still a firm believer in quality music winning the day.

After ten years without hearing from him, it was not unreasonable to think that there would be no more, but In 2011, his creative art once again flowed, and the message presented was mightier, hit harder, and the music was more able to convey realities; the ability to drive introspection was ingrained deeper into his pieces, a sound and principle rooted in his Deep4Life pieces presented with more precision, allowing for deep thought, reflection and moral life choices. People tend to ignore what is happening around them, or, for that matter, a broader scope of things; for music to bring what I talk of here to the fore in a way that creates critical thought, whilst deeply soothing, is an impressive artistic attribute.

DaRand Land is another artist whose productions demonstrate that he spends considerable time carefully considering the structure and elements of his pieces, with meticulous attention to detail, ensuring every element has its purpose; there is not a single poor track in his discography. A man who writes from the inside out, with a sincerity that is becoming increasingly rare, and a discipline that places him among the true custodians of the craft.

His music is genuine, delicate and deeply affectionate.

Until the next time I leave with this untitled beauty test press on Sound Principle.

‘Untitled’

Stay Safe

Peace and Love

Stef

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Revelation is the new project from Make Me founder Ben Rubin and his good pal Stefan. If you’re receiving these emails it’s because you attended a Make Me party and opted into our mailing list. Similar vibe, new era. Love.

Some records get so deeply ingrained into your musical consciousness they simply become part of you.

Submerged into the fundamentals of how you process and navigate reality.

Fused into mind, body and soul.

To the point you almost don’t need to listen to them anymore because they are so familiar and well-worn. Like an old friend you strike up with immediately no matter how long it’s been since you’ve seen each other.

Rhythm and Sound produce those kinds of records.

While Moritz von Oswald and Mark Ernestus’ Basic Channel project undoubtedly sits at the pinnacle of techno, their dub and reggae output as Rhythm & Sound has always spoken to me on a deeper level.

Intuitively the project makes no sense. Why would two German ‘pasty white boy’ (a YouTube comment) techno producers end up creating some of the most perfectly formed dub reggae music ever cut to wax?

Having indelibly stamped their mark on techno, it would have been easy to rest on laurels, keep repeating the formula and/or head out onto the club circuit as DJs.

Instead they chose to even-more-fully immerse themselves in the dub processes they’d so successfully fused with the machine funk coming out of Detroit; taking their exploration of reggae and sound system culture to its most advanced and complete conclusion, with extraordinary results.

SHOWCASE

At some point in my late teens I was handed a CD that would set my musical direction of travel from that point forward. Showcase, a compilation of Rhythm & Sound’s combined efforts with Dominican mic-man Paul St Hilaire, aka Tikiman.

Built from a series of 10” releases on the Burial Mix label, established in 1996 for the specific purpose of platforming Rhythm & Sound’s vocal collaborations, the LP showcased three artists expertly blending the Jamaican dub reggae template with minimal techno principles in what amounts to a groundbreaking fusion of musical cultures.

From the opening bars I was hooked.

The depth and purity of the subs.

The patient yet relentless insistence of the kicks.

The sizzle of the snares; their relics and remnants skittering away into the distance after each hit.

And, of course, those blessed vocals. From a man who would very quickly become one of the defining voices of electronic music; delivering a spiritual message in the true unifying tradition of rastafarian culture.

I was lucky enough to see the trio live at the first Bloc festival back in 2007. A warm, dubbed-out three-hour embrace on a Sunday morning after two or three solid days of techno fury.

In all honesty, I remember very little of it.

But we deya…

Two cuts of choice:

‘Ruff Way’

‘What a Mistry’

It goes without saying you should check out the whole LP.

THE ARTISTS

Having introduced Tikiman to an international audience, R&S would go on to work with an extraordinary array of roots and reggae vocalists, including:

Jamaican royalty Cornell Campbell; the Coxsone, Trojan and Studio One veteran who vocalled one of my all time personal classics, ‘King In My Empire’

Closely followed by another all time percy classic, ‘Queen In My Empire’ vocalled by the extraordinary Jennifer Lara:

The Chosen Brothers, whose discography extended back to the mid-1970s through releases on seminal reggae labels like Wackie’s, and whose 1980 reggae classic ‘March Down Babylon’ would provide the structural underpinnings for the R&S version ‘Mash Down Babylon’

”Politricks have failed, they let murderers invade…’

And while we’re here, I can’t ignore what is probably my favourite Tikiman tune. The spiritual peak of ‘Jah Rules Over Us’

All of these tracks and more are compiled on the all time classic 2004 LP ‘w/ The Artists’ which was accompanied by an equally strong dub version LP (aka without the vocals) ‘The Versions’.

Timeless, timeless music.

We really don’t know how lucky we are.

SEE MI YAH

In true dancehall style, a single riddim track from R&S provides the bedrock for a series of vocal versions.

Some of these artists, like Bobbo Shanti, Walda Gabriel and Rod of Iron have very little (if any) further formal discograpy and almost zero digital footprint, despite delivering some of the strongest material in the R&S catalogue:

‘Poor People Must Work’ w/ Bobbo Shanti

‘Boss Man’ w/ Walda Gabriel

‘Lightning Storm’ w/ Rod of Iron (My personal favourite from the project)

Do yourself a favour and liten to the whole thing start to finish:

The 7” set is one of my favourite pieces in my collection.

SEE MI YAH (REMIXES)

The boys reach back to their house and techno roots to reshape and reimagine the See Mi Yah project. It’s a great and varied project with some absolute donnies on deck.

Three selections for your delectation:

‘See Mi Version’ (Basic Reshape)

‘Let We Go’ (Villalobos Remix)

Ricardo delivering the weirdness as only he knows how.

‘Poor People Must Work’ (Carl Craig Remix)

A Make Me classic from the Cat in the Hat.

RHYTHM & SOUND

Last but most certainly not least.

While they were busy redefining the template of dub reggae music, R&S were still finding time to maintain the Basic Channel template and casually knock out some of the most essential and timeless dub techno records ever made.

1997 / RS-01 ‘Music A Fe Rule’ (part 1 and 2) w/ Tikiman

1998 / RS-03 ‘Roll Off’

1999 / RS-04 ‘Distance’

1999 / RS-05 ‘Carrier’

1999 / RS-05 ‘Outward’

All brought together on the essential 2001 compilation ‘Rhythm and Sound’.

Truly monumental selections that sit outside the normal order of space and time.

To close, a personal joy and Revelation: a release I was unaware of until yesterday.

2002 / RS-07 ‘Aground’

Until the next one.

Peace and love.

Rubin

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Peace and love.

Rubin and Stef.

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A relatively new artist from London, Gary Brackley, is a producer whose productions under the name G.R.I.T. began in 2008.

However, this is not where his musical journey began; it started in the early nineties with a friend of his, Scott, a DJ, while Gary was a rapper. Both have a passion for the hip-hop scene, especially for original electro from the 1980s, which takes direct influence from early hip-hop and funk.

It is important to note that they had made several demos without interest. It was not until they entered rap competitions on Greater London Radio (G.L.R.), winning three times, and on each occasion being invited into the station to use their equipment and record a track for the following week’s show, that a release followed shortly after. This release happened in 1992, and it was a 12-inch on an independent label by a Euro-dance group. Scott provided a trance remix, and Gary provided vocals. I understand this happened between their early to mid-teens. During the same period, Scott became a runner-up in a DJ competition.

