Hi Djinn, thanks for taking time out to talk to us. First up, where are you from and where are you at now?
Easy, I’m in Manchester –   was born here, & lived here for a bit, had a spell over in the US before moving back living in Lancaster in my younger days, then ended up living in Manc again.

How did you first get involved with DJing? Were you strictly a Dubstep selector first or were you always into jungle / D&B?
I was actually playing breaks initially, but that was like, towards the end good era of breaks before it went nuskool and a bit wack haha.

Back in my Lancaster days I started getting into the partying circuit when I was 16/17; went to a few mad house parties & made friends with some older music heads that were DJ’ing & going to nights and stuff.  A mate of mine showed me a few things & I started off having a little go with his tunes some daft time in the morning when everybody had been up all night & nobody that actually DJ’d could be bothered to mix anymore – no doubt doing everybody’s heads in haha!

I loved it though. Carried on stealing a few goes here and there, bought a few of my first 12’s –  I’d turn up with a puny handful of records in my bag…. forever waiting to jump on!

Few months after, I started playing out at some of the Illegal raves in the Lake District that we all used to reach on the regular, some mad local nights, Korners (RIP!) and got my first club set in another city playing at Tangled, the Phoenix, Manchester….. I wasn’t even old enough to get in the club, that was a blag!

Nearly a year after I started, I finally got my own set of 1210’s – I’d always liked raving to dnb but at this stage was getting introduced to mixing it by another group of DJ friends & getting into it more. Breaks was becoming really dry at this point; I liked the earlier tracks but I just wasn’t feeling the new stuff coming out and it didn’t really go dark enough so it was a good time to get into mixing drum & bass, mainly Metalheadz –  it’s all I really used to play at first.

From there I kind of found my own dnb sound & started working backwards; getting my hands on 91+ era oldskool hardcore / jungle bits where I could; a lot of it tied in with the whole Reinforced/Headz kinda sound, it’s always been a style I’ve gravitated towards more over others. A few of my friends were older & had been part of the whole oldskool rave scene that went down so I picked up a bit of knowledge off them here & there too.

After I’d been playing mainly dnb for most of the time I’d been mixing, around ’07 I was hearing this weird dark bass heavy 140 stuff about…. First time I heard it in a club I remember I turned to my mate like, “WTF is this>!!?” it was big haha….later I found out it was dubstep.

Shortly after, I met my then bf at the time who was DJ’ing dubstep/grime and moved to Manchester, so after being around it more I started wanting to playing it more & more and eventually sussed out my own kinda 140 style that I was running with.

You have played both dubstep and D&B extensively at gigs around Europe, any particular nights that stand out?
I’ve had a wicked time at all my European gigs to be honest, they’re always mad fun and it’s great to have had opportunities to reach out & play a little further afield; Top Ranking @ Le Zoo, Geneva is up there with my faves.

UK events too like Beat-Herder Festival, VW Xtra Festival, too many club nights to mention and loads of free parties that have been rude as well –  dropped a set at a WWII Bunker Illegal to a few thousand in MCR years ago – that was crazy haha.

Being a fan of both dubstep and jungle, what do you think of the 140bpm-ish jungle sound that’s being doing the rounds recently (the likes of Paul Woolford / Tessela etc), any recommendations?
I love it! Jungle’s been influencing dubstep for time though, if you look at tunes like 6blocc – Babylonia, Tes La Rok – Hot Jam etc.  There’s varying degrees of it though really, you can get tunes that are more dubstep but with a jungle influence; like Innasekt – Static or Boxcutter – Brood. Then you got your minimal vibe like Pearson Sound’s ‘Blanked’, up to heavier tracks that are more like actual oldskool jungle –  Cluekid – Ninety Three is a good example.

DJ Madd – ‘Murder 96’ was a percy for me. Cotti & Cluekid – Legacy was always a big one too. Ipman’s remix of Killawatt – ‘Sidewinder’ didn’t leave my box for about a year.  And Sully – Flashback is nice as well. Tessela’s got some good bits too, I’d say that’s a bit more on the experimental side, like ‘Hackney Parrot’ is borderline slow Jungle-Juke with some house elements thrown in.

You have also turned your hand to production in-between DJ’ing – Can we expect to see any new releases on the horizon from yourself? Will “Red Rain” be hitting the shops anytime soon?
Red Rain has had a few talks, it should hopefully be getting a release, TBC at the moment…..

I have a debut dubstep EP which I’ve been working on, for like, forever!!  That’s pretty much signed, it should be coming out on Mindstep once it’s been fully finalised – I’m still doing a few tweaks & sorting vocals for one of the tracks at the moment.

Drum & Bass wise I have another EP due on NB Audio sometime, which will be featuring ‘Rule of Three’, the rest of the TL is currently in progress. I’ve been making a few more bits of a similar nature to this recently; I’m usually dropping this kind of dark, half-time style with a few amen tracks & rollers thrown in my 170 sets these days.

Let’s talk jungle. A tough one to answer but if you could only play out 5 jungle tracks for the rest of time, what would you choose?
Five for the rest of time out of 20 years worth…. Are you mad?!! Haha.

Guess I would have to go with:

Mr Monik – Pressure (Hyper Records)
Doc Scott – Here come the Drums [Breakage remix] (Reinforced)
Futurecut – Whiplash (Renegade Hardware)
Peshay – The Nocturnal (Metalheadz)
Seba – 34 Alpha (Secret Operations)

And a question you were probably expecting…. Jungle or dubstep?
Aaaaaargh you can’t ask that! Last question was too hard already hahahaha. You missed off drum & bass too? I consider them all separate so I can’t really give you one answer, I love all three equally but for different reasons. Like they give me different feelings. If I had to pick for deepness & emotion I would say 140/ dubstep, If I had to pick for militant moodiness it would be drum & bass, and for menacing vibe & rhythm, jungle.

Tell us a bit about the selection for your Drumtrip Sessions mix.
The selection is a full vinyl mix featuring a few favourite ’93 to ’97 jungle tracks from my collection; a few forgotten classics, some sentimental tunes etc. Basically a bunch of tracks I’m into from some amazing artists that I think just work well with each other in content as well as structure, and that represent the varying styles of that era, both dark as well as deep/nice.

Finally, any shouts, links, gig info you want to list?
I’m back at Beat Herder Festival this year on the 19^th July! Looking forward to dropping a drum & bass set on Stumblefunk’s stage on the Saturday night 1am til 2:30 …. come check if you’re reaching

Couple of other things coming up soon too, info on my fb page.

