Having the original idea of streaming a LIVE DJ set via his Facebook page and then putting it up for a FREE download, Spain’s Hankook is back for the month with Volume 2 of his LIVE Streaming Show. Showing his skills behind the decks to perform a LIVE set Hankook mixes up some brand new Breaks & Bass music in this 1 hour long mix.

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Tracklist

00:32 – Ace Of Base – All That She Wants (Adam Vyt Remix)
02:30 – Paket – Missing out
04:25 – Suga7 – Whoa! (Original Mix)
06:55 – Yankee – I’m Sure (Original Mix)
10:56 – Dynamite – I Would Like ( Original Mix )
14:33 – Yankee – I Don´t Care (Original Mix)
18:30 – 3D Stas – Industria Psychika (Obscene Frequenzy Remix)
22:08 – Obscene_Frequenzy-Rolling-Original_Mix
25:00 – Face & Book – Good Shit
27:25 – Shade K – Ass Now
29:57 – Stanton Warriors – Feel This Way feat. Grove (Original Mix)
31:47 – Suga7 – Heaven (Original Mix)
35:07 – Shade K – Jumpin
37:45 – Eztereo – Black Cat (CoolTasty Remix)
39:12 – Face & Book – Kamasutra
42:10 – Hankook – Breakdown (Original Mix)
46:15 – Bubble Couple – My name is Bright Krow (Original mix)
49:08 – Mask Yo! – Jungle War (Original Mix)
52:44 – Murix – BumpaRock (Eztereo remix)
56:06 – Hankook & Murix – Step Up (Original Mix)
59:58 – Murix – Crazy for your love

Section launch their new label ‘Locked Up Music’ with the ‘Give Us  A Break EP’ It’s out right now on Bandcamp followed by Juno Download from May the 11th and all good download stores from the 18th of May. Read on for an insightful interview from the Section lads….

Section – Give Us A Break EP by Section

For those who don’t know, tell us a bit about Section. How did you get into music production? What were the initial steps?
We are from Worthing, West Sussex (UK) and are made up of James Barclay (Jay B) and Nathan Solley (Solley). We have been mates for years and always talked about music and go to nights in Brighton. I used to DJ a lot in the early 00s and this inspired Nathan to make Drum & Bass. I was never interested in the production side of things but when Nathan showed me the process on Cubase I became hooked! In 2007 I got my own setup and things progressed from there. We formed Section in 2013 and we’ve never looked backed! 

How would you describe your production style?
Dancefloor rollers! We try to make music that has elements of the original jungle sound that we grew up on but it has to have an impact in the clubs. We use a lot of samples to maintain an authentic flavour but we hope that we are relevant to the younger crowd too, as we understand that they are the next generation of this incredible movement.
Why have you decided to start your own label and what plans do you have in store?
It was always the dream but initially, it didn’t feel right. In 2016 we spoke about it while camping, Solley came up with the name immediately and 6 months later we have our first release ready to go! We have our first three releases sorted; the first is our Give Us A Break EP which will be available on Juno from 11/5/17 and worldwide on 18/5/17, then we have a two track release from ourselves. The third release is the first part of the Alliance Series which features four collaboration tracks. We wanted to involve artists who have supported us over the past few years, and who we felt we could collaborate with effectively. We plan to continue the series and hopefully get more artists involved in the future.

Are there any major influences production wise that inspire you?
Jay B – This is always a tricky question to answer but I reckon the Bristol sound of the late 90s has really inspired the way I approach music production (Roni Size, Krust, Die, Suv, D Product, Surge etc.) I also think that UK Hip-Hop production is influential; sample driven, raw but with soul.
Solley – I think Pink Floyd have been a major influence on my sound since I started making music, I love those long evolving pads and anything dripping in reverb or delays. Drum & Bass wise I’m inspired by Paradox’s production; I love his drums! Such good programming and sound so ruff, they’re proper drums, none of this one shot shit!
Of all the tunes you’ve made, which is your favourite?
Jay B – Can I have two?! We released a track in 2014 called Beauty & The Bass. It is quite different from our normal stuff but love it! Solley sings on it too, which is a rare treat!