Additionally, they discovered hardcore, acid, electro, techno, and dub techno. Scott dabbled with hardcore. The sounds of acid and electro (harder-edged) captured Gary; despite this, he found a deep connection with Basic Channel. Staying with techno through the years 1993 to 1995, and following this period, for him, the music dried up, and he stayed away, dipping in occasionally as other commitments in life took over.

Reinvigorated in music creation and Scott suggesting an investment in music software, in 2007, a transition began, and soon Gary started crafting techno, and his production career took hold.

Music is an integral part of these individuals’ temperament; a journey of discovery into their passion in this arena. The connection to Basic Channel was the moment when music went from aural engagement to a will for creative art. The importance of what Basic Channel and its side projects accomplished is breathtaking, and its lasting impact on people cannot be understated; it is a phenomenal artistic creation that keeps on giving. For further reading on this, please turn to Ben’s starting piece on Basic Channel, and, when completed, to the side projects as well. This specific moment in Gary’s history resonates deeply with me, and I am confident this resonates with many others.

What is so beautiful about this is that it is innocence, inquisitiveness, and following that feeling from within. Both found a style that was what these two wanted to give. For me, both of these artists are incredibly talented; though their music production outputs are slightly different, both artists’ music shows careful consideration in its structure. It is this that is so important for me, this undivided attention, and here it shows in abundance.

For Scott, the only track I can locate is the one embedded directly below. I am unsure of the exact production date; it was before April 2013. Beautiful, sensible electronic music with lovely acid and chord lines; it is magnificent. Such a shame this was not finalised.

SCOTT: FUTURE THOUGHT TAPESTRIES

‘Plnetz Reprise (Gabriel’s Quest)’

I understand this file for this track is no longer available, and since its creation, it has evolved into something different.

GARY BRACKLEY: G.R.I.T.

Gary has produced three albums, one on Shoreless and two on MeanWhile; two solo EPs for Exalt, and Rohs! and two joint EPs for Grounded in Humanity and Samuvar Ltd. Additionally, five tracks for Rohs! digital label. He is also part of the Satellite Religion collective, which is SEN; John G. Shern, Future Thought Tapestries (Scott), Channel 73 & Space-ci.

In order, his first release was digital only; 5 tracks for Rohs! in 2008, ‘Tunnel Transmissions Vol.1’.

In the same year, an album titled ‘Expanse’ was released on Shoreless. From the start, his productions show a solid work ethic and deep understanding of rhythm, timbre and technique.

A couple of selects:

‘Marianas Trench’

‘Endless Waves’

The first of his joint EPs alongside Hubertus Schacht followed in 2009. Gary’s track, ‘Infinite’.

In 2012, there were two remix albums of Expanse released on Entropy, part I, part II, and a third release containing a single track, ‘Expanse cv313 Expansed Reprise’ with a duration of 21:33. Rod Modell and Stephen Hitchell use micro-samples from every track on the album and reprocess them to create this beautiful soundscape. Incredible.

In the same year, Gary produced an astonishing album, ‘As I Look To The Sky From The Surface Of The Water’. It is a masterpiece that makes an incredibly strong statement, cementing this release with its own distinct independence from the creator’s own material.

‘As I Look To The Sky From The Surface Of The Water’. Full album.

The whole album is phenomenal. The title track is 9.49 of pure emotion that will open the heart of anyone who engages, and it does not let go, and that, for me, is always a good thing. More precisely, it is sound that covers me like a blanket and holds me in a secure state, one of love and incredible positivity. Evoke is another that leaves me in awe. It is electronic music of the highest order. This release truly hits hard.

Tracks from this album, including the opener, were offered to me for consideration; unfortunately, at that time, I was not in a position to take them on, which was upsetting. I am forever grateful to Rob and Graeme at Meanwhile for this one.

In 2009, ‘Closure E.P.’ was released on Rohs!

‘Closure’

A quality track, soothing and freeing chord lines, yet they also draw me back in.

In 2017, he released another astounding album of faultless production and sonic technique, ‘Drifting From The Bay’, with two tracks chosen.

‘Drifting From The Bay’

‘Principle’

In 2020, a joint EP with Stojche Cvetanovski, titled ‘Genocide’, surfaced, featuring two tracks from Gary: ‘Karoshi’ and ‘Tears’.

Gary, immersed in hip‑hop: rapping, recording at radio stations, winning freestyle competitions, absorbing rhythm as a language, is something he lived long before he ever touched dub‑techno. This early grounding in cadence never left him. You can hear it in his percussion. When he shifted into electronic music, he brought with him a groove and emotional truth that is unmistakably his own.

What sets him apart is his sincerity; there is no posturing, no attempt to mimic the Berlin lineage, and no desire to fit into a scene; a sound wholly shaped by his environment, history, and emotional landscape; music made by someone who understands that depth is through honesty.

Gary’s own words, “I hope to continue making music and find it very satisfying when I hear that the music I have made reaches someone like yourself in the way that it reaches me.” These words speak volumes. His tracks already prove that his production knowledge is wide in scope and that his technique is finely tuned, as his compositions are layered with precision sound choices, shifting between the diverse depth found in dub-techno and the emotive beauty of ambient. True commitment to his work ethic, and for me, it’s reflected in his statement. That the music he produces needs to reach him in the way he intended, and that this precise emotional state and feeling transposes to others in the same way, his pieces show that he sets his creative bar extremely high.

The same is true for Scott. Though I have only got one song to go from here, this one song is enough for me to commend and speak with equal high praise. It is a track that encompasses all that the 1990s were; it is timeless and incredibly well thought out. Though unfinished, it is seriously good.

Two producers that I hope have not finished creating.

Until the next one, I leave you with this intoxicating sense of freedom. A 7-inch from 2014; both tracks for you.

‘Midway Across The Bridge’

‘This Journey Of Ours’

Stay safe.

Peace and Love.

Stef

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There are few production outfits as foundational to techno music as Basic Channel. In the early 90s, the German duo of Moritz von Oswald and Mark Ernestus was pivotal in placing Berlin at the forefront of this emerging sound, providing a European counterpoint and sparring partner to the waves of innovation coming out of Detroit.

At the same time, they were exerting huge influence over dub, reggae, house and a swathe of other genres through a near-flawless run of releases across an extraordinary range of side projects and aliases. All of which we’ll cover in the coming weeks.

For now, let’s start at the beginning.

BASIC CHANNEL

It’s hard to imagine today what Berlin must have been like in the early 1990s. A time when post-industrial, administrative and military buildings vacated by the collapsing Soviet empire became a playground for hedonistic adventurers and artists forging a new path into a free future.

But rather than listen to me speculate, go and read about it from someone who was actually there.

At the epicentre of this extraordinary historical moment was a production team, Basic Channel, expertly flexing the machine funk template of Detroit techno into the audio processing, echo-chamber sensibilities of Jamaican dub soundsystems to create something bold, fresh and new: Dub Techno.

I know we say this a lot, but in this instance it really is mandatory to go and check out the entire back catalogue. I could very easily embed every single track Basic Channel have released, and be justified in doing so. But for the sake of editorial rigour I’ve pulled a few favourites below:

Cyrus ‘Enforcement’ (BC 01 / 1993)

Their first release is a blistering statement of intent with a direct link to Jeff Mills (both sonically, and through his remix on the flip side) and no doubt a huge influence on Robert Hood, who would go on to release ‘Minimal Nation’ the following year.

The early Basic Channel stuff was something that did have more of a Detroit flavor. Yeah, I would say it has some direct influences from Jeff Mills. The beginning of Basic Channel sounded like Detroit techno but really degraded, sonically degraded. We were doing our music with what we had, but what they were doing was something else. What we were doing in Detroit is we were making paintings. What they were doing was they were making sculptures.