Gotta shout Mindstep & NB Audio for backing my production, any promoters that booked me, people that play my tunes / mixes.  Makka (yes G!), past & present Lanc/Manny DJ family and my boy Ste for his continuing support. Oh and out to our current neighbours for not giving me a noise ASBO! ….. shit was about to get real with the last ones HA

[With thanks to Gary Brown (GB Multimedia) for the image]

Drumtrip Sessions #11 – Djinn

Tracklist:
Source Direct – Stone Killer (Metalheadz)
Photek – Hybrid (Science)
Rufige Kru – T3 (Metalheadz)
Rogue Unit – Nocturnal (Labello Blanco)
Mickey James – Nice n’ Deep [Exclusive remix] (Suburban Base / Moving Shadow)
Source Direct – Snake Style (Source Direct Recordings)
Nookie – A Drum, A Bass, A Piano [Origin Unknown remix] (Reinforced)
Bizzy B & Dextrous D – Come on People [amen mix] (Brain Records)
DJ Crystl – Warp Drive (Dee Jay Recordings)
Hyper on Experience – Lord of The Null Lines [Foul Play remix](Moving Shadow)
Digital – Down Under (Metalheadz)
Source Direct – Shimmer (Odysee Records)
Sounds of Life – Hidden Rooms (Certificate 18)
Paradox – A Certain Sound (Renegade Hardware)
Foul Play – Being With You [remix] (Moving Shadow)
Rogue Unit – Luv Dub [VIP] (Labello Blanco)
Q Project – Champion Sound [Doc Scott remix] (Legend Records)
The Sentinel – Heavy Vibes (Basement Records)
Skanna – Find Me (Skanna)
Sounds of Life – Currents [remix] (Certificate 18)

Find Djinn online at….

djdjinn.com
soundcloud.com/djinn
facebook.com/ukdjinn
twitter.com/djinn_dj
beatherder.co.uk/artists/djinn

The post Drumtrip Sessions #11 – Djinn appeared first on Drumtrip - Hardcore / Oldskool Jungle Blog.

Don’t miss his excellent Drumtrip Sessions mix at the end of the interview!

DJ Trax Interview

Hello DJ Trax, where are you from and where are you at now?
I’m originally from Harlow in Essex. These days I am still based in Essex but I moved to Hutton.

How did you first get involved with the Hardcore scene? Were you a raver first?
I was always a Hip Hop head. I use to Break in a crew with Nucleus and others called ‘The Electro Breakers’

I had been collecting breaks for years and started off as a drummer (age 7) so to me it was all about the beats.

When I first heard House music I really didn’t like it, I couldn’t stand the 4/4 kick drum. This was until 86/87 when I heard tracks like Mr Fingers ‘Can U feel it’ and T-Coy ‘Carino’.
Although still heavily into Funk and Hip Hop, I was now also influenced by Detroit Techno and Chicago House.

In 88/9 I got some work experience at a studio in Roydon. They use to put on acid house events there. As local DJ`s, myself and Nucleus were asked to play. We had a few house records, but not enough for the whole night so we played a lot of hip hop instrumentals on 45. I loved the frantic sped up breaks.

Shortly after, myself and Dev recorded our first track in a `proper` studio there (engineered by Plastic Jam.) It was essentially a sped up Hip Hop tune with bleeps and sub bass (around 140bpm) with Dev rapping and my scratches.

After this, I started playing on various pirate stations and out at events.
I was going out raving every weekend in large convoys up and down the country.

What were some of the early raves that got you hooked?
The first big thing (20,000+) I played at was World Party. I scratched for Bug Kann + the Plastic Jam. I was still working at the studio with Plastic Jam and sat in whilst they recorded tracks like ‘Made In Two Minutes’ + ‘Beware of the Bassline.’

One of the first things I went to was in 88 called Total Confusion. It was one of those.. phone this number at a certain time illegal (they were pretty much all illegal back then) events. I went with Dev and Leke (who now runs Aerosoul.) I remember us carrying beers in and going through underground tunnels to get to in. I can still see it now We got chatting to some girls and soon realised they were on drugs!! ha ha..We were really young and naive to it. From that night I was hooked!

Other stand out events I remember include Sunrise, Genesis, Vision, World Dance, Dance 91/2, Evolution and many other events at The Roller Express.

What was Trax listening to before Acid / Hardcore?
Electro, Hip Hop, Funk, Reggae/Dub and Soul

How did you first get into production? Were you DJing first?
I started DJing when I was 11. I say DJing but it was more scratching, a lot! Trying to imitate DJ`s like Whiz Kid, Jazzy Jeff, DJ Cheese, Cash Money and many more.

I had two (sort of) decks. They were stereo systems with tape and radio and a belt drive deck. They had no pitch control so i could only mix records that were the same bpm.

I use to make mix tapes using two tape decks. I would record a break… Pause, wind back the tape, and record the same break again etc… to make loops. I would then over dub scratches and samples. Soon after this I brought a four track which was next level!!

A year or two later Commodore brought out a program where you could sample and could change the pitch of the samples. At the time this was amazing!! The next and critical stage was OctaMed on the Amiga (which Dev still uses (my Amiga I should add! ;))

Where did used to get your records from back then?
Parliament Records in Hertford, ran by Rob Omni Trio, Boogie Times, Solid Base in Harlow, Music Power, Ilford, Black Market and other shops around Soho.

How did you hook up with Dev (Paradox) and form Mixrace?
I was around 13 and was seeing Dev`s sister. One day I went to meet her at the station and she said my brother wants to meet you. I thought…Shit! I walked round to a lake where Dev was sitting. He had a huge high-top and Air Jordans and had that young moody rapper thing going on ha ha.
At first we didn’t really get on, I would go round to see his sister and his door would be shut blasting out Public Enemy or I would hear him rapping over instrumentals. One day he phoned me up and said he had heard one of my mixtapes and wanted to come round lay some raps down. From that day Mixrace was born. Soon after, Leke joined the crew. Both Dev and Leke rapped and I produced the tracks and scratched.

Was “The Future Is Before Your Eyes” the first Mixrace release on wax? How did you get involved with Moving Shadow?
My first release was with DJ Raw on Brain Records under RawTrax. ‘The Future Is Before Your Eyes/Two Bad for ya’ was the first Mixrace release.

The whole Shadow thing came about as Dev sent a tape to Moving Shadow. It had a version of ‘TFIBYE’, ‘Too Bad for Ya’ and other tracks on it. Rob called up and asked us to come in for a meeting so we went to his place in Stevenage.
He loved the tracks and every Tuesday and Thursday we went there to re-create them in Rob`s Studio. I remember at that first meeting I saw a tape with Hyper on Experience handwritten on it. I asked Rob what it was and he said he had just signed these guys. The tape was mind-blowing!

