og:image" content=""https://s12.postimg.org/akaze8k99/blog.png"" /> Gidman's Treasures And Nuggets: November 2010

Tuesday, 9 November 2010

Earthquake's New Years Eve Warehouse Party London

Tron - The Legacy (New Trailer)

The third official trailer, which you can find below these very words, reveals a few more snippets of footage we haven’t yet seen, including the faintly spooky sight of a young, computer-generated Jeff Bridges, and retro television announcements of his character’s disappearance in the late 80s.

Kode9 – Asia Promo Mix and HYPERDUB@s next releases....

Hyperdub boss Kode9 put together a mix to promote his current DJ-sets.

Kode9 - asia promo mix by Sub-Culture


01. Morgan Zarate – Hookid
02. Addison Groove – Nautilus
03. Joe – Claptrap
04. Wiley – Eskimo (Devil mix)
05. Terror Danjah – SOS
06. Endgames – Ecstasy (Jam City rmx)
07. DVA – Step 2 Funk
08. Funkystepz – Fuller
09. Redlight – What U Talkin About (Roska rmx)
10. Ossie – Set the Tone
11. DVA feat. Fatima – Just Vybe (Soulpower mix)
12. LV feat. Omkalumkoolkat – Boomslang
13. Lone – Pineapple Crush
14. Terror Danjah – I’m Feelin U
15. Mala – Don’t Let Me Go
16. Riko – Woo Freestyle
17. Terror Danjah – Minimal Dub
18. D Double E – Street Fighter

The HYPERDUB label have a few scheduled releases coming up......

HDB042 Darkstar - Gold / Gold (John Roberts remix)
HDB043 Ikonika - Ikonoklast / Idiot (Funkineven rmx) / Yoshimtsu / Ikonoklast (JOH rmx)
HDB044 Morgan Zararte - Hookid / Buy Bye / SP - info forthcoming
HDBCD006 Darkstar - North (UK release - October 18th, 2010)

HDBCD007 Terror Danjah - Undeniable (2010)

And also being released as 4 E.P.'s with superb artwork.....

A1. Grand Opening ft Dream Mclean
A2. Story Ending
B. Breaking Bad ft Baby Face Jay

A. Minimal Dub
B1. This Year ft D.O.K, Mz Bratt & Griminal
B2. Im Feelin U

A. S.O.S.
B1. Sonar (Selassi Mix)
B2. Undeniable ft D Double E (of Newham Generals)

A1. Leave Me Alone ft Bruza
A2. All I Wanna Do ft Lauren Mason
B. Time to Let Go

The Beat Makers

Story Of The Bloods and The Crips

"Raised in the Athens Park neighborhood of Los Angeles, Cle "Bone" Sloan was four years old when his father died, and 12 when he became a member of the Bloods. Now an inactive member of the notorious gang, Sloan looks back at the history of black gangs in his city and makes a powerful call for change in modern gang culture with his insightful documentary, BASTARDS OF THE PARTY".

Mambo to Hip Hop

Monday, 8 November 2010

'Future Sound' Documentary

Dir: Jamie Whitby & Rachel Lob-levyt // UK // 2010

Future Sound is a short documentary that looks into a small cross section of London's forward-thinking underground dance music scene, exploring some of the things that define and affect it as it moves into a new age of digital innovation.

Featuring interviews with Roska, Scratcha DVA, Blackdown, Mark Fisher, and Lisa Blanning, plus footage from a live SBTRKT DJ set

Future Sound - An Underground Electronic Music Documentary - HD from Jamie Whitby on Vimeo.

New Podcast #037 from Numbers Label by Girl Unit (Night Slugs)

New podcast time and this one comes from the mighty Girl Unit, the man behind IRL and Wut.....It features some unreleased Nightslugs tracks, classics from DJ Assault and Der Zyklus, fresh heat from Boddika, LV, Lando Kal and more.....