Carl Craig (via RA)

I often wonder how it must have felt descending into some monochrome, post-Soviet bunker to hear one of these monumental rhythms slowly and menacingly emerging out of the darkness.

What an incredible time.

Basic Channel ‘Phylyps Track’ (BC 02 / 1993)

The second Basic Channel release delivers one of the all time tracks of techno. Tough and rolling yet, at the same time, delicate and skeletal. Kicks submerged under layers of processing and effects. Not the relentless ‘boom’ of the modern sound, but something much more human and refined.

A true work of art.

Basic Channel ‘Octaedre’ (BC 07 / 1994)

A masterpiece of phasing and slow, patient minimalist evolution.

Sod it, have the A-side too:

Basic Channel ‘Octagon’ (BC 07 / 1994)

An impeccable release.

While I certainly appreciate the high-tempo tracks, it’s the deeper cuts that resonate with me most strongly. A prime example being this timeless piece of music:

Basic Channel ‘Q1 1/I’ (BC 04 / 1993)

Majestic, shimmering and optimistic. It could have been released today and still sound fresh and new.

Would do serious damage at DC10.

And while the Basic Channel sound is undeniably club-ready and primed for the dancefloor, for my money the strongest output lies in their ambient and dubbed out explorations.

Which is really saying something, because the straight techno is absolutely first rate. As you’ve just heard.

Vainquer ‘Lyot Rmx’ (BC 03 / 1993)

Cyrus ‘Presence’ (BC 05 / 1993)

I could listen to this on loop for days.

Finally, three tracks that place BC at the absolute pinnacle of my record collection.

‘Radiance I’ (BC 08 / 1994)

‘Radiance III’ (BC 08 / 1994)

Basic Channel ‘Mutism’ (BCD / 1995)

These are deep, profound, healing grooves created with time, care and attention that demand extended home listening.

They are also a perfect segue into the Rhythm & Sound project which I’ll be covering in two weeks time.

For now, take care.

Peace and love.

Rubin

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It’s Friday.

We’re relaying the Foundations.

Here’s a few words from Stef.

I should begin by explaining my workflow, since many of the artists involved have considerably longer and more complex histories than others, who are smaller in scale; all of whom are incredibly important, and it is for time constraints that my posts will not follow a strict decade-by-decade timeline. I am going to move between artists from the beginning, the pioneers and those that followed; beginning in the late nineties, and later, generally referred to as ‘second wave’ artists, which in my humble opinion is an ineptly named term, artists that came later creating quality are indisputably critical to the development and progression of something that is our heritage and are not less important; the same applies to new and upcoming artists.

I appreciate your understanding, and now on to this week’s post.

釣哲生 (TETSUO TSURI)

From Japan, I turn your attention to Matrix, the alias of Japanese producer Tetsuo Tsuri, without a doubt a highly competent and incredibly forward-thinking artist, who, in comparison to Steve Paton, had a considerably shorter music time span: Less than 17 months, somewhere in 1999 to May 2000 and then no more.

Matrix is one of the quietest corners of late‑90s electronic music; however, it is one of the most compelling. Leaving behind only a small number of quality electronic music productions. A total of 17 tracks over four releases: 3 EPs, ‘Isthmus #Fast’, ‘Isolated Dot’ and ‘See Off’; with all tracks from these releases appearing on the final production, a compilation titled ‘Various Films’. In this release, the first three tracks (0.1 - ‘Isolation’, 0.2 - ‘Blue Film #A’, and 0.3 - ‘Equator Music’ - also found on the EP Isolated Dot) are hidden in the pre-gap track, with a duration of 12:25. Rewinding the CD, back from the first track gives access to these tracks.

I have the utmost respect for this artist and his productions. The discography is small but incredibly precise. Each production is captivating and invites you into its atmosphere: short, mid, and long length, self‐contained studies in texture, mood, and intensity.

VARIOUS FILMS

‘Various Films’ is electronic music at its brilliant best, and it is dub-techno of the highest order, sitting and belonging alongside other grand productions from pioneers of this style. It also encompasses minimal and ambient styles. Cold-machine quality balanced with delicate, introspective beauty, uncompromising in places, with a slight grainy feel, and finely placed subtle hiss adding further depth. Percussion is overall distinct, yet subtle, as displayed in Nimbus. Tempo range 120 to 150. Varied pitch between low, mid, and high melody lines; however, it is mainly and equally balanced in the low and mid key domains.

The high-pitched melody line of ‘Red Film #2’ features sudden increases and decreases in volume throughout, dropping out when Tetsuo places what seem like sudden jumps, making it seem like the track is restarting. The melody line volume previously dropped, re-climbs. It is a fascinating listen, and it throws you out. These sections change the original structure, and it seems out of sequence; it would certainly seem complex if you were thinking of mixing at this section. However, these changes do not throw the timing out; it certainly sounds odd to the middle ear, but it is possible to keep everything matched. Absolutely intriguing.

‘Blue Film #4+’, ‘Blue Film #2+’, ‘Red Film #1’, ‘Isolated Dot’, and ‘Zkj’ take the listener to the darker edges of emotions: ‘Blue Film #2+’, ‘Blue Film #4+’ with its lurking, move-with-stealth overtones; ‘Red film #1’ brings uncertainty to the fore; ‘Isolated Dot’ with its distinct desolate, despairing melody. ‘Zkj’ with its repetitive, dystopian industrial-machine feel, then at 2,35 you experience the beautiful chord line to accompany the track out. These are the tracks that bring forth dark undercurrents.

At either end of ‘Various Films’, you are greeted with pieces that are connected with good emotions, instantly connecting to the heart; at the beginning, ‘Isolation’, ‘Equator Music’, and ‘Blue Film #A’, at the other end it is ‘Flora’, ‘See Off’, ‘Nimbus’ and the 137 BPM masterpiece of ‘Isthmus #Fast’.

These pieces are like vignettes; however, not all are brief, rather varied lengths of evocative descriptions of what I tend to think of as scenes from an experimental film or dream with no narrative, only feeling; each one a moment suspended in time: simply existing. And yet, within their minimalism, there is a profound sense of humanity; this is the hand of someone who absolutely understood that music, with the smallest gestures, can produce incredibly powerful emotion.

The following tracks are a few that resonate deeply with me:

‘Isolation’

‘Milieux’

‘Isthmus #Fast’

What makes Matrix so absorbing is the way his work bridges two sensibilities: the submerged, grainy aesthetic of Berlin’s dub‑techno pioneers and the delicate, introspective minimalism often found in Japanese electronic music. Where Berlin feels industrial, architectural, and cold, respectively, Matrix’s culture is organic, botanical, and warm. It is the direct combination of these two distinct areas explored by Tetsuo that comes into full effect in his 17 pieces and in his rather unique production style.

Even though dub‑techno emerged in the 1990s, its core aesthetics echo ideas pioneered at the Westdeutscher Rundfunk (WDR) Studio for Electronic Music in Cologne in 1955. WDR established the idea of music built from pure tones and controlled repetition, normalising the studio as an instrument, and their focus on space, resonance, and tone purity shaped later ambient and minimal aesthetics.

Matrix’s productions are acknowledgment and a distinct nod to WDR’s Innovations. We can push this further and think about the lineage of his music to 1940s Pierre Schaeffer’s musique concrète, and tape manipulation, 1950s, early computer music, and pure electronic synthesis; pure tone synthesis, and pure synthesis, and 1970s dub-style tape delay: It is, minimal, evolving structures; pure, rounded synth tones; loop‑based rhythmic logic; and fundamentally using space as a compositional element, and studio‑as‑instrument philosophy.