Who is behind the mic on “The Future Is Before Your Eyes”?
The Brown Assassin AKA Brown AKA Dev Paradox

The EP also featured a tune called “Too Bad For Ya (Is 180 Too Fast For Ya)“, what’s the story behind this track? as its pretty out there and fast in tempo for a ’92 release. Did you ever anticipate back then that the genre would eventually speed up to near 180bpm?
Originally ‘Too Bad for Ya’ was 188bpm and TFIBYE was 180bpm. We were young and had a lot of energy and we wanted the tracks to be hype! The tracks were originally written on MED. As the early versions of MED did not have a BPM counter we didn’t really know how fast they were until we came to re-record them at MS.

We had an argument with Rob about the speed. Most of the tracks at that time (91) were in the 140`s, after a lot of debating we agreed that ‘TFIBYE’ would be 160 (as i remember) and ‘Too Bad for Ya’ would be 180, hence the tag line Is 180 Too Fast For Ya?

We were not really thinking about where the music would go speed wise. We just knew that we wanted our tracks to be hype. Although I heard the tracks played out by a few brave DJ`s we didn`t really do ourselves any favours by making them so fast. But f*ck it, it wasn’t about conforming, it was about writing what we wanted to write.

At this point what sort of production gear were you using for the Mixrace and DJ Trax releases (around 1992/1993)?
At my place we used MED on the Amiga with a £30 Techno Sound Turbo 8 bit sampler. Around 93 I brought a Yamaha SY85 shortly followed by an Akai S01. From that point on we were 16 bit

At Moving Shadow we used Q-Bass a Akai S950 and 1000 sampler, a Korg M1, Juno 106 (I love that synth!), Yamaha DX7, Vintage Keys Rack (another favourite of mine), various Alesis FX and other outboard bits.

High Time is a huge favourite of mine today, as someone on Discogs put it it’s “packed with synths and melodies without sounding cheesy”. It was released in late 1993 in the midst of a lot of dark sounding tunes, how was it received?
It was written late 92/early 93 but as with most labels, releases were backed up a bit. As I remember we were also waiting on Nookie to complete the remix. It was well received, although there were a lot of dark tunes at that time, there was still a fair amount of more uplifting ones.

Another alias of yours and Dev’s was Dangerman and Brown? What’s the story behind the alias? And who was behind Stronghold Records?
Stronghold was run by Scott Rhymeside and a guy called Gary (Where are you Gary??) They were friends of ours who we use to go to AWOL, Bluenote, Logical Progression and Speed with. They were great to work with as they really supported what we were doing and allowed us to get creative and to release tracks with heavily programmed drums.

We use to go to a lot of events, sometimes going from one to the next, to drop of test pressing to DJ`s. A lot of DJ`s did not really support our stuff as the drums were not straight enough. But we refused to conform to what would have been more current at that time and Stonghold, Mobhanded, Offset and Nautilus (all labels set up with the same guys) supported that.

Regarding the name, Dev had always been Brown or The Brown Assassin, so he wanted to go back under that alias. I remixed one of his tracks and put this sample saying Dangerman in it. I found the name quite ridiculous and funny as it didn’t really suit me but then again that`s why it was an alias.

The relationship between Mixrace and Moving Shadow was short and sweet. Am I right in saying you didn’t release on Shadow beyond 1993?
We were with Shadow from 91 although it took time to recreate the first tracks so they were released in 92. We parted ways in 1994.
We almost released a 3rd Mixrace 12″ with MS, but it only made it to test press stage. There were only ever 10-15 TP`s. Dev doesn`t even have a copy!
It remains one of the most sort after and expensive oldschool records.

In the mid 90s you seemed to take a step back from D&B and produced downtempo / leftfield music for labels like Nautilus and Beats & Pieces. Was this a conscious decision to move on from the scene?
As Hip Hop was my first love, I’ve always written down-tempo music. It wasn’t that I consciously thought I’m not going to write D+B anymore; It was more that I loved the freedom you get from working with different tempos. I went to so many hardcore/jungle/drum and bass nights from 88-97 and in 97/98 I was hearing less and less drum and bass that was really inspiring me.
I`m not saying there wasn’t some great music out there, but I just found those early days, where the music was constantly changing and adapting, more exciting and inspirational.

I know you’re a fan of crate digging and sampling. Sampling in general has been on the decline, especially in D&B, why do you think there aren’t as many producers digging the crates like they used to? Is there even an (unfair) stigma attached to it now?
Hmmmmm.. I still think there are a fair few artists who dig deeper to find interesting samples. It’s just that there are more lazy ones

Making music has become a lot easier and more freely available. In order to make a studio quality record, back in the days you had to be signed to one of a number of labels, who had worked hard to build up their studios. I feel this ensured more quality control and you had to REALLY want it.

These days it’s possible to download a studio which is more powerful than you could have dreamed of back then. You can set your own label up and release your music in no time. On one hand this is amazing, on the other it means that some people want everything instantly and so may not spend the time and energy hunting for samples as some did back in the day.

But as I said, there are still plenty of diggers out there

Post 2000 you have been fairly prolific with releases on Paradox labels Outsider and Paradox Music as well as full length albums on your own label Audio Buffet. What have you been working on recently and what have you got planned?
Over the next two months I have a three track 12″ which will be released on Tempo Records (www.t3mpo.com) a Mixrace 12″ which features two unreleased gems from 93/94. I can`t say anymore than that yet ;)) A track with Naibu which will be on a double 12″/CD album on Subtle Audio, a track on a compilation on Phil Source Directs – Vampire Records (with a Source Direct Remix!)

In the summer I have another track with Naibu coming out IM:LTD, two new Audio Buffet releases and a Hip Hop album with Assorted Anonymous.
Also in the pipeline is another release on Omni Music and collaborations with Nucleus, Okee, Acid Lab and Enjoy. And finally, I have a remix of IASI coming out on Berlins Superb recordings.

Can you tell us a bit about your selection for your Drumtrip Session mix?
I never plan my sets so I treated it like playing any set really. I got load of records off the shelves, usually about 3 times what I need! I choose the first tune and I guess have a general idea of the mood, but then I just run with it and see where it goes.

There are a few tunes that are long-term favourites of mine and that I feel were ahead of their time.
Tracks like ‘Nice and Slow’ by SLM. I first remember hearing this in a night we use to go to in Basildon Festival Hall in 92. It really stood out as it was so much more rolling and hypnotic than most of what was getting played. Also the Ruff Justice and ‘Hoppa’ tracks were drum and bass, before drum and bass!
I also included Tekniq`s Forbidden Reality. Myself and Dev loved this tune as the breaks were proper funky and lively! The On-remand 12” was and still is one of my favourite dark 93 tracks.