The second tune is one that is coming out very soon on Directors Cut called “Ten Tonne Sound” with our pal Junior Red. He smashes it! We have worked with him on a few tracks in the past and will continue to work with him in the future. He has so much talent, if you don’t know then get to know!

Solley – I really like Fear on the new EP. I think the track translates into a real emotion for me; it feels anxious and uncomfortable, in a good way! I’m happy with the drums on that one.
Where have you DJ’ed?
I (Jay B) do the majority of the DJing; it’s what I have done since 1997 and I still love playing out in clubs today (although my kids have scuppered too many late nights these days!). I have been fortunate to play all over the UK, including One Nation at Brixton Academy. I have played at the Winter Music Conference in Miami and in 2013 Nathan and I played at Remedy and Koncrete Jungle in New York.
Describe to us your approach to a DJ set, do you like to gently warm up the crowd or go for the bangers or more of a journey approach?
Unfortunately, you only get an hour in the UK (or 30mins if B2B) so you don’t have much time to create a journey. We mainly play at the Volks in Brighton and to be honest the crowd love it hard for 60mins so that’s what we try to deliver! Playing to that sort of crowd has definitely influenced our production; the first drop has to kill it or they’ll stop dancing pretty quickly ha!
Could you offer a bit of advice for an up and coming producer?

Solley – Mmm, my advice to up and coming producers would be, not to spend any time trying to sound like anyone else you would be doing yourself and others a great disservice. I know I wasted so many hours of my life trying to sound like Noisia or Pendulum, but in the end, all you end up sounding like is a shit version of someone better at being themselves! I would love to give my younger self that advice.
And if you could remix any tune of your choice, what would it be?
Jay B – Another tricky question! Two tunes spring to mind; Horizons by LTJ Bukem and Deadly Deep Subs by Dillinja. I suppose these two tracks got me hooked on Jungle. One part of me says remixing tunes like these would be incredible, another says don’t touch history!
Solley – I think I would choose anything by Simon Posford under his Hallucinogen alias, not because I actually want to remix it but so I can see how he puts his tunes together! He has such great sound design and intricate detail; I love all that!
So before we hit play on this new forthcoming release of yours on Locked Up Music, can you tell us a bit about the inspiration behind it?
The EP is called Give Us A Break, which has two meanings. The first is obvious(!) the second alludes to the fact that we use funk breaks in our tunes because that’s the sound we fell in love with. All four tunes original funk breaks; answers on a postcard!
We wrote the EP with that concept in mind, something that we haven’t done before, but we are pleased with the results. So far we have had some really humbling feedback from artists we respect; Bailey, Need For Mirrors, Blu Mar Ten, Ray Keith. We look forward to releasing more music on our label as well as other labels that have supported us to get us to this point on our journey.
Any final words and shout outs?
Jay B – Yes! I would like to thank my wife Sarah who puts up with the long hours I spend making music. I love you!
Solley – I’d like to shout out to my cousin Clement White for getting me started in music production and teaching me how to use synths and software, and also to Ashley Jackson (DJ Mace) for giving us loads of samples when we were starting out. Big up!

We would also like to thank all the DJs, promoters and label owners who have helped us try to make some headway in a scene which is notoriously difficult to succeed in. We will try to not forget anyone but apologies if I do!
Ash-A-Tack, Tony Damage, Monita, Ray Keith, DJ Hybrid, Agro, Junior Red, John Physmatics, Ill Effects, Taelimb & Conscience, Stu Rogue Beatz, Ikon-B & Crisis, DJ Wise & Lipton MC (Dream FM), Xeropoint, Bailey, Need For Mirrors, Blu Mar Ten, A-Sides, LSB, Tyke, Trouble & Maniac, Rustycee, Lotskee, Richie Weaver, DJ Uno, Livewire, Threts, Cynical Gene, Brown B, Jaybee, XTC, Cabin Fever, D Funk, Kumarachi, Soul Intent, Madcap, Dazee, Verdikt, Mentah, Marcus Tee, Kosine & Dialect, DJ Mace, Margaman, Lifestyle Music, Jawa (Everyday Junglist Podcast), Kilo & Maz (Trickstar FM) and all of the Volks creatures!
We would also like to make special thanks to Dapz from Compound Audio who does all of our mastering, but has also been key in improving our mixes with his expert advice. Big up!
A final thanks to free breaks blog for reviewing our debut release. Hope to catch you all out and about soon!
James and Nathan