In a scene dominated by prominent producers, Matrix represents something essential: the value of smallness, of subtlety, of music made without expectation, with quality as the backbone of every piece. His work reminds us that the most affecting music is the one that sits quietly yet can provoke a vast array of emotions. It is anticipation, uncertainty, emptiness, but it is personal, quiet and deeply sincere.

However, what makes this artist demand attention is that, after listening to the ‘Various Films’ compilation as a whole, it is what is left. For me, it takes me on an intense emotional journey through numerous emotional states and varying lengths, coupled with tracks of varying speeds and intensity, which adds a fascinating dimension to the listening experience. Fundamentally, it is not only the music; it is the placement of the pieces and how that comes together. When it concludes with ‘Isthmus #Fast’, the state leaves me with that awe-inspiring moment, deep in thought for days to come. But it is a state that also feels as if a personal encounter has just occurred, or more so, a deep connection into Tetsuo’s world, and that may be the essence of why, in the same vein as Steve Paton, nothing is found archived about this producer. Here, though, I am drawn deeper in and have a better understanding of Tetsuo. I can not explain why, so I will not attempt this. If this is telling a story about him, then it’s genius. Unbelievably talented; I only wish there were more of his productions.

His productions leave me with the overriding reality of being remarkably free.

Until the next one, I will leave you with this timeless beauty, ‘See Off’.

Peace and Love

Stef

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It’s Friday.

We’re relaying the foundations of dance music culture.

No time to waste »

REPRAZENT

I’ve been revisiting ‘New Forms’, the 1997 long player from legendary Bristol collective Reprazent. This release did more than any other to thrust Drum and Bass out of the underground and into the mainstream, multi-national limelight.

Without compromising on quality, I should add.

It really is very good.

A deserving Winner of the Mercury Prize in 1997.

And one of the defining releases of the decade.

It has definitely stood the test of time.

Let’s have a listen »

Opening shot ‘Railing’ sets a ‘different pace’ with razor-sharp breaks setting the foundation for what is probably the best MC performance on a Drum and Bass track, courtesy of Dynamite:

After which we’re dropped straight into one of dance music’s most iconic bass licks ‘Brown Paper Bag’:

Amazing music.

And a statement of intent.

Because from that point on it’s wall-to-wall heaters and, as I sit here writing this, it’s actually really hard to select standout tracks.

Of course, special mention has to be made of the extraordinary vocal contributions of Onallee (aka Tracey Bowen). This previously unknown artist stamps her mark on almost half the album, and really helps elevate the project from a collection of high quality rhythm tracks into a timeless soul record.

I love her appearances on ‘New Forms’, ‘Digital’ and ‘Watching Windows’. Today I want to highlight ‘Share The Fall’:

And the all time classic ‘Heroes’ which will always remind me of standing in Virgin Megastore in Nottingham listening to the future open up in front of me:

It’s also impossible to ignore the group’s pioneering blend of live bass (Si John) and drums (Clive Deamer) with the hardware and production core of Roni Size, Krust, Die and Suv.

This uniqe formulation (especially in a DJ-driven culture like Jungle) made them one of the most compelling live acts to come out of the UK in the past 30 years:

Era-defining sounds and vibes.

Make sure to check out the whole thing for yourself.

But Reprazent didn’t appear from nowhere, fully formed in 1997.

Where did this extraordinary burst of creativity come from?

BRISTOL

Bristol has always played a central role in UK sound system culture.

Since the arrival of the first Jamaican immigrants in the 1950s and ‘60s, social gatherings focused around highly-amplifed reggae, funk and soul music have been a vital gathering point for communities going through social and economic hardship.

By the late 1970s, Bristol's scene had solidified with dedicated crews operating dub and reggae-focused sound systems, including prominent selectors like Jah Lokko, Enterprise, Sir Bastian, and Excalibur.

The ‘80s saw the arrival of hip-hop crews like Wild Bunch, a project of Robert Del Naja (3D), Grant Marshall (Daddy G) and Andrew Vowles (Mushroom) who would go on to form Massive Attack.

Nelle Hooper, also part of the Wild Bunch, would go on to produce for Soul II Soul, Sinead O’Connor, Bjork and many others. He was on the buttons for Massive Attack’s classic second LP ‘Protection’ (a personal favourite of mine).

And of course we can’t forget Smith & Mighty, or trip-hop originators like Portishead and Tricky amongst many others.

All of whom were integral players in the rich cultural lineage from which Reprazent would emerge in the mid-90s, driven by the creative force of a core crew of producers centred around Roni Size, Krust, Die and Suv.

Either working alone, or collaborating across a huge range of aliases, the crew released an extraordinary amount of music music on their own labels Full Cycle and Dope Dragon, as well as on iconic imprints like Chronic, V and many others.

I’ve picked a few standouts.

RONI SIZE

Roni is widely viewed as one of the three most important artists in Drum and Bass, alongside Goldie and LTJ Bukem. Definitely the leader and most prolific member of the Full Cycle crew.

Inch by Inch (1993)

Both tracks on Roni’s debut release are great. What I love most is that one side is hardcore and the other jungle. This was the exact moment (1993) when the scenes split, with the 4x4 hardcore crew going in one direction and the junglists in another. Check it:

‘Kiss’

Straight kick drum, definitely hardcore.

Compared to the low slung broken jungle steppa ‘Soul’:

It’s a Jazz Thing (1994)

By ‘94, Mr Size was already rolling out scene defining riddims and establishing his signature deep jazz and funk sound.

Firefox & 4-Tree - Warning (1994)

Pure fiya jungle. Nothing better.

Roni Size - ‘All the Crew Big Up’ (1995)

Yet another scene anthem and defining tune of jungle.

KRUST

Krust is a big thinker and serious artist, responsible for many defining records of the era.

Jazz Note (1994)

Sublime elegance and simplicity, should be in any discerning jungle lover’s arsenal.

Set Speed (1995)

One of my first introductions to jungle. A classic roller with killer samples.

Maximum Style - The Teacher (Krust Remix) (1995)

A personal favourite. The perfect blend of deep intelligence and ruffneck tearout rudeness.

Towards the end of the 90s, Krust would take Drum and Bass to new heights with a series of pioneering, cinematic long-form tracks.

Memories (1996)

Brief Encounters (1997)

Soul in Motion (1997)

True Stories (1998)

DIE

A Devon native who arrived in Bristol in 1985 and went on to become one of the city’s most cherished musical sons.

Play It For Me (1996)

All about that bassline. The classic Bristol Sound, perfectly balancing the dark and light and delivering with soul.

Music Box (1996)

Glistening and shimmering perfection in this collab with ROni Size, which formed part of the seminal complication of the same name released by Full Cycle in 1996.

The Music Box lp also included this collab between Roni and Die under their Scorpio alias, alongside vocalist Leonie Laws.

Scorpio - Breakbeat Era

The trio would go on to record and perform as Breakbeat Era, as I’ll come back to shortly.

Clear Skyz (1998)

One of the all time classic tracks of Drum and Bass. There was a period in the late 90s when this track would be dropped at every single rave, often by multiple DJs.

Clear Skyz VIP (1996)

Alternate version discovered on an old DAT and released in 2022. Probably one of the only good things about lockdown was all the old heads digging out their archives.

Reprazent - Watching Windows (DJ Die Gnarly Vocal Mix)

The best remix to come out of the New Forms album. Used to cause absolute murders on the dancefloor when the LFO drops. IYKYK.