A Mix by Girl Unit (Night Slugs) by Numbers

1. Lone – Once In A While (Werk)
2. Space Dimension Controller – SH-8040 (Acroplane)
3. LV & Okmalumkoolkat – Zharp (Hyperdub)
4. The Living Islands – Empire (Sam Tiba Remix) (Forthcoming Abracada)
5. Der Zyklus – Elektronishes Zeitechno (Gigolo)
6. Boddika – Boddika’s House (Naked Lunch)
7. Gant-Man – Atraxion (Melo Mix) (Unreleased)
8. Egyptrixx – Liberation Front (Forthcoming Night Slugs)
9. Lando Kal – Moist (Forthcoming Lo Fi Fnk)
10. Taylor – CMB (Girl Unit remix) (Forthcoming Super)
11. Jam City – Magic Drops (Forthcoming Night Slugs)
12. Salva – 40 Karats (Instrumental) (Unreleased)
13. Taz – Gold Tooth Grin (Forthcoming Numbers)
14. Ludacris – Slap (Instrumental) (Disturbing Tha Peace)
15. Ciara – Deuces Freestyle (Dubbel Dutch remix) (Unreleased)
16. Mista Men – Stutter (Unreleased)
17. DJ Rashad – Pop Them Thangs (Juke Trax)
18. DJ Assault – Tyrone (Jefferson Ave.)

To DOWNLOAD go to click here.

Article on The Orb and the bands future.....

When The Orb were hailed as the new Floyd, Alex Paterson worried it could ruin thier rep. Now, 20 years on, he's delighted to be working with Dave GilmourPremium Article !

By Aidan Smith

"ALMOST 20 years ago, Alex Paterson's The Orb were hailed as the new Pink Floyd and a music magazine managed to bring psychedelic-rock legend Dave Gilmour and the young pretender together for a front-cover feature.
It seemed like the obvious comparison. Both acts wanted to expand minds and explore space. Both favoured long pieces of music and lengthy song-titles - the Floyd with Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving WitADVERTISEMENT h A Pict and The Orb with A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld. And to add to Paterson's credentials as a watcher of the skies, his Kintyre-born father helped construct the Telstar satellite.

But the Orbman was nervous. "I remember we met in Notting Hill at what I think were Dave's offices - I was told he was obsessed with aeroplanes and there were propellers everywhere," says Paterson. "I thought being called the new Floyd would be bad for us. We'd already made two experimental albums; we'd invented this thing called ambient house. I thought that being associated with this guy from a different generation would hold us back. Dave, of course, was very gracious. He must have thought I was this snotty upstart, which I was, but he didn't let on. So it's pretty funny and pretty amazing that we've ended up making this record."

The collaboration, Metallic Spheres, involves two pieces of Orb noodling built round Gilmour's guitar, both lasting around 20 minutes, the length of one side of vinyl back in the day, and grew out of a charity event for Gary McKinnon, the Glasgow-born hacker fighting extradition to the US. Back in the day, the two would have shared the same studio. "This was more like file-sharing," says Paterson. The tracks began with Gilmour jamming with Paterson's regular collaborator Youth, then he took them away and manipulated them.

When Pink Floyd were in their prog-rock pomp and making giant inflatable pigs fly, 49-year-old Paterson was a punk. "I must have hated Pink Floyd back then," he says. "Like everyone else in that movement, I was blinkered in the belief they were old hippies and therefore had to die. God, I must have been insufferable, smashing things up for the hell of it. I'm only glad I didn't become a fully-fledged football hooligan."

But when he casts his mind further back, Paterson acknowledges that he loved the Floyd, that they soothed him through an often troubled adolescence. "My dad died when I was three and shortly after that I was ostracised by my mum. I got sent to this private boarding school, Kingham Hill, where Dark Side Of The Moon became this little soundtrack to my life and I had the pyramids poster you got free with the LP on my bedroom wall. I also loved the Floyd's Meddle album for the track Echoes, which lasted all of side two and sampled football chants.

"The school was an odd place. You were either a kid from a broken home or a vicar's son and it was real sink-or-swim stuff.

My best friends were Martin Glover, before he called himself Youth, and Guy Pratt, who would one day play bass with Pink Floyd. We were always crying out for the normal family life we thought everyone on the outside was enjoying. We dealt with the tADVERTISEMENTrauma of, aged 11, suddenly having to look after yourself, and we ended up swimming. And when we left we soon realised that 'normal' doesn't really exist."