There’s also a Brown and Dangerman track from the first Stronghold release. I remember writing this in one night (until 7/8am) at Dev`s tiny flat in 93 we used to program a bar or two each and kind of play off each other’s programming. We were jumping around like idiots haha.
The mix ends with ‘Feel It’ which was overshadowed by the flipside. I only heard it out a couple of times but always loved it

Finally, can you confirm that I once saw you in a cheesy bar in Hertfordshire getting your groove on to Usher (or some sort of terrible “R&B”)?
Haha… I remember seeing you there. You were dancing to ‘Careless whisper’ with some huge old lady.
*Lies I tell you, lies! – Law

Catch DJ Trax online at…
djtrax.org
soundcloud.com/djtrax
vimeo.com/djtrax
djtrax.bandcamp.com
aerosoul.co.uk

Drumtrip Sessions #10 – DJ Trax

Tracklist:
A Guy Called Gerald – Anything
Biology – Sundown
SLM – Nice + Slow
Jody Wisternoff – Untitled X-iting
Dark + Moody – Volume One
Tekniq – Forbidden Reality
Jack Horner + DJ Pulse – No Gunshots
On Remand – Blacksteel Part 2
DA Intalex – What Ya Gonna Do
Heard – Like This Like That
Mind At Large – Rough Justice
Brown + Dangerman – Ideas For The Ear To Fear
Subnation – Untitled
Hopa + Bay B Kane – Hoppa
Randall + Andy C – Feel It

A huge thanks goes out to DJ Trax for taking the time to talk to Drumtrip!

The post Drumtrip Sessions #10 – DJ Trax appeared first on Drumtrip - Hardcore / Oldskool Jungle Blog.

Serum of Dread and V Recordings (among many others) speaks to us about his love for jungle, before laying down a serious selection for his  Drumtrip Session mix.

Tell us a bit about yourself
I was born in Lincoln but moved around a lot with my parents when I was young. I’ve lived in London for the last 8 years or so.

When did you first fall in love with Jungle? Am I right to say your first vinyl release was 2004? I imagine it goes way back before then?
I got into jungle around 1994-5. I’d heard rave music before and quite liked it but I was more into hip hop and heavy metal and didn’t really respect music that didn’t have that element of live performance. Things changed when I came across a program called Protracker on the Amiga which was a basic sample based sequencer. Through messing with production, I realised that dance music was actually a lot more complicated than I thought.

I started going to nightclubs with a bunch of slightly older kids and it all fell into place. I pretty much fell in love with all forms of dance music around that time and there was a lot of good stuff out there. I started buying records and got a set of cheap decks but I had very little money so I’m still catching up on tunes I missed out on from back then.

There weren’t any decent raves where I lived (either that or I didn’t know where to find them) so I listened to a lot of tapes from The Edge and Helter Skelter. I’d also listen to Pete Tong, John Peel and One In the Jungle on the radio.

Your tunes always have that rugged 90s jungle sound but with more contemporary production styles. How do you get that across in your tracks?
Up until a few years ago my setup was software based but I’ve bought quite a lot of hardware lately and that features in my newer material. When I used software I still tried to do the same things people did with hardware back in the day. I used to set the channels up so each track had similar features to a channel on an old mixing desk.

The main rules I live by are to keep things simple and sample anything I can get my hands on.

Before you arrived on the scene, and others like Vapour and Bladerunner, did you feel dancefloor D&B was missing the breaks and bass and general feeling from a lot of the stuff from back in the day? What is it you like about that sound?
There have been times where I’ve felt that but I’ve also made a lot more modern sounding stuff too. It just depends on what I’m interested in at the time. I never really have much of a plan.

You have remixed some huge tracks like Papa Lover (a personal favourite remix of mine), The Way and The Execution – But which producer from back in they day would you like to remix one of your tunes?
I’d like to have Dillinja have a crack at something of mine. I’m surprised Ray Keith hasn’t had a go yet either to be honest, that would be good to hear.

What else is new for Serum? What have you got forthcoming?
I’ve got 12s and individual tracks coming on V, Playaz, Dread, Co-Lab, Chronic and Drum & Bass Arena. There are also a few bigger scale things I’m doing like a mix album for Philly Blunt album which is going to have a combination of oldies, remixes and new material.

I’m working on a collection of more soulful vocal tracks but that’s in the early stages. It’s a new thing for me though so I’m really enjoying it.

The oldskool / jungle sound seems to be making a bit of a comeback again, have you got any big remixes in the pipeline? I did hear a remix of Gangsta about a while ago, any chance of a release there?
Gangsta will be on the Philly Blunt album sampler along with my remix of Bass Switch that’s been floating around for a while. There will be a few more remixes from me and a bunch of other artists. I also just put the finishing touches to a remix for Ruffneck Ting which just relaunched and I’m really happy with that.

Tell us a bit about your mix for Drumtrip, the idea behind the selection?
With this mix I’ve tried to dig a lot deeper and avoid the usual stompers. There’s not really any jump up on there which is fairly rare for me. There are some real classics in there but also a few lesser known bits that featured on some of the sets that got me into the music in the early years. Hopefully this mix will get people hunting on discogs.

Any big ups / shouts?
Anyone bought my music, came to see me play or booked me for a show, and all the DJs and labels that have supported me. Also my girlfriend and daughter for putting up with the constant noise.

And finally…  On your Twitter profile you state you are a “DJ, Producer and Pie maker”; what is your favourite pie?
Chilli beef pie from Goddards in Greenwich with a good serving of liquor and chilli vinegar.

Catch Serum online at..

•  Facebook
•  Twitter
•  YouTube

Drumtrip Sessions #09 – Serum

01. Adam F – Circles – Section 5
02. Daz – Identity – Splash
03. Lemon D – Manhattan Melody – Conqueror
04. Timebase – Funky – Tearin Vinyl
05. Swift – Gang Related – Intalektive
06. Ed Rush & Nico – What’s Up – No U Turn
07. DJ Biggs – Sunrize – Back 2 Basics
08. Adam F – Aromatherapy – Section 5
09. Basic Influence – Still Waters – Hardleaders
10. Trace – Haze – Emotif
11. Roni Size – Step Up – V
12. Tango – Understanding – Creative Wax
13. Renegade – Eastern Promise – Dread
14. Chris Energy – Zalongo – Reinforced
15. Roni Size – Daylight – Full Cycle
16. Andy C – Roll On – Ram
17. Lemon D – This is LA – Metalheadz
18. Gappa G & Hyper Hyper – River Nijer (Nookie Remix) – Ruff Kut
19. Hidden Agenda – Get Carter – Metalheadz
20. Dillinja – Sovereign Melody – Deadly Vinyl

Huge thanks for Serum for the interview and a great mix, much appreciated!

The post Drumtrip Sessions #09 – Serum appeared first on Drumtrip - Hardcore / Oldskool Jungle Blog.