SUV

The least prolific of the crew, but with some real heaters in the bag nonetheless. Here’s a couple:

Get On Down (1996)

A wicked collab with Die on V Recordings which formed part of the Randall Dreamscape mix I shared a couple of weeks ago.

Parklands (2000)

Just epic from start to finish. Possibly the best release on Full Cycle, NGL.

BREAKBEAT ERA

I definitely have to mention the other group Roni and Die were part of alongside vocalist Leonie Laws.

Breakbeat Era was formed out of an early collab on the Music Box LP (as mentioned earlier), with a series of 12s and an LP dropping through 1998 and 2000. There are some gems.

Breakbeat Era (1998)

Little jazz funk roller very much in the Reprazent vein.

Our Disease Tera (1999)

One of the all time rinse out DnB tunes. My mate went to Planet V at the Que Club in Birmingham around this time and Roni Size opened with this on dubplate. Apparently half the crowd thought the soundsystem had blown before the drop came in and the place went completey mental. Killer track.

Late Morning (1999)

The melancholic standout from the Ultra-Obscene LP.

DOPE DRAGON

And finally, I need to shine a light on Dope Dragon. This is the jump-up focused side label the crew ran in tandem with Full Cycle.

It’s a deep catalogue you should go and explore.

The ‘Wayz of the Dragon’ compliation, released in 1998, was one of my earliest introductions to Bristol DnB. Killer beats:

Mask & Swabe - Came and Conquered

Roni and Die under their respective Mask & Swabe aliases.

Bigga Star - Ghost

Rude and deadly.

Gang Related & Mask - Dictation (Michael Caine Mix)

Finally, we’ll end on a high note with one of the all time classics of jump up drum and bass.

You were only supposed to blow the bloody doors off..!

Reprazent, Bristol, Roni, Die, Krust, Suv, Dope Dragon, Full Cuycle, V, Chronic: Salute.

Peace and love.

Rubin

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“Any affiliates of Choose Love should be demanding transparency. When one looks at the sponsors of Choose Love it is heavily infested by Zionist or supporting organisations and those that advocate for Israeli supremacy in the region.” Vanessa Beeley

A message to Ben UFO, Yazmin Lacey, Greentea Peng, Hot Chip, Benji B, Tash LC, Shygirl, Scott Diaz, DJ Boring, Hannah Holland, Moxie, Luke Unabomber, Heidi, Sarah Story, Daniel Avery, Saoirse, Jumpin Jack Frost, L-Vis 1990, Jon Hopkins, A Guy Called Gerald, the Chapter 10 boys, the freemason Norman Jay MBE, Danny Howard, Horse Meat Disco, Shay Malt from Adonis, Josh Caffe, Grace Sands from DIY, Katy B, Chloe Caillet and others.

Do you know what you’ve signed up to on March 28th in London?

CHOOSE LOVE?

A few weeks ago I wrote about the infiltration of Together for Palestine by the supposed ‘charity’ Choose Love: an organisation which talks a good game about ending conflicts, while collaborating with military intelligence agencies and billionaire-backed slush funds coordinating regime change operations in Syria and ethnic cleansing in the West Bank.

In case you missed it:

I described this at the time as the “total subversion of the British music industry and our creative culture in order to deliver geopolitical outcomes for Zionists and the ethnic displacement / erasure of the Palestinian people.”

I stand by that analysis.

And now Choose Love has popped up even closer to home: working in collaboration with R3 Sound System as part of the fully astroturfed and establishment-backed ‘Together’ protests taking place in London next weekend.

Quite the lineup, I’m sure you’ll agree:

R3, for those that don’t know, is an ‘activist’ collective founded and run by Gideon Berger, the DJ and promoter behind Glastonbury’s Block9, which includes NYC Downlow, Genosys, Maceo’s and IICON.

According to his RA profile, “Gideon has been very involved in political activism over the years and is now increasingly focussed on organising hybrid cultural-political events partnering music and protest, often under the banner of R3 Soundsystem.”

I first remember R3 appearing after the Brexit vote, when we were treated to the remarkable sight of wealthy DJs who spend their lives flying around the world being paid to attend parties pouring scorn on largely working class British people who object to being governed by unelected bureaucrats in Brussells.

This was one of the moments where I began to fall out of love with club culture in a serious way.

To be clear: Europe and the EU are not the same thing.

And if you think the EU is working in your best interests, I can assure you with absolute certainty that it isn’t:

DIVIDE AND RULE

But Ben, I hear you cry, they’re protesting against the ‘Far Right’ and ‘Hate’, what could possibly be wrong about that?

The issue is this: the Zionist establishment runs on divide and rule.

By weaponising two sides of the population against each other they have us fighting in the streets instead of coordinating to overthrow the corrupt and genocidal regime.

It is quite literally one of the oldest tricks in the book: The Romans used a policy of divide et impera to manage conquered territories by fragmenting local power structures and preventing unified resistance.

And ‘Together’ and R3 Soundsystem are helping the British establishment execute this exact strategy, whether the artists booked to perform next weekend realise it or not.

Think about it:

How can we be ‘together’ when the entire premise of the ‘Together’ march is to demonise half the country as ‘Far Right’?

Why are the only messages being amplified by the mainstream ones of division, including those being pushed by the supposed ‘Together Alliance’?

Left vs Right

Black vs White

Women vs Men

Natives vs Immigrants

Muslims vs Christians

I could go on, but I’m sure you get the point.

Have any of the artists booked to play next week had a single conversation with one of these supposed ‘Far Right’ bogey men?

Do you even know what it is they’re upset about, or are you repeating what gets printed in Zio rags like the Guardian?

Are you aware that people like Tommy Robinson on the political ‘Right’ are ultimately backed by the same financial and geopolitical interests as Choose Love on the political ‘Left’?

Read that again.

Mad innit.

REAL UNITY

Acid House is supposed to be a unifying force that sits outside of mainstream political discourse.

That’s not to say it shouldn’t be political, but it certainly shouldn’t be helping perpetuate establishment divide and rule narratives designed to prop up the neo-imperial status quo.

More on that another time.

Although this would be a good place to start:

For now, my strong advice to all concerned: stay well clear of the march on the 28th, stay well clear of R3 Sound System and start getting real about what’s actually happening in this country.

Otherwise things are going to keep getting worse.

Peace and love.

Rubin

PS - art world too you know:

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It’s Friday, and we’re back in your inbox relaying the foundations of Acid House culture.

STEVE PATON

One of, if not the most, opaque figures in 90’s UK electronic music.

Gracing us with his mastery in electronic music production from 1993 to 1999. There is nothing archived on the web about Steve Paton, apart from the physical traces of his productions; this discography is small-scale, but it delivers an incredibly strong statement with a lasting effect that resonates to this day.

He is an extraordinary and exceptional artist, one of my personal favourites.

He has four aliases: Disco Midgets, Lo-Fi Sensibilities, Midiman, and The 4th Wave, and he worked in three groups: Area, Emotive Force, and The Invisibles.

His two established labels are Urban Audio Co. and Fourth Wave Productions.

Additionally, I have the feeling that he is involved with Intelligence Records, but I have been unable to substantiate whether it is another of his labels. That said, the fact that Steve Paton and John Litchfield appear multiple times on this label, specifically the first two releases, and that Steve is a deeply anonymous figure as is this label’s details suggests he was either: part of the core group running Intelligence Records, or the primary creative force behind it, or the owner operating under anonymity, which fits his pattern. The label’s sound, era, anonymity, and roster all align with his known work and habits. Based on what I do know, Steve was most certainly involved in Intelligence Records at a foundational level, possibly as the owner or one of the key people running it. Without a surviving credit, I cannot confirm ownership with certainty.