Duncan Alexander Robert Paterson is proud of his Scottish roots. He's just as likely to call himself a European these days, although despite being London-born and a Chelsea fan, admits he couldn't bring himself to cheer for England at the World Cup. He's father to Mia Arizona, ten, and four-year-old Tiger Young (named after the 1950s calypso musician Young Tiger, not the golfer). Paterson's older brother Martin died in 2001 and is much missed.

"There were nine years between us and it's nine years since he passed away so I'm about to go to Bologna where he lived for a party with his Italian friends. Martin took me to my first gigs, for which I'll always be grateful. And he reminded me of two people: Tom Baker as Doctor Who and Dave Gilmour."

Paterson started out as a drum roadie, couldn't sing or play an instrument and is deaf in one ear so he can easily appreciate great musicianship like that of Gilmour. "His importance, and that of the Floyd, cannot be overstated. It's not about grandeur but the way they used music to evoke emotion, which is a special talent."

The Orb have been burbling away for two decades now, their blissed-out music often in stark contrast to rows, rapidly changing personnel and legal disputes over the sampled voices of Minnie Riperton and Rickie Lee Jones among others. Paterson, who played chess for the duration of their sole Top Of The Pops appearance, has been the one constant. He talks of eventually handing over The Orb to daughter Mia - "She sings our song Fluffy Clouds around the house" - but isn't retiring yet and indeed appears to have been re-energised by the hook-up with Gilmour.

"Jimmy Cauty, the original other member who left to concentrate on the KLF, has asked to come back to the fold and we're going to re-record what should have been our first album but never got released. I'm also doing an opera - the Royal Opera House has commissioned one from The Orb for 2012. And I'm going to be working with Lee 'Scratch' Perry who, like Dave, was an original hero of mine. One by one, I'm knocking them off."

What a shame, then, that Paterson and Gilmour didn't actually share a pot of tea or something stronger during the making of Metallic Spheres. "Youth cocked that up by not sending me a text saying Dave was in the studio. I was his prefect at school, you know, so there will be punishment."

Metallic Spheres (Columbia) is out on 11 October

• This article was first published in the Scotland on Sunday on September 26, 2010

FACT mix 200 by Darkstar

"FACT’s mix series is 200 sessions old. To honour the occasion, we’ve got a mix from one of our favourite groups of recent times, Darkstar.

Darkstar started as the duo of James Young and Aiden Whalley, with a series of singles on their own 2010 label, as well as MG77 and Clandestine Cultivations. Within a year, they’d become a key part of Kode9’s Hyperdub roster, debuting for the label with the minor classic ‘Need You’/’Squeeze my Lime’. UK garage and synth-pop filtered through a chiptune lens with vocals sung by the world’s saddest robot, it expanded on the promise shown by early Darkstar cut ‘Out of Touch’, and showed glimpses of the mournful computer pop to come.

A year later, Darkstar released ‘Aidy’s Girl is a Computer’, fulfilling that promise and winning them fans beyond the FWD>> circuit they were primarily known in. A whole album of these frozen Mac laments looked set to follow (and would have, if album outtakes ‘Automating’ and the original version of ‘Gold’, found on this FACT mix, are anything to go by), but at some point between them and now, Darkstar scrapped that idea and became a three-piece, with comparatively clean vocals sung by new recruit James Buttery.

Last month, they released their debut album, North. You can read FACT’s review here; needless to say, we think it’s great. Darkstar’s FACT mix features the original version of North highlight ‘Gold’, as well as cuts from Games, Radiohead, Moodymann, New Order, Shed and more. In the words of the group’s James Young, ‘it’s a mixed selection, and I’ve tried to keep it in an arrangement that I myself would listen in personally. It’s typical of tunes I’d skip between before I record, and what we were listening to recording the album.”