Tell us a bit about yourself
I was born and grew up in Cambridge I moved to Newbury with work in 2001 and have been here ever since. Before I got into Hardcore / Jungle I used to listen to loads of different things mostly crap though.

When did you first get into the hardcore / jungle scene?
A mate gave me a tape of Devious D recorded at the Eclipse Night @ Cambridge Corn exchange. The first tune on there was Menace by Rufige Kru and that grabbed my attention immediately. I then started hunting out as many rave tapes as possible and one of my aunts used to sort me out with copies of her rave tapes. I then started buying tunes from a little record shop called Boom tunes in Cambridge and started saving up to buy a set of decks

I read that you first got a pair of decks in 1992. What made you want to start mixing?
To be honest I can’t remember why I wanted to DJ as no one else at my school was doing it – even when I left school there was only me and one other kid at my school who had decks. I just knew I could buy this music on vinyl and that was the way to play it.

When did you first start producing?
When I started college in 1995 I met loads of other DJs and a couple of them went on to set up home studio’s so I messed around with them making some horrendous noise there but nothing ever got finished, but it planted the seed in my head to get some equipment and start making my own stuff.

Am I right to say you had your first release on vinyl in 2004 in the form a remix of the legendary Top Buzz tune ‘Living In Darkness‘? How did that come about?
Yep that was the first release I had on vinyl. That come about from me living across the road from Nu-Urban (music the distribution company). I used to go over there and talk about tunes with Tobie (Serial Killaz) who used to work there and I used to play him all the crap I was making in my studio back then.

I had done this remix of Living In Darkness just to play in my sets. I played it to Tobie at some point and he had a copy – next thing I know he popped into the pub I lived at with a white label and said go upstairs and listen to that and it was my remix. I didn’t know back then that Phil from Nu-Urban was the owner of Basement records and Tobie had sorted it all out to get released. I was pretty chuffed with that and it’s certainly nice to have my first release on a legendary label such as Basement. I would say its more of a update than a remix though and it sounds awful now lol. Big up to Tobie for that though it certainly encouraged me to get on with making more music and he gave me tons of help back then.

If it was your first release, what took you so long having been DJing since 1992! Where was Vapour the producer in the late 90s?
Well the simple answer to that would be weed and women lol. I was more interested in going out partying and getting wasted rather than saving up for samplers and mixing desks. I kick myself now though as I wish I had pulled my finger out in the 90s and brought a studio sooner.

Thing is as well it cost a fortune to set up a simple studio back in the day – just a sampler that only had about 30mb memory would set you back over a grand that was a hell of a lot of money back then. Before I left Cambridge I got an offer to go live above a pub my mate was running rent free and thats how I managed to get the money to put a deposit down on a sampler, then my mate Adam brought me a computer on finance and I paid him back.
I picked up a 2nd hand mixer for 350 quid (and had no money to eat for a week) and with my minidisc recorder I was good to go.

Within 4 weeks of getting all that I was cutting shit tunes down at music house and testing them out. I then go asked to move down to Newbury to work at a new pub opening down there so I thought it would be a good opportunity to get away from distractions and get on with making music – also living rent free. So I moved down here and bought more equipment and kept banging out shit tunes until things started to sound a lot better. Bailey picked up 2 tracks for his Intasound label and that was it from there, everything steam rolled along.

Your productions always sound contemporary but have that gritty, hardcore feel of D&B in the mid 90s. What is it about that sound you like? How do you get it across in your music?
I think most dnb these days sound too over produced and noisy, I prefer a more organic sound with space and warmth in the tracks. I used to have a whole load of hardware equipment which most of my releases were made with. I think that this made a big difference when I first started putting out tunes as my tracks had a lot more warmth on the low end and lower bass, was a lot more evident on my tracks when played on a big system and I put this down to the equipment I was using at the time.

I got to a point where it was really pissing me off though as there was so much noise and hum coming from it all in the end I ripped it all out and switched to a purely software based set up and sold it all early last year. After using just software for the past 16 months its driving me mad and i’ve started buying a new set up to use – more simple than before but it will enable me to get the sound I want as using just software aint working at all as I can’t get the low end I want on the tracks, so over the coming months i’ll be picking up all the bits I want for the new hardware studio

You have been apart of the Stepback Sessions since the first volume in 2009. Was this Randall’s thing or was this a joint thing between you two? How did you hook up with Randall and what’s the idea behind the label?
Randall setup Stepback as there was a whole bunch of stuff myself, Bladerunner and Serum had bastardised for our sets, which Randall set about getting everything cleared and released. I help a lot with the label from things like artwork to mastering, and I pass tracks to Randall that have come my way. Its a great little label and has been doing really well.

We have just started up doing some Stepback Sessions tour nights as well. I first met Randall off the back of the Intasound release I did. He called me up and said he was really feeling my tracks and wanted to know if I wanted to work on some tunes with him, which of course I agreed to. He come up to my studio in Newbury and we made The Last Stand and then Angels Warning which come out on Mac II, and we also did a remix of 4Hero’s Mr Kirks Nightmare.

You have remixed some huge tracks like We Are IE, Melody Madness, Maximum Style. But if you could have one producer from back in the day remix one of yours; who would it be?
Good question! To be honest thats a hard one to answer as most of the producers I really liked back in the day are either not making tracks anymore, or make utter crap these days. And most of the producers I like at the minute have already done remixes for me. I reckon Jonny L could do a pretty naughty remix though so he would be my choice

Similar question. What’s the one hardcore / jungle track you wish you could have made?
Damn thats a hard one to pin down. I think if I had to pick one out of my top ten favourites I would go for Krust – Jazz Note on V recordings, as that tune really tells a story and just rolls perfectly.

Your own label 36 Hertz has gone from strength to strength, what have you got lined up on the label? What does the future hold for Vapour and 36 Hertz?
Next release (out now) is the Back To The Bass Volume 3 LP which has been getting some huge support across the board, then after that we have a various artists oldskool 140bpm-style 4 Track EP with tracks from Myself, SR & Digbee, ESP and Indigo Virus. After that release who knows lol.

We have a lot of artists working on music right now so there is plenty in the pipeline but its just down to who brings stuff that will work on the label first. I don’t really do all this 1 year on dubplate shite that loads of labels do, so once I get a release finalised I get it out within 6 weeks if possible. For me personally i’m sitting on about 2 albums worth of non-dnb stuff (old skool & bass music) which should be coming out next year once I get it finished. Im also working on a load of remixes of old skool tracks for various labels and projects.

Tell us a bit about your mix for Drumtrip
Well as always when I draw for a old skool mix I tend to go for the more deeper unknown stuff rather than what I call the “jungle hits” selections that most old skool mixes contain. So I put together a batch of stuff that im feeling the most from the late 90s and a couple of new things that come out on 36 hertz from myself and Jem One in that late 90s style.