In order, his real name and alias productions are:

STEVE PATON

He released Motor-Vation / The Seventh City in 1994, the only release to come out on his Fourth Wave Productions record label.

The Seventh City (6 a.m. Mix)

He co-produced and engineered ‘Central Park’ and ‘Headhunter’ on Aubrey’s Seminal ‘Long Live The Underground E.P.’ from 1994, which I spoke about here, and he remixed Sound Enforcer ‘Re-Enforcement 6’ in 1995, which was on ‘The Secret Life Of Trance 6’.

MIDIMAN

In 1994, he wrote ‘Patterns’ which came out on Intelligence Records, INT008. Early UK Detroit-influenced techno machine funk.

‘Nusa Dua’

The other three tracks are Phon, LX and Altitude (links provided whee files are available).

THE 4th WAVE

Stunning emotive deep techno; precision productions of immense quality are on show here; this is the epitome of the class of UK techno from the 90‘s. Deep, emotive, machine soul of early Detroit‑influenced techno.

1995 / Touched

‘Touched’

‘Ethereal’

‘Electroluv’

1996 / Attention Please

‘Mean Streets’

‘Cosmic Dance’

1997 / Objets D’art III

‘Lounge Music’

LO-FI SENSIBILITIES

A joint release in 1996 on Mo Wax alongside the gorgeous Urban Tribe’s ‘Covert Action’ track, originally on Retroactive. Cabin Fever is another beautiful, slow, deep, dusty, experimental, downtempo textured track, making this release essential.

‘Cabin Fever’

DISCO MIDGETS

A house release in 1999, titled ‘Boomba Ye’, of Leftfield electronic explorations on his second label, Urban Audio Co. No uploads for this one.

Steve was also involved with several groups.

AREA

Steve worked with John Litchfield for Area and Emotive Force, releasing two EPs: Area, ‘Databook EP’ in 1993, and ‘Area 1’ in 1994, the one I will focus on. John also contributed to other productions, in particular ‘Ethereal’ from the ‘Touched EP’ by The 4th Wave.

‘Area 1’ contains tracks of beautiful techno, ‘Area 4’ and ‘Area 7’ on the more experimental side, delicate and refined, ‘Area 1’ is a lovely driving piece. Outstanding.

Area-7 ‘Dreams Of Her’

Area-4 ‘A Moment Passed - Reworked’

Area-1 ‘R. Sound’

EMOTIVE FORCE

Two releases, plus a track provided to a various-artist release. The sound here is a techno/trance-acid combination, leaning more toward the latter with the 1993 ‘Voyages’ release, and straight acid with the track ‘Neutron’, found on ‘Intelligent Hardrive Volume 1’, 1994. ‘Ascendance’, a lovely piece of Techno with a fine 303 and chord lines sculptured throughout to be found on their second EP, ‘Power Device’, in 1995.

THE INVISIBLES

This alias is his work with Jason Jones, releasing two tracks.

The first track is on the 1996 compilation ‘There Are Many Different Colours’ on Octopus.

‘Babel’

The second track is ‘Estamos Perdidos’, released in 1997 on the ‘Further Adventures In Techno Soul Sampler EP’, and in 1998 on the ‘Further Adventures In Techno Soul’ compilation CD’. Interestingly, the title translates as ‘we’re lost’, which is quite telling.

‘Estamos Perdidos’

There is another track on this release as 4th Wave versus Synchrojack, titled ‘Rudder’.

Steve is quite an incredible talent, and his output is phenomenal. Though his presence was only six years, and one of those rare figures whose work circulated in the true-underground as he left no public footprint; making him a cult figure. His entire presence is defined by the music alone; the ability to write across different genres with such ease is breathtaking, showing us in this short span just how talented he really was. What is astonishing here is that the tracks he writes for these different styles are not poor; in fact, the opposite: they are high-quality, capturing the genre with incredible precision and lucidity; showing he had a true passion for the scene, immersing himself fully and committing to writing quality from the start:

His productions sit in the quiet corners of the 1990s UK underground, where Detroit’s emotional futurism met London’s leftfield experimentation. His tracks appear on obscure 12-inch records and on labels with only one or a few releases, which feel like messages from someone who never intended to be found. And that could be the point; the anonymity wasn’t an accident, maybe it was the essence. The music itself carries a solitude, a distance that feels almost private; someone who lived more so outside the music world, a man walking his path quietly, unnoticed, yet close enough to observe the scene and translate it into something purer and deeply meaningful for the listener. The majority of his tracks feature intricate percussion programming, beautiful emotive chord lines, and are layered with depth that invites you inward. When I listen to his tracks, there is a real warmth of analogue circuitry that comes through. Music that I describe as only to reach you, and once it does, it stays. His 4th Wave productions are a perfect example of this; they are deep and full of the same emotional weight you hear in the best of 90s Detroit techno or UK IDM. There is real tenderness in these pieces, a sense of someone working alone in the quiet of the night, head down, focusing on quality with no intention of being recognised. This man wasn’t trying to impress anyone; he was only trying to express something true. What makes him so compelling is not just the music, but the silence around it; the refusal to be known, a name attached to aliases attached to records that feel like fragments of a life not meant to be seen. And yet, the emotional clarity of the music tells you everything you need to know. The story is in the sound.

A producer who left behind no words, only resonance and there’s something deeply moving, honest and rare about that.

Just incredible, beautiful electronic music, nothing else left to say. Just sit back, close your eyes and let this music flow through you.

Until the next one, I leave you with this beauty.

‘Attention Please’

Be safe.

Peace and Love.

Stef

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It’s Friday, you know the score.

This week we’re heading back into the jungle, with the all time master dubplate selector.

Love.

RANDALL

For true dnb heads growing up in the 1990s, there was only ever one king of the rollers: Randall.

The vinyl vandal.

Too hot to handle.

Real name Randall McNeil.

In the thick of the scene from the earliest days of Acid House, which he first encountered at Notting Hill Carnival in 1987, Randall quickly established himself as a consummate selector and one of the best mix-and-blend DJs ever to touch deck.

As Acid House morphed into hardcore, jungle and drum and bass, Randall was at the forefront of the evolutionary process. Cutting the most upfront dubs and constantly pushing the sound forward through his residencies at seminal raves like AWOL in Islington and the legendary Metalheadz sessions at Blue Note on Hoxton Square. As well as through his involvement with Forest Gate’s highly respected De Underground Records, alongside co-owners Mike De Underground, Cool Hand Flex and Uncle 22.

Randall is probably most famous (for DJs anyway) as the inventor of the double drop mixing technique that would go on to define drum and bass DJing right up to the present day. Ths involved creating completely new musical forms live in the mix by skillfuly blending and switching the bass, drums and melodies from different tracks to create a completely new composition. Often keeping tracks rolling together for minutes a time, all perfectly laced up on dubplate. No mean feat.

“He’d blow your brains out. The way he’d roll things out, and his selections were out of this world. I can still remember some of those blends now. The genius of his switches, and how he’d take things where you least expect. It’s not about transitions, it’s about creating actual moments between the records. That’s the art of DJing, right there.”

Andy C, describing Randall to DJ Magazine in 2017

A perfect example of the double drop in action is the opening section of one of the defining DnB mixes of the late 90s: the ‘Extra Sensory Perception’ session released by Dreamscape in 1997.