FACT Mix 200 - Darkstar (Nov '10) by factmag


1. ‘Les Reves’ Alexandre Desplat
2. ‘Slowdance’ Matthew Dear
3. ‘It’s 2 Late 4 You & Me’ Moodymann
4. ‘Kid A’ Radiohead
5. ‘Be True’ Commix, Burial Remix
6. ‘Heartlands’ Games
7. ‘Get Out’ New Order
8. ‘Gold Version .1′ Darkstar
9. ‘HDRT’ Shed
10. Interlude
11. ‘Must Move’ Funkin Even
12. ‘Maybe’ Machinedrum
13. ‘I don’t Love Her’ Crime Kills Kids
14. ‘Un Prophete’ Alexandre Desplat
15. ‘Get Ohn’ Actress
16. ‘Tether Beat’ Twin Shadow
17. ‘Mack The Knife’ Jimmie Dale Gilmore
18. Sq….
19. ‘In The Wings’ Darkstar

Tuesday, 2 November 2010

The Christmas Party is here again.....

"Ahhh… the office xmas party and all its associated cliches… it’s a British institution, and one that we will wholeheartedly embrace come the 18th December 2010 as Brownswood invites a few friends and family to dance, drink and be merry at London’s xoyo. We’ll provide the music and the dancefloor – you bring the xmas cheer. Yes, it’s a little way off yet, but let’s face it, the weeks preceding xmas generally pass in a fog of mulled wine and manic sociability, so we wanted to give you the date for your diary well in advance. Plus, it gives us plenty of time to pressgang Gilles into dressing up as Santa!" (Brownswood Records)

Grab your tickets over HERE.

Monday, 1 November 2010

Transmit / Box / Flat 027

A new mix from the Transmit / Box /Flat team......

TBF027 by holdboxflat

Lee Perry :: Exercising (Horse Power Remix) :: Tempa
Mount Kimbie :: Ruby (live at Berghain, Berlin) :: Hotflush
James Blake :: I Only Know (What I Know Now) :: R&S
The Gaslamp Killer :: Shattering Inner Journeys (with Computer Jay) :: Low End Theory
David Lee Jr. :: Love Parable :: Universal Sound
Minor Sick :: Sad Struggle :: Duzz Down San
Olaf Arnolds :: Surrender feat Bjork :: One Little Indian
Owiney Sigoma Band :: Untitled :: Brownswood
Woima Collective :: Credo :: Kindred Spirits
Mulatu Astatke :: Motherland :: Mochilla
Jank Random vs Earl Leonne :: Sirius :: P.OB.H
Darkstar :: Gold (John Robert Remix) :: Hyperdub
Francesco Tristano :: Idiosynkrasia :: Infine Music
2 Bears :: The Lunatics :: CD-R
Model 500 :: OFI :: R&S
DJ Roc :: Break It Down :: Planet Mu
Wayne For President
Lil Wayne :: La La La
RZA :: Diesel ::Think Differently Music
Pete Rock & CL Smooth :: Anger in the Nation
Seams :: Hung Markets :: Pictures
Greek Gods :: Y'all Ain't Serious :: CDR
Pearson Sound :: Blue Eyes :: Hessle Audio
Ramadanman & Appleblim :: Void23 :: Aus Music
Shed :: My R-Class :: Ostgut Ton
Sbtrkt :: Look At Stars :: Young Turks
Reggie B :: The Kingdom >> FREE DOWNLOAD via PinBoardBlog
Gang Colours :: No Clear Reason :: Brownswood
Pinch :: Elements :: Swamp 81
Modeselektor :: VW Jetta :: MonkeyTown
Benny Ill vs. J KIng :: Kosmic 78 :: Deep Medi Musik
Will Saul & Mike Monday :: Sequence I :: Aus Music
Theo Parrish :: Twin Cities :: Harmonic Park Records
Oasis :: Detroit #1 :: FXHE Records
A Made Up Sound :: Demons (Reprise) :: A Made Up Sound

New mix by Gazman: Deep Technique 01

Deep Technique

Deep Technique by Gazman


1. SBTRKT - The Unspoken (Monkeytown)
2. Elgato - Blue (Hessle Audio)
3. Omar S - Solely supporter, These Complimentary Tracck'x 12" (FXHE)
4. Boddika - Boddika's House (Nakedlunch 10")
5. Baker(s) Dozen - Piano Lessons (Foot & Mouth)
6. Lone - Once In A While, Midland Remix (Werk Discs)
7. Azari & III - Reckless With Your Love, Goodguy Mikesh & Filburt Remix (Permanent Vacation)
8. Darling Farah - Berline, Funkineven Remix (Civil)
9. A Guy Called Gerald - Merfted, - Tronic Jazz The Berlin Sessions Sampler Vol.4 (Laboratory Instinct)
10. Model 500 - Huesca (R&S)
11. SBTRKT & Sampha - Evening Glow (Ramp)

Label Showcase - NIGHT SLUGS

Label of the month: Night Slugs

UK bass music is ever-changing, and Bok Bok and L-Vis 1990's new imprint is at the forefront of its most recent mutation.