Drumtrip Sessions #08 – DJ Vapour

1 – DMS & The Boneman – Strength – Production House
2 – Acro – Untitled – Force 10
3 – Sub Sequence – Music Is The Vibe – Tooz Up Records
4 – Van Kleef – Life Began Changing – PP9 Productions
5 – Revival Rough – Who Goes There – White
6 – NKS & Unknown Face – Dats Cool – Saigon
7 – Code Blue – Angels In Dub (DJ Crystl Remix) – Dee Jay Recordings
8 – Ed Rush – Force Is Electric – No U Turn
9 – DJ Vapour – Never Feel – 36 Hertz
10 – Buz – Slave Special – No U Turn
11 – 4 Horsemen Of The Apocalypse – Drowning In Her – Tone Def
12 – Photek – Touching Down – Photek Productions
13 – Bjorn Stokes – You’re Mine – State Of The Art Recordings
14 – Jem One – Bullet To The Head – 36 Hertz
15 – Dillinja – You Don’t Know (Remix) – Logic
16 – Phaze III & Klass A – Fearful Dimensions (Unreleased Mix) – Dub
17 – Nicky Blackmarket – Geese Tune – Blackmarket
18 – Lemon D – Jah Love – Conqueror
19 – Goldie – Angel – FFRR

Any big ups / shouts?
Big up to everyone buying 36 Hertz releases and supporting the label through the years

www.36hertz.com
facebook /djvapour
twitter – @vapour36hertz
youtube – /36hertz
Bookings – mainsourceagency.com
mixcloud – vapour36hertz

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I am very pleased to say that Drumtrip Session seven comes in the form of an interview and mix by boss of the excellent Skeleton Recordings, and of “Luv Ta Luv Ya” fame; DJ Monita. I caught up with the man himself on Twitter and he was kind enough to not only produce an immaculate mixtape for us, but also answer a few questions about his work throughout the 90s.

So to begin, an interview with DJ Monita, and then the mix below (don’t miss it!).

Tell us a bit about yourself .
Well, I’m born and raised in West London. A 70’s child, father of 3 fantastic kids, a husband and some might say a bit of a perfectionist.
I lived in West London all my life until I moved a bit further out so I could get myself on the property ladder.
Started collecting hardcore vinyl from late 89 really, trying to get a lot of stuff I missed like Beat Club – Security, Raze – Break For Love, Ritchie Rich – Salsa House, Debbie Malone – Rescue Me etc. to build up what was then my very little collection. 1990 was when I can first remember starting to DJ, mixing on 2 belt driven decks and budget mixer at first before buying a set of 1210’s.

How did you first get involved in the hardcore scene?
1989 was my first time at a rave. It just progressed like it did for a lot of others my age from the 80’s Hip-Hop scene. I’ve always loved music, from the disco sounds of the 70’s to the Hip-Hop and soul sound of the 80’s.
I went to Tenerife in 1989 and the clubs were playing the likes of Kariya – Let Me Love You and Inner City – Big Fun, which were big rave tracks from the year before and I guess this is what planted the seed for me of this ‘new sound’, that electronic bleeps and bass sound.

When and why did you make the leap into production and what kit did you use?
At the early stages Shut Up & Dance and Ibiza Records were a major part in my collection and I used to love Rum & Blacks ‘Slaves/ESQ’, which was from 1991. Someone from my estate who used to come raving as part of the group, approached me because I had a bit of a name and rep around the area as a DJ. He had a sampler and said he would like to try to do something with me.
I never knew what to expect but took a bunch of vinyl up to his and said “this is the break I want to use”, that being the ESQ break. So away we went for a few hours, but neither of us really knew what we were doing and the ‘studio’ only consisted of pretty much a sampler and keyboard. After the first session we only managed to loop the break and I got frustrated because I knew there was something, a sound, I wanted but just couldn’t get it with the equipment he had and with our knowledge, so I gave up after 2 short sessions.

An old friend of mine knew someone who had a studio in his bedroom in Chiswick and knew that I was keen to give it a proper go so introduced me to him. This was when I first met K-Rox. It was a basic setup of a Casio FZ-10 sampler, Yamaha FX500 unit, Seck desk and Atari ST running Cubase but this was so much better than the other guys set up and K had experience in how to use the equipment.
I went up there for first time in early 92’ish and just started playing around with sounds and seeing how it all worked. After that I started listening to tunes differently, noticing the layering etc and started to get ideas for stuff all day while not in the studio. I guess I just got the bug for it.
He later upgraded all his studio equipment to a Mac running Cubase, Atari S1000, some nice little outboard rack equipment and an automated mixing desk.

What was the inspiration behind Skeleton Recordings?
There were a lot of sounds around in 92 which were so inspirational. Guy Called Gerald, Doc Scott, Rufige Kru to name a few and I just knew that I wanted to try quite seriously to make a 12 inch. It was never the plan to set up a label but after completing the first two tracks (System Crashed & Luv Ta Luv Ya) Skeleton Recordings was decided upon. It came about because the guy I started System Crashed with was part of a little click that was known as ‘The Skeleton Krew’ and it was just a lazy decision really to use that name. This obviously led to the label being called ‘Skeleton Recordings’.

As for the design, the original label design was taken from something that was designed on a car at a motor show. It was modified a bit but pretty much the same as it was on the car. From SKEL011 the design was changed to include the bones to spell out the label name around the logo.

Luv Ta Luv Ya was the first release on Skeleton. Was this your first release full stop, and how was it received at the time?
Yeah ‘System Crashed’ and ‘Luv Ta Luv Ya’ was the birth of Skeleton.
The first track ever completed by me was System Crashed, which had a bit of the old techno sound influence in it as I loved that old industrial warehouse sound like LFO, Beltram etc. The track was actually named this because the equipment failed a couple of times and we lost quite a bit of work. So this was just a little shout out to it name wise.

Luv Ta Luv Ya was a great track to make and it didn’t take long at all really to complete. Someone gave me a few albums and 12”s to have a listen through to see if there were any things to sample. One of the things was a Disney album and there were a couple of things on there that I wanted to use. One being the “Jungle” vocal which is from Jungle Book and the other is the Chime riff from “We Are Siamese”.