Section Interview + New EP

https://itunes.apple.com/gb/album/flat-32-ep/id1210878754

Ivo invites us to a Skynet-like future with the ominous bass sounds of their ‘Flat 32 EP’ on Future Follower Records

‘Karma’ mixes up oldskool hardcore breakbeats with contemporary bass and eastern influences. ‘Omin’ is a menacing marching Dubstep rhythm and title track ‘Flat 32′ is truly horror like with a spine-chilling metallic kick. ‘Mitsubishi’ touches on the oldskool rave influences again while frightening the wits out of us with dark stabbage and ragga vox.

Ivo – Flat 32

We’ve got a real international flavour going down here on the ward as we introduce to you the Costa Rican based label, Wonderful Times. The label was founded by Disco DJ/producer, Napolean, who also runs a night under the same name in his local town and you can just imagine how cool those parties must be once you’ve checked his sound Right Here.

For this post however, Wonderful Times are introducing us all to four amigo’s from Mexico who have each contributed a track to the fourth EP from the imprint ‘Four Is A Crowd’. Hotmood, Sould Out, The Funk District and Rafael Fernandez are the producers who have all stepped up with vibrant, uplifting, peak time Disco weapons. You can find a snippet of each tune on the player above which will be more than enough to have you raiding the piggy bank to land these gems!

The new EP has landed at a time when Wonderful Times are celebrating their first birthday and we’d like to send our biggest of ups to the label and we can’t wait to hear more from them in year two of their existence. Check out their previous three releases on the links below and let the Disco times flood out of your speakers.

Buy the ‘Four Is A Crowd’ EP here from Juno.

Links for Wonderful Times :

Soundcloud / Facebook / YouTube

Back in 2015, Vinyl Junkie & Rachael E C launched a new label called ‘Ghetto Dub’. From the early releases, Ghetto Dub has showcased new and emerging talent like Kazan alongside long-term veterans like Sanxion and others who have experience of every aspect of music production and a diverse history of music in a variety of styles. They have even featured bona fide hardcore techno legend The DJ Producer on the jungle tip! Vinyl Junkie himself has taken the time to help new artists fine tune their beat making skills and given them fledgeling releases on the label. When your artist roster is this strong and your label bosses are both DJs and producers themselves with decades of experience in the art of rocking the raves, clubs and festivals, its a given that the label content will be of the highest calibre. Now, Ghetto Dub prepares to set another milestone with a 30 track compilation LP ‘Ghetto Dubs Volume One’

Buy ‘Ghetto Dubz Vol One Here>>> http://www.junodownload.com/products/vinyl-junkie-presents-ghetto-dubz-vol/3372476-02/

Free Track:

The album features luminaries like Aries & Nicky Blackmarket, fresh new talent like Jay Aftermath and a wide range of styles from a global collective that includes SR, Jungle Citizens, X-E-Dos, Kumarachi, Madcap, Durban, Sound Shifter, RMS, Brian Brainstorm and more. Vinyl Junkie features on a few tracks himself… Collabs with Rachael EC, Madcap & Ikon B as well as a solo track. On listening to this album you will hear everything from big room DnB bangers to dark Drumfunk and everything in between. We’re extremely excited to talk to Vinyl Junkie, Rachael EC, Madcap, Jay Aftermath and X-E-Dos who share some thoughts on this monumental new release.

VINYL JUNKIE

After years of running the successful 140 breaks label ‘Warehouse Wax’, what inspired you to make the switch to DnB with Ghetto Dub?

It was a natural progression really. I’ve always been into Jungle / DnB anyway but in recent years I’ve found it has got really fuckin good. That inspired me to start playing it more. I never really wanted to start another label to be honest. I was winding down Warehouse Wax as running a label can be a lot of work and I just wanted to free up some time to concentrate more on production and getting my head round producing DnB. Rachael wanted us to start a label but I didn’t want to. But she kept on until I said yes. And I’m glad I did!