You're no longer feeling your local music scene. Do you a) bitch about it, or b) do something about it? "We wanted to bring on a new era and that is what we were saying from the get go," says Alex Sushon, AKA Bok Bok, on the inception of the Night Slugs parties back in early 2008. Sushon and partner James Connolly, AKA L-Vis 1990, have since translated a sense of personal disquiet into one of London's freshest sounding parties and 2010's most celebrated labels.

The revolutionary aims Sushon refers to were, in his case, a reaction to the London grime scene. Having played, produced and partied to the music since discovering a DJ Slimzee mix in 2003, he had grown disenchanted with grime's apparent shift away from the dance floor. In terms of UK dance strands, he fell back on the nascent bassline scene but was simultaneously getting kicks from much further afield. "I was interested in grime from a socio-economic point of view and I started looking around the world to see if there was anything similar happening," he remembers. "I got into a lot of the US localised ghetto genres. I got really into the Baltimore club sound, the Chicago ghetto house sound and in Detroit, ghetto tech. I checked out what was going on in Africa and really got into the South African stuff."

L-Vis 1990 and Bok Bok.Connolly's grounding, meanwhile, was as a promoter, DJ and producer in his hometown of Brighton. He co-ran drum & bass and breakstep night Fallout with locals Mumdance and High Rankin during his teens, then, after gradually losing interest in the genres, started the party that would prove pivotal. So Loud! became indicative of Connolly's more electro-fied tastes. He credits the booking of Drop the Lime (and the ensuing party) for setting him on the musical path he now finds himself—and for the inspiration behind his 2008 breakout track, "Change the Game." Its speed garage inflections and crafty US hip-hop samples caught the ear of the London-based Sushon, who contacted Connolly through MySpace. The pair began a dialogue based on uncannily similar tastes, while a still Brighton-based Connolly booked Sushon for a party he was throwing up in London.

"It took James to move to London for us to really get going," recalls Sushon on his partner's eventual relocation north, "but from an early point when we started to talk about music we said that the status quo in the clubs at that point was basically shit and we weren't feeling it." The first Night Slugs party was staged at the Redstar in south London's Camberwell, March 2008. (The venue now boasts a small chapter in bass music folklore having provided an early platform for artists such as Oneman, Ben UFO, Shackleton and Ramadanman.) The initial party was a smash success, followed by a dip in numbers at subsequent gigs as they experimented with bookings and found their feet. There was also a sense that people were unwilling to venture south of the river for a night out, and the event shifted to the more centrally located East Village.

The array of DJs booked for those early forays—Oneman, Zomby, Rekless, Lil Silva, Kode9, Jackmaster, Crazy Cousinz, DJ Zinc—cultivated a fertile patch of ambiguity surrounding the party; their "4x4/Heavy Bass/Gutter House" descriptor at the foot of flyers was similarly nebulous. Sushon and Connolly had come good on their freewheeling aims. And from the melting pot something new began to form. "After a while it just made a lot of sense," says Sushon. "What we found was that as DJs in our own right as well as [those playing at] the night, a certain sound was starting to come together around it. There was ourselves, and other people around us started to make tracks that just fit together and fit in our DJ sets."

The lesser known Girl Unit, Egyptrixx and Kingdom were at the core of this colourful collective—although their sound world continued to reside only within the confines of their club nights. "After a while we found that a lot of the tracks weren't getting a home and were just sitting around not getting released," explains Sushon. "In particular some of the early Kingdom stuff was a big motivation. James and I said to each other, 'Why is this stuff just sitting there? Why aren't labels picking this stuff up?' Six months might go past and the same tracks might still not be signed and it was quite frustrating so we thought, 'Why not just do it?'"