The Luv Ta Luv Ya break ended up being quite a noticeable break and was sampled so much in jungle/D&B tracks that me and my mates named it as ‘The Skeleton Break’. I’ve lost count of how many tunes actually used the break in one way or another and I even heard it a few weeks ago in something new. In one way I’m quite proud really that it has been used so much by other artists, but I’m also pissed that I didn’t get any recognition for it as everyone thinks it’s originally from DJ Seduction – Sub Dub. Well let me set the record straight and mark that break as officially mine!
I think the 12 went down OK. I got 1,000 pressed and I went around to the clubs with a box of them waiting to catch the DJ’s coming out so I could hand a copy to them. Also DJ Monk, who I knew for a while, was doing a little regular at the Marquee Club on Tottenham Court Road so he helped hand it around.

You worked with other producers like Steve C and DJ Monk. Who else from back in the day would you have liked to have worked with?
A very hard question really as I was always happy just to do my own thing. 2 artists I would have loved studio time to work with would’ve been (Sir) Photek and Dillinja, but I was nowhere near worthy to join forces with them. They were both in a completely different league.
Me and Steve C used to work so well together. He is a very talented guy that really should have made a big impact on the scene, but never took it as serious as he should have done, which is a big shame.
I done some tracks with Mark Force (G-Force) who was part of the Reinforced family which were never released and also done some bits with Dom & Roland under the name of ‘Current Affairs’ on Moving Shadow.

What do you feel is your finest / favourite tune you put out?
Luv Ta Luv Ya remix. It was the first tune of mine that I used to hear regular on the pirates, in clubs and on mix tapes. I laid that track out in about 4 hours as I knew what I wanted from it. I was building ideas in my head for a while and it just all came together in the studio. I remember one day getting back home and hearing a message on my answerphone from Randall saying that he thought it was massive and it was rare to get a remix that smashes up the original. Made my day that did!

Also, Razors Edge that was done with Steve C is another that I am quite proud of. This track was a favourite of Bukem’s and used to get played pretty much every set he done at that time. The edited Gary Busey “This, this is jungle” sample I loved.
There are another 2 versions of Razors that I done in 95 and didn’t release and also a 1995 version of Luv Ta Luv Ya that didn’t come out.
I rate one of the Razors remixes above the original and it’s definitely a personal favourite of mine.

Skeleton had 13 releases from 1992 to 1994 and seemed to abruptly come to an end. What happened?
Distributors, that’s what happened!
Razors Edge was starting to get a bit of a name for itself and I started to distribute exclusive through a company from that release. Unfortunately, I didn’t know it was run by a jumped up little prick who was only bothered about getting his own peoples stuff out there and holding back on selling my stuff. They had SKEL012 and 013 and just sat on them. Both releases lost their window and it led to a loss.
This was the time when I started to have responsibilities as I had a son who was about a year old and I needed to think about getting regular money in. So after working in the scene for a couple of years I decided to go back to full time work with doing the music in spare time. This was when I had the releases on Moving Shadow, as I could do tracks and just hand them over for someone else to deal with. But in the end it just sadly drifted away.

Did you continue to listen to D&B post-Skeleton? – If so, what do you think of the scene and how its developed?
Of course I listened to D&B post-Skeleton. I never fully lost touch with the music but will honestly say that there was quite a big time span where I wasn’t too keen on the way things were shaping up with the scene. Thinking about it now, it seems around the time when Headz Blue Note ended.
A lot of D&B heads were turning to the garage scene and a lot of artists were getting big album deals because of corporates throwing big money around. Don’t get me wrong, I don’t blame the artists for going with it, but it just didn’t seem to have the blood, sweat & tears going into it like it did before when controlled by the little independent labels.
So, probably from around 2000 to 2006 I didn’t really have the same knowledge of what was going on because I wasn’t following the scene that closely anymore. I was still listening to mixes etc. when they came about.
But I have to say that I’m really pleased with how things are going with Drum & Bass at the moment. It seems to be having a massive re-birth what with the digital era. The new production sound and quality of some of these young guys and newcomers is something else and there’s a lot of the old firm that went missing returning to give it another go as there’s a big call for it.
One thing that really does excite me is the return of Studio Pressure. His new Presha XII is absolutely tough and it makes my hair stand on end! Tune of the year by far in my opinion, but I’m probably a bit biased with that.

If you could have produced one tune, what would it have been?
Wow, such a difficult choice to make.
If you mean a tune that was massive in the scene and a classic then I would have to say ‘Terminator’ for obvious reasons. The tune was groundbreaking all in ways. Crazy sounds, crazy beats, we all know the history of that one.
If it was something that I feel should have got a hell of a lot more respect and recognition then I would have to say Rufige Kru’s ‘Fury’ from volume one of Shadows 2on1 series. I absolutely love this track. It has the exact sound that makes me go into ‘tunnel mode’ where I ignore everything else around me. This tune is in my top 5 D&B tracks ever and I have sent Goldie a few tweets about giving this a new fix. Everyone needs to get on the case to help me out and bug him to do it!!! Tweet @MrGoldie #RufigeKru #Fury2013

Since Skeleton what have you been up to? Any plans to return?
It’s all about my little family nowadays. Kids equal responsibilities! I wouldn’t change it for anything. I’ve got the ideal wife, a son who has just started Uni and I couldn’t be prouder of and 2 beautiful daughters who will be keeping me on my toes for the next few years.
Recently I’ve been back in touch with quite a few people from the old days and also met some great new people who have all offered me the opportunity to get back into the studio to bang the buttons. I’m really tempted, but at the moment it’s a time issue. I’m nearing the end of doing up the house, that’s my priority, after that I can take time to sit down and try to get something done.
For the moment though I’m currently in the process of ripping all the Skeleton back catalogue and unreleased tracks from DAT to put up on a digital download site in quality MP3 or wav format. They will be an exclusively available on hardcorejunglism.com and the only place to purchase the back catalogue and unreleased tracks. They will be straight digital rips, re-mastered and top quality. Once they are available I’ll definitely let everyone know.

Tell us a bit about your Drumtrip Sessions mix?.
I wanted to do a mix with tracks from 92-95 as I think this is the best time for me in the D&B/Hardcore scene. This is the time when I was DJing the most, playing out, on the radio and of course running the label.
Most of the selection for me was easy to choose but I wanted to limit it to 25 tracks overall otherwise I could have gone on for ever! Out of these 25, at least 10 of them are my all-time favourites.
Fury, Sinister, Jump, Here Comes The Drums, The Core, Deep Deadly Subs, Feel (Feel Good), Why, The Calling and Skyline. These were definites and easy to decide on, but I had about 50 tunes that I shortlisted and found it hard to choose between them to cut it down to the 25. I’ve got to say that I’m very happy with the result as these tunes are what inspired me and developed the scene personally for me.

The intro is my old partner in crime MC Millitant who used to be my MC from the radio days. Unfortunately Milli passed away about 5 years ago so this is my little tribute to him as these tunes were some of his personal favourites too. He had a really good sound and like any good MC was there purely as a hype man for the DJ. It was all about the music and mixing and not all about him chatting crap over the tunes.
The intro is taken from one of our old M&M mixtapes that I edited into the mix once it was done, just as a little shout to him. There are a couple of our tapes from 1993 posted up on my Mixcloud page so check them out.