I never really wanted to start another label to be honest. I was winding down Warehouse Wax as running a label can be a lot of work and I just wanted to free up some time to concentrate more on production and getting my head round producing DnB. Rachael wanted us to start a label but I didn’t want to. But she kept on until I said yes. And I’m glad I did!

Oh, and it should be noted that Ghetto Dub is not just a DnB label. We are open to all forms of bass driven music and have released some 140 stuff and have more lined up.

Has it been difficult breaking into such a saturated scene or does the phrase ‘content is king’ ring true?

It is a difficult scene to break into and I think we are still in the process of doing that. But I think the music speaks for itself. We are getting some really high profile support and things have gone mad over the last month with the build up to the album. So yeah… Content is king!

After a string of quality releases on Ghetto Dub, we now come to this huge compilation album. Was there a concept in mind when curating the tracks? Many labels theme their albums on events like the Miami Music Conference, is there any kind of central theme running through this album?

There wasn’t a theme for the album as such. I just wanted to showcase lots of different aspects of the Jungle / DnB spectrum which is basically the ethos of the label as well. Some labels just immerse themselves in one of the sub-genres. We didn’t want to do that because mine and Rachael ‘s taste in DnB is very broad and eclectic, encompassing all the styles. We wanted our label to reflect this.

Having heard the tracks on ‘Ghetto Dubs Vol One’ its clear you set the bar really high. There’s some incredible productions from the likes of Kumarachi, Durban and others. To the average listener (like me) these tracks sound amazing but technically, given your extensive knowledge of music production and sound aesthetics, what stood out to you about these tracks so much that you signed them for the album?

I don’t know man, I guess I’ve just got an ear for a good tune. All of the artists that I approached for tunes for this project were already banging out some excellent music and their production levels were already top notch, so I was onto a winner really. There is quite a lot of old skool vibes on the album as well so I think some of the artists tailored their tunes for me

With so much in the way of new music almost every day and with so much of it being genuinely good, are we experiencing a new ‘golden era?’

Quite possibly! For me, the whole Jungle / Dnb thing is the best its ever been. There’s so many cool new producers making some really fuckin’ ace music but there is also loads of the veterans that are still around and taking shit to the next level. I’ve also noticed quite a few foundation artists that had seemed to have disappeared, come out of the woodwork lately and get their groove back on which is amazing. Its like a giant worldwide melting pot and although there is still division between the sub-genres I feel that there is a lot of crossover between them now as well, and that’s awesome.

I’ve also noticed quite a few foundation artists that had seemed to have disappeared, come out of the woodwork lately and get their groove back on which is amazing. Its like a giant worldwide melting pot and although there is still division between the sub-genres I feel that there is a lot of crossover between them now as well, and that’s awesome.

RACHAEL E.C

Your roots are in the original Jungle sound of the mid 90s, how did you come to discover the sound and what was that one tune that switched you on to it?

This was such a great era! When I moved to Portsmouth in 1994 I started hanging with some like minded people, ravers, and we would chill, smoke and spin tunes in each others’ rooms in the shared houses we lived in. There were a few small nights going on in the area and there was this one high street club called 5th Avenue which had a Room 2, the Jungle Room. That’s where I first heard the sound and felt the vibe… I was drawn in and loved the heavy bass and the rolling drums; also the energy that came from the music was intoxicating. From there, we went on to the big raves like One Nation, World Dance and Helter Skelter; I saved up and bought a pair of DLP 3’s and a made to fade mixer and started teaching myself to mix, it was all about the D&B. If I had to pick one tune that stands out from the 90’s era and had the biggest impact on me and still blows my mind when I hear it now it has to be Dr. S. Gachet’s ‘Remember The Roller’ . I heard Gachet play this at The Sanctuary, Milton Keynes and it was a big moment, it is a classic, I love it so much.

From there, we went on to the big raves like One Nation, World Dance and Helter Skelter; I saved up and bought a pair of DLP 3’s and a made to fade mixer and started teaching myself to mix, it was all about the D&B. If I had to pick one tune that stands out from the 90’s era and had the biggest impact on me and still blows my mind when I hear it now it has to be Dr. S. Gachet’s ‘Remember The Roller’ . I heard Gachet play this at The Sanctuary, Milton Keynes and it was a big moment, it is a classic, I love it so much.