NS001 dropped in January 2010 and sent out a picture-perfect postcard of not only the Night Slugs parties, but the smorgasbord of London bass music. Square One also represented Mosca's debut release. In its digital form the EP collected eight tracks, including "Nike"—a ten-minute meander through boulevards of bleeps and broken beats—an uproarious remix of "Square One" from Bristol talent Julio Bashmore, and further re-rubs from Roska, Greena, Bok Bok and L-Vis 1990. The EP's artwork also couldn't fail to be noticed. Sushon has been behind all of Night Slugs' incandescent presentation (he has a professional background in design) and agrees that the sounds feed directly into the sights: "There is a lot of neon going on in the music in general I think especially with those really bright analogue synths. I am really obsessed with Tron and that kind of luminescence."

The world seemed ready and willing to embrace the Night Slugs label from the off. A certain youthful zest and fluorescent brilliance endeared UK sympathetic media outlets to their releases and cast a thematic shaft of light across their discography. It's best then to think in terms of colours when attempting to delineate the Night Slugs sound: how else to group the nocturnal juke of Girl Unit's "IRL," the 8-bit Funky of Lil Silva's Night Skanker EP, and the mutant R&B of Kingdom's That Mystic? Connolly is also swift to dismiss any suggested associations between UK Funky and the label. "I wouldn't want any genre name applied to the label at all," he says sharply. "UK funky is something totally different. It was Crazy Cousinz, Roska and all those dudes back then. I think that UK funky as a genre is pretty much obsolete now. I think it has turned into a big soup of different sounds."

Shadowing the imprint proper has been the Night Slugs white label series which began with a re-release of L-Vis 1990's Compass / Zahonda. "That was one for the heads really," comments Connolly on their pseudo sub-label. "Getting tracks out that we didn't want to put on the label to be a statement. It was more getting out tracks for the dance floor and bootlegs as well that we can't really put out for legal reasons." On that last point Jam City's "Ecstasy (Refix)" comes immediately to mind. Endgame's 1983-released "Ecstasy" was given a sub-bass makeover and has proved to be the imprint's most coveted 12-inch. A sense of anticipation had been built over Jam City's debut, but Sushon says that, generally speaking, they favour speed over secrecy: "I learnt lessons from dubstep where in the early-to-mid days of the scene people like DMZ would leave tracks floating around for a year before they would put them out and I saw people getting really frustrated at that. As much as I'm into the dubplate culture, I didn't want it to be an elitist thing that drives people mad."

"Brand" is a frowned upon term in certain music circles, although it would be fair to say that Night Slugs is pushing hard on multiple fronts. The pair toured the United States in late 2009—before the imprint was even formed—and the same can be said about their regular show on London's Rinse FM which began around the same time period. In terms of the label, their first compilation, Night Slugs Allstars Volume One, will drop in November and will be followed by albums from Jam City, Egyptrixx and L-Vis 1990. Connolly has recently spent time in New York feeling out the vibe of his classic house-indebted LP. "It's like Night Slugs but made in Chicago in 1988," he says, again illustrating his and the imprint's resolutely forward momentum.

Night Slugs is flourishing within in an unprecedented climate of creative endeavour that has recently gripped UK bass music; innovation is a word that both Sushon and Connolly use liberally. "That is something that we have always had to a greater or lesser extent and that's why our music scene is cool," concludes Sushon when asked why the UK scene is in the midst of such a purple patch. "There is constantly a side of our music scene that doesn't give a shit and is trying to do something new at the expense of any kind of a rule book. I think that's what the UK has that some places don't at the moment. Currently there are two things going on: Firstly, because of the internet and the fact that people have started to pay attention to the UK... it seems like there is a new thing when there might not necessarily be a new thing. Secondly, amongst us guys and maybe our peers, there is a reaction against the more formulaic genres that dominate most of the clubs around the Western world. Formulas are shit and we don't want them, so that's why we don't do them."

Night Slugs Mix
This month's label showcase comes courtesy of L-Vis 1990, one-half of the team behind Night Slugs. Over the course of three-quarters of an hour, he takes us through the neon-lit world of the label.