Opening with Dom and Optical’s apocalyptic tech step masterpiece ‘Quadrant 6’, Randall effortlessly segues into the rude, broken sub bass steppa that is Seiji’s ‘Storm Report’ over a flawless 3-minute transition.

Truly next level selection and technique.

Beyond the opening salvo, this set is a perfect encapsulation of the best of late 90s drum and bass and Randall’s clinical approach to mixing. Featuring wall-to-wall underground classics from the likes of Future Forces (D Bridge & Vegas), Nasty Habits, Capone and many more.

In a scene that often becomes obsessively focused on its own micro-genres, Randall’s ability to effortlessly select and flow between different sounds and corners of the scene while creating something coherent and uniquely his own is one of the things that made him stand out as one of the true creative forces in underground music.

As Lee Gamble once said, “Jungle functions as a particle accelerator”. It strips all other genres down to their fundamental components, shatters them, accelerates them and reshapes them in its own image. Pulling on everything from jazz fusion to rare groove to progressive rock to detroit techno in the process.

Randall was the master of navigating this terrain.

Shout to MC Fats for perfectly hosting the session on mic.

Sadly, both Randall and Fats passed away in recent years. Fats in 2023 after a long struggle with diabetes, and Randall just a year later in 2024 at the tender age of 54. Yet the impact of these originators lives on through the indelible mark they’ve left on the artists and ravers around them.

For those wanting to dig deeper, you really can’t do better than this extraordinary collection of over 500 Randall sets put together after his death by Mancunian rave archivist Dork Sirjur. (Tip - head to the AWOL sets from 92, 93 and 94 to hear the evolution from hardcore to jungle. Golden era business.)

Some personal highlights:

The first time I saw Randall playing Flashback at the Que Club in November 2001. He delivered a ‘93 jungle masterclass which will forever be etched in my memory.

Watching him shut down Renegade Hardware at The End with this absolute weapon from Amit.

That one time I got play with him at Queen’s Yard Summer party a few years back.

One more tune!

Peace and love.

Rubin

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It’s Friday, and we’re back laying the Foundations with one of the House Masters.

Enjoy.

AUSTIN BASCOM

Austin Bascom was born and raised in the East End of London. In the early 1980s, fascinated specifically by Jazz, Funk and Soul he frequently attended LOCAL parties, incluDing the BRA disco, a community-based event where DJ Steve Howlett played. Austin also attended the clubs Scuds and Pynatic, which were both integral to the evolution of London’s nightlife at that time.

Holding a deep respect for London, all of the above played a significant part in shaping Austin’s development in music production.

In 1983, at the age of 15, he and his family moved to Toronto. His parents were instrumental in making this move, looking out for his best interests. He finished the last two years of high school (grades 12 and 13) and college there. By 1990, he was among those throwing warehouse parties in the fashion district, known as the garment district, in the downtown area of the city.

Austin has been fundamental in shaping Toronto’s dance music culture. Through running his own warehouse parties and working with David Nick Holder owner of DNH Records, and his collaboration and remix work with Canadian artists. He is also deeply connected to Chicago and renowned for his productions on labels Prescription, Guidance and Balance.

His contributions to electronic music are worldwide, with work on some of the most revered labels, writing across genres with flawless fluency, making him one of the most respected names in the underground music scene.

RELICS

Austin’s first release was in 1994, at the age of 26, under fascinating circumstances. In the late 1980s, he met Derrick May and briefly came to know the main Detroit guys; one of whom was a person known as Shay. Austin would regularly go down to watch Shay DJ in New York, and hang out with him, Kai Alce and others.

Austin had started making music at the time, but these were experiments and not proper productions. He recorded some of them onto cassette which he left with Shay. Two years later, Shay contacted Austin and said he had released something from the cassette.

This was Relics, and this is how Austin’s career took off.

As soon as this was released, Rob Kouchoukos from Guidance Recordings in Chicago contacted him, asking for similar material.

LESSER-KNOWN WORKS

To begin, I will delve into his lesser-known works under his real name and his other two aliases, A:xus and Blak Crowê, as well as his group work with Bang On, Charley’s Vault, Charly Brown, and Din-dunya: a production career spanning thirty-two years and still active today .

Collaborating with Thompson and V. Denardo, Bang On released a remix of Temperance – ‘Music Is My Life’ on Hi Bias Records in 1994.

In 1995, he produced one track with V. Denardo called ‘Body Salsa’ released on a various artists EP, with the who’s who of House (including Chez Damier and Ront Trent) titled ‘The Grand Lodge Of Luxor (Thebes) EP’. This was the opening statement and holy grail from Prescription Records. Incredible.

In 1996, he released one track, ‘Gabrielle’s Horns’, under the name Blak Crowê for the SSR label.

Working with Nigel Hayes under Charly Brown, two releases in 1997 were produced for the mighty Guidance label, ‘The Twilight Zone’ and ‘Freaked Out’.

From Freaked Out: My Planet Rocks

A lovely techno production.

Sounds like something that would not be out of place on 21/22 Corporation, exceptional track.

Noteworthy: this is a different version of his remix of Chaser’s ‘Blue Planet’.

As A:xus, he released 4 EPs and a critically acclaimed album in 1999, ‘Soundtrack For Life’. This incredible timeless classic boasts varied styles of electronic music, deep house, downtempo, broken beat, with flavours of Soul, Jazz, and Detroit. Including tracks featuring vocal work from Jean-Bea Englishman as Bratticus on ‘When I Fall’, Rosina Kazi on ‘Near Or Far’, and Naomi N’ Sembi on ‘Nice To See You Again’, and ‘Baghdad Café (Callin’ U)’.

My pick is Baghdad Café (Callin’ U); however, I want to draw your attention to the 1999 GDR054 release with the extended vocal version.

Callin’ U (Extended Vocal Mix)

Austin took the original Calling You from the Baghdad Cafe soundtrack. He created a phenomenal, soulful, deep house track, incorporating the powerful vocal of Naomi N’ Sembi, which propels this track as one of the most significant releases in house. Beautiful.

The Mood II Swing remixes are available here.

In 2000, with Nigel Hayes, as Charley’s Vault, they produced ‘My Answer’ for a joint EP on Hayes’ label Twilight. Think DJ Q.

And as Din-dunya with Haf S on his own label, Re:Think, he releases Analogue Stories Volume 4.

The whole EP is embedded in this video. Austin’s tracks run from 0.00 until 11.55.

ABACUS

It is under his Abacus alias between 1994 and 2025 that Austin cements his name alongside the other House Masters. It is astonishing the quality of this man’s output for thirty-two years, and continuing. Twenty-seven EP’s writing for: Prescription, Balance, Fragile, 83 West, DNH, Guidance, NDTAL, Innermoods, Phonogramme, D3 Elements, and his own label Re:Think. Not one bad release. It is timeless music of the highest standard.

I will lay out my picks, which are likely going to come from a significant number of releases, no apologies here. Please do check out all Abacus releases in full.

Following the Relics EP, mentioned four paragraphs from the top of this article, he started gaining prominence with a series of seminal releases: one is on the legendary Fragile label, ‘The Abacus E.P.’, a superfine EP to grace vinyl. I have embedded the whole EP. Essential.

The Abacus E.P.

From the Foot Therapy EP: Come On

Abacus – My Brazilian Love, three incredible productions, difficult to pick one over the other.

I choose Evolution

Collectors Edition: here we have a version of Come On, B side, the original version is found on the Foot Therapy EP. However, the original for this track came from ‘True Love (4 A.M. Deep Dub)’ from 111 East Records in 1993.