Drumtrip Sessions #07 – DJ Monita

01. D-Livin’ – Why
02. Studio 2 – Dirty Games
03. Omni Trio – Feel (Feel Good)
04. Roni Size & DJ Die – The Calling
05. Rufige Kru – Fury (2on1 Version)
06. FBD Project – Terminate
07. Doc Scott – Here Comes The Drumz (Remix)
08. Grooverider – Sinister (The Influence Remix)
09. Doc Scott – Mayday, Mayday
10. Studio Pressure – Jump MK II
11. Roni Size & DJ Die – Music Box
12. Potential Bad Boy – Let’s Go
13. Johnny Jungle – Devoted Drummer
14. Pascal & Sponge – Nosebleed (Mix 2)
15. Johnny Jungle – Johnny (Dance Conspiracy Mix)
16. FBD Project – The Core
17. Bay-B-Kane & Hoppa – Pro One
18. FBD Project – Breakin’ Up (Neil Trix Re-Edit)
19. Dillinja – Deep Deadly Subs
20. Jo – R-Type
21. Dillinja – Sovereign Melody
22. Rufige Kru – VIP Riders Ghost
23. Photek – The Water Margin
24. Studio Pressure – Touching Down
25. The Invisible Man – Skyliner

Any big ups and shouts?
Yes, I would like to shout out to my 3 ‘Mini Monitas’ Josh, Ria & Ava and to my wife Mrs Monita.
Big respect to Monk, Al, K-Rox Steve C, Exodus and all those that supported and was part of the label.
The original Trance FM crew and the new Dream London crew….original pirate material.
Drumtrip for giving me the chance to do this.
Also, all those from back in the original days that are still there soldering on along with all the new blood / talent that’s keeping the scene alive and making it what it is today, I salute you.
Keep your eyes open for the new re-mastered Skeleton Recordings back catalogue and previously unreleased tracks which will only be available through www.hardcorejunglism.com
You can follow me on:
Twitter – @DJMonita1
Mixcloud – mixcloud.com/DJMonita
Soundcloud – soundcloud.com/djmonita

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When Law first approached me to do a mix for the Drumtrip Sessions, I knew that it would have to be a themed mix & not a theme that’s been widely done. I had a few potential ideas for themes, including a mix of D&B tunes on non D&B labels/compilations (Trace – The Beacon, Dillinja – In The Mood etc), a mix based around the various musicians and producers from other scenes who have had a brief flirtation with D&B (David Bowie – Little Wonder, Todd Terry – Blackout) but after giving it a lot of thought I decided that the best theme to go with in the end would be a mix of some lesser known D&B remixes commissioned by various labels for non D&B artists.

Around the 95-98 era, when Jungle was starting to fade away and was slowly evolving into D&B, it caused a lot of ears to prick up with interest. Artists like Goldie, Photek, 4hero, Grooverider, Peshay, Source Direct, Roni Size, Wax Doctor and many more were all putting out full albums on major labels and D&B was seen as the freshest, most exciting thing around and everybody wanted a piece of the action. Back when CD/12” singles were still selling healthy amounts you’d usually buy a tune and get the radio edit and a longer club mix as well as maybe a remixes of the original track as extras.

As soon as D&B began to get noticed, labels would hit up the bigger artists of the time for remixes to go on these singles, both to cash in on the then-current D&B hype as well as to market the original artist to a new audience. It would soon be pretty normal to go down to the record shop, browse through the CDs in the Pop/Rock/Electronic sections and see artists like Optical, Roni Size, Alex Reece, Boymerang and Krust doing remixes for a surprising wide range of artists from different scenes. Often the pairings that you never dreamed could work well (Krust remixing Korn, The Ganja Kru remixing Natalie Imbruglia) were where you’d get some of the interesting results.

I’ve become an avid CD collector over the past year or two, browsing Discogs hunting for obscure tracks that not too many heads might have heard before, and now that I’m starting to run out of official compilations and artist albums to buy, I’ve started to make a move to buying up remix albums and CD singles which have D&B remixes on them. Many of these are available at absolute bargain prices; very few of them turn up in mixes or tracklistings elsewhere and some of them are pretty bloody obscure. It took me a long while to gather up enough material for this mix, so I hope you enjoy listening to it as much as I enjoyed compiling it.

(PS – Thanks to Executive Steve for the editing!)
(PPS – Apologies for bad mixing at times, think it was about 2am when I done this mix.)

Kenny Larkin – Loop 2 (Alex Reece Remix) [R & S]
David Holmes – Gone (PFM Remix) [Go! Discs]
Friends From Rio – Maracatudo (Wax Doctor Remix) [Far Out]
Espiritu – Baby I Wanna Live (DJ Pulse Mix) [Heavenly]
Project 23 – Pleasure & The Pain (Peshay Remix) [Dorado]
Peter Andre – Flava (Jungle Mix) [Mushroom]
Palm Skin Productions – Evolution Of The Beast (Part 1) [Mo Wax]
Flora Purim – What You See (Ghost Of Flora’s Dream) [B&W Music]
Grace – If I Could Fly (LTJ Bukem’s Roll It Mix) [Perfecto]
Hunch – Visible From Space (Aquasky Mix) [Clean Up]
Blue Amazon – And The The Rain Falls (Blame Remix) [Jackpot]
The Art Of Noise – Camilla The Old Old Story (J Majik Remix) [China]
Max Reich & Johannes Foufas – Alchemy (Seba Remix) [SVEK]
Q-Tex – Do You Want Me (Funky Technicians Remix) [23rd Precinct]
Deepika – History (Crystl Clear) [RCA]
Ken Ishii – Overlap (Lemon D Remix) [R & S]
Garbage – Milk (Goldie’s VIP Trash Your Sh*t Mix) [Mushroom]
N.G.O. – Windermere (Dillinja Roll Out Mix) [JVC]
Empirion – B.E.T.A. (Doc Scott Remix) [XL]
?? – Shinobi X (Remarc & Lewi Cifer Remix) [Breakdown]
Sugizo – Michael In The Cage (Source Direct Remix) [Invader]
Wink – Simple Man (ft. The Interpreters) (Optical Remix) [Sony Soho Square]
Project 23 – Sugarize ‘Lost Inna Dream’ (Boymerang Remix) [Dorado]
David Bowie – I’m Afraid Of Americans (V5) [Virgin]
Dub War – Million Dollar Love (DJ Rap Remix) [Earache]
Turntable Terranova – Precipice (DJ Krust Remix) [Hypnotic]

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