Download: RA Label of the Month 1011 Mix: Night Slugs Mix


Filesize: 64.7 MB
Length: 47:02


Girl Unit - Shade On
L-Vis 1990 - Forever You Dub
Egyptrixx - Liberation Front
Mosca - Square One VIP
Kingdom - Bust Broke
Girl Unit - IRL (Bok Bok Remix)
Jam City - Magic Drops
Lil Silva - Golds 2 Get
L-Vis 1990 - Reprise
Jam City - Arpjam
Velour - The Scent of Romance
Jacques Greene - (Baby I Don't Know) What You Want
Optimum - Broken Embrace
Girl Unit - Wut


New Mix from Space Dimension Controller

The time-traveling producer brings out a funk-filled selection for the RA podcast.

Click here for MP3.

"Space Dimension Controller was born sometime in the 24th century. Lucky for us, then, that he traveled back in time, crashed his Electropod and has been stuck here for just long enough to release some of the finest and funkiest electro-tinged records of 2010. (That, or he's Jack Hamill, a young Belfast producer obsessed with hardware.) SDC's sound may be retro-tinged, but it has excited everyone from Kyle Hall (who remixed SDC on Clone's Royal Oak) to Josh Wink to the brains behind legendary techno label R&S. The latter will likely put out SDC's debut full-length next year. To tide us over, SDC has found time in between repairs on his Electropod, filling in for Tensnake at our ADE party this year when the Hamburg producer found himself with wisdom tooth troubles and otherwise touring around the world on old-fashioned airplanes to put together a mix that stitches together his own tracks with a healthy dose of (mostly) old school treats.

What have you been up to recently?

Since narrowly avoiding death by sending myself back in time to the year 2010, I've just been enjoying myself on Planet Earth. Of course, I need to get back to my own time, but unfortunately my Electropod was damaged when I crash landed on Earth. I'm trying to fix it, but there are so many distractions here... So many synthesizers and other hardware that I could never obtain in the future are easily accessible and, with all this access to amazing equipment, I just finished my debut EP for the label R&S.

"The ‘Temporary Thrillz’ doublepack vinyl release sees Jack advancing his signature sound over this maxi EP format, that also includes 4 locked grooves and comes in a limited first run on purple splattered vinyl! People have difficulty pinning down the SDC sound, I’ve seen it described as electro, space funk, cosmic disco, pop-psychedelic, techno-funk, jazz fusion, disco house and electronica.

temporary thrillz sampler by spacedimensioncontroller

It’s probably all those things and more, and we are proud of the fact that its so hard to pigeonhole. The ‘Temporary Thrillz EP’ contains intergalactic slow jams, deep club excursions and mid tempo space funk, all with the SDC trademark depth, soul and finesse"

Along with the EP, I've also just done a remix of Model 500 for R&S and a remix of Anthony Shakir for Rush Hour. The annoying thing is that I had already been in contact with R&S from the future and had a whole album's worth of music aboard my main vessel, but that will have to stay there until I fix my time travel device and I can send it back to them for Earth to enjoy.

How and where was the mix recorded?

The mix was recorded aboard my Electropod which is docked in my secret base in an uncharted area of the Atlantic Ocean. I used my laptop, various machines and hardware effects plus a few old mixers to give it a real gritty feel.

Can you tell us a little bit more about your idea behind the mix?

I didn't want it to be just another laptop mix, so I kind of treated it like I treat my own tracks when was making it. I like scrutinising tiny details and starting to loop tracks out of nowhere, then bringing in a drum machine or two or filter a tiny bit here and there. I don't like things being repetitive for too long, which could be seen as a bad thing if you're playing a set in a club, but I don't really care. I'd rather do what feels right in my head even if it means the dance floor gets angry because I cut out of a track before it even gets to the peak time full support bangerschnerden bit.

What are you up to next?

Depending on how long I'm back in your time, I might end up making another single for R&S before I fix my time travel device. Once I'm back in the year 2352, I'll make sure to send my album back in time for R&S to release it to the world. Those guys at R&S really are the best and they know exactly what's going down. They have made my stay here on this primitive, yet funky planet so much easier. I'm a complicated man, but no one understands me like my synthesizers
". Resident Advisor