A side - Untitled

The Earthly Pleasures E.P. on 83 West Records is a trove of funky-jazzy deep house, with the lovely 88 BPM beauty of ‘Lazy Hazy Crazy Days’ as B2, also found on the Soundtrack For Life Album.

Sunrayz

Moonbeamz

Lazy Hazy Crazy Days

On Nick Holder’s Label DNH, two tracks of a blend of Deep House / Techno, Then and Now.

Analog Trks Volume One, Were Cookin’ Now

Not only is this a beautiful piece of music, but it is also exceptionally well thought out, crafting a strong social message: in this case, about food and the soul. There is this instant positive connectivity thing going on within this piece which would positively connect the listeners to other people in the right way, which is the whole point of music. However the real point here is that it is done with true dedication and craft for the art, understanding how to do that without manipulation and letting it be free flowing, done with careful thought, which is very different to what the music industry is currently doing.

For those who know me, you understand where I am coming from; to others, this message is within my older posts. To unite, coupled with the music, makes this an incredibly powerful track and one that puts this at the very top of house music.

Analog Trax Volume 2 featuring Mikael & Bratticus

When I Fall (Winter Reprise)

As promised, returning to this track. This track is soulful, deep, and raw. It is the haunting vocal of Michael J. Bensonn as Mikael that is so special here and so powerful; it brings a tear or two. Bratticus provides further depth. Austin’s precision music programming finds the perfect balance. Simply gorgeous.

In 1998, his first release on his Re:Think label was produced.

Sweet Embrace

Trouble (Deeply Rooted Beatdown) from African Hi:Fi Volume 1. 2006, his second release on his label.

It was not until 2024, an eighteen year hiatus, that he relaunched his label, focusing on delivering innovative and thought-provoking music, his more experimental and forward-thinking productions.

Two single-sided releases on the Innermoods label, ‘Lausanna’, and the one below.

Basic Amounts

In the following releases, I have embedded full EP recordings, except for the one from Lost Stories Volume 2. Just Enjoy.

The Lower End Theory EP

Analogue Stories Volume 2

Analogue Stories Volume 1

Music For Table Tennis from Lost Stories Volume 2

Analogue Stories Volume 5

Analogue Stories Volume 3

Austin is not prolific, more precisely, a very measured producer; his music is never about spectacle, it is about subtlety, the rhythm, texture, timbre, the soul and connecting to the heart. He makes music for people who listen with their whole body. Music that does not age because it is not chasing anything, it is waiting for the listener to connect to it. It is emotive, deep, soulful house, slightly abstract in nature. His unique production style and sound signature, coupled with incredible attention to detail, have not only kept his productions at the forefront of house music but have also brought together a significant and diverse group of artists for collaboration and remix work.

Quality music is a passion in creating, but to the listener, it is timeless. It is correct to say that Austin’s music is exactly this: a man completely locked in concentration, focusing only on producing timeless pieces. His current output shows greater maturity than his first productions, which is quite an incredible feat, since those early pieces are faultless.

I feel a lovely, underlying sense in Austin’s production strategy: that he is making music for people who feel things, and that this is what drives him. It is all about the heart and connecting. What is really impressive is that he disappears for years at a time, only to return with more passion for his art, enhancing the beauty within his productions and an even stronger connective message.

A man who has never lost sight of the art, through hard work, which is what our overriding message is all about.

The heart of it, his music, is not trying to be a glancing memory. Rather, it is to truly be felt by the heart of the listener and embed itself in you as ‘Music For Life’.

Until the next one, I will leave you with this lovely track from ‘iDRUM This Djembe’ in 2011 on NDATL Muzik:

Welcome To The Party

Be Safe.

Peace and Love.

Stef

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It’s Friday, you know the score.

This week we’re reaching way back into the crates to bring you one of the masters of modern classical minimalism.

STEVE REICH

“I became a composer because I loved Stravinsky, because i loved Bach and because I loved bebop” Steve Reich

Steve Reich is one of defining American composers of the late 20th Century. Best known as a pioneer of minimal music in the mid to late 60s, he was one of the first composers to experiment with the emerging discipline of tape looping. Thereby laying the groundwork for digital sampling technologies that would have such a profound impact on hip-hop, acid house and techno in the 70s, 80s and right up to the present day.

Reich’s work is characterised by its use of repetition and phase shifting, where one or more repeated phrases play slower or faster than the others, creating new and evolving musical patterns across the span of a piece.

I’ve selected a handful of my favourite recordings for today, the ones I’ve gone back to again and again over the years. Although this will obviously do no justice at all to a career that has spanned an astonishing seven decades.

MUSIC FOR 18 MUSICIANS (1976)

A sonic murmuration, and probably Reich’s most famous composiiton.

I’ve selected the 1978 release on ECM, as this is the one I’ve been listening to personally for many years.

I once saw this performed live at the Southbank Centre and it was one of the most incredible experiences of my life. Having spent so much time over the years listening to electronic music, it’s easy to forget the incredible levels of skill, dedication and teamwork required to deliver a live performance like this.

In terms of place, it will always remind me of waking up one morning in the Standard Hotel, New York, and watching the sun rise over the rooftops of Manhattan. A glorious experience and a truly magical piece of music.

MUSIC FOR A LARGE ENSEMBLE (1980)

Occupying very similar sonic and stuctural territory to Music for 18 Musicians. Some of the brightest and most optimistic modern classical music you’ll come across.

DRUMMING (1971)

In June 1970, Reich travelled to the University of Ghana to study polyrhythmic music for five weeks with the Ewe master drummer Gideon Alorwoyie. From this experience, as well as A. M. Jones’s Studies in African Music about the music of the Ewe people, Reich drew inspiration for this extensive piece, which he started to compose shortly after his return.

Composed of four distinct parts, Reich introduces us consecutively to the bongo, marimba and glockenspeil, before bringing all three instruments together for a triumphant finale.

Enjoy this vinyl rip from the original 1972 release of Steve Reich's Drumming, produced by John Gibson and Multiples Inc. in a limited edition of 500. The recording is from the last in a series of four premiere performances of Drumming at various New York locations in late 1971.

DIFFERENT TRAINS (1988)

A later piece with incredible emotional depth and richness of tone that uses carefully chosen speech recordings for much of its raw musical material, expertly combined with a range of different string instruments.

THE DESERT MUSIC (1985)

Finally, what is often described as Reich’s Magnum Opus. An epic orchestral masterpiece that places him at the pinnacle of contemporary classical composition.

Until the next one.

Peace and love.

Rubin

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A Guy Called Gerald sits down with DJ Ron for one of the most important conversations in UK electronic music history. From “Voodoo Ray” to Black Secret Technology, from 808 State to Juice Box, from being tricked into studio sessions to pioneering new software tech with Roland — this is the FULL story told by the man himself.

Gerald breaks down:
• The real origins of “Voodoo Ray”
• How his music became 808 State
• The truth behind “Pacific State”
• Living in a squat while having chart hits
• The birth of Juice Box Records
• Creating “28 Gun Bad Boy”
• His pioneering live setups + global touring
• Working with Roland & Native Instruments
• Revisiting Black Secret Technology 30 years later
• His message for the next generation
• Why independence matters more than ever

This is a deep dive into the foundations of UK dance culture — told with honesty, clarity, and decades of experience.

Make sure to subscribe to London Something and check out episodes with Kenny King from Telepathy and the legend that is East Man from Kool FM, plus many more.

Massive respect to Ron and Gerald.

Rubin

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