Perhaps a cliched question but in a male dominated world, how has it been for you as a DJ?

Its had its ups and downs and if I’m totally honest there have been some really tough times, for example having my whole set up and all my records stolen in 1999, which included a brand new pair of 1210’s I bought from Orange in Reading, my beloved Vestax mixer and a record collection spanning from 1994-1999, a brand new Denon amp and my Jamo 265 speakers. It would happen to me again in the future with two further incidents where I lost my set up and records . Why did this happen ?? I hear you ask. The answer is I got involved with the wrong people and jealousy is an ugly thing and how better to really piss me off than to take my music. I learnt from these sad situations and moved forward; now I am much more careful who I let into my life.

The positives have far outweighed the negatives though. When I think about all the great people I have met that have now become good friends and the experiences I have to hold in my memory forever; I can only be massively grateful and totally humble about being a female DJ. I operate from this viewpoint ‘ Seek and You Shall Find’ , if you want to go looking for sexism, misogynists and haters in all forms – you will find them. So I choose to ignore them and embrace the good people, and show respect and appreciation to those who have helped and supported me, of whom there are many, big up to all of these lovely people and to the music lovers and the ravers who keep the scene vibrant and positive.

Is there a particular event in your DJ career that sticks out for you and what was it about that one?

Glastonbury Festival 2016! Playing in The Temple on the Saturday night midnight set after The Freestylers and before Aphrodite was totally mind-blowing and that is no exaggeration – my mind was actually blown! The Common Crew there who run the show are fantastic people and made me feel so at ease, even though my heart and my mind was racing cos it was a big gig and I wanted to do an A Class set. The whole experience was brilliant, the sound system was booming, I loved playing, really enjoyed it and ran a live stream video during my set. This was a special set and although I loved playing there the year before in The Cave; it was topped by The Temple.

What inspired the name for Ghetto dubs?

Ghetto Dub was created from a basic idea that we both had, wanting the name of the label to encompass many genres of underground bass-driven music. We brainstormed a load of words and kept checking on Discogs and Google when we thought of something to find out it was already taken! We both liked ‘Ghetto’ then one day Junkie just came out with Ghetto Dub – and that was that. I think it was in the back of his

We both liked ‘Ghetto’ then one day Junkie just came out with Ghetto Dub – and that was that. I think it was in the back of his mind though, cos back in the day he had a baseball cap with that on it.

And ultimately, what inspired Vinyl Junkie & yourself to take those steps into an incredibly competitive landscape to start up a DnB label?

Well, that was my idea! Junkie didn’t really want to start up a new label, as he already had Warehouse Wax, but I managed to persuade him it was a good move forward for us to create a new project together from scratch and with two of us; sharing the work-load would make it manageable. We were already playing out regularly and would get booked for B2B sets, and I basically visualised how we could begin something really special with the Jungle D&B. Junkie soon became enamoured with the plan and we put our heads together and our brainchild Ghetto Dub was born.

We are really enjoying working with all the artists involved, especially with the Ghetto Dubz Vol.1 Album… Its beyond what we envisaged from the start, cos we were motivated by the love of the music and what we want the Ghetto Dub sound to represent, which is no holds barred, no rules of genre, no restraints, just great quality underground Jungle D&B.

On this album you produced a track with Vinyl Junkie, can you tell us a bit about the process that went into it?

Long Dead was inspired from the film ‘Mad Max – Fury Road’. I wanted to do a track that was a heavy roller so we played around with the Serum plug-in and Junkie created that futuristic sounding bassline. There was a lot of work done on the drums and we added the breaks and drum reversals to give it more impact on the drop and the mentasm/dominator stabs were a necessity! We started working on this track last summer and we both put the hours in, although Junkie is the Head Honcho on engineering as I’m still learning and I have an excellent teacher, so watch out!.

There was a lot of work done on the drums and we added the breaks and drum reversals to give it more impact on the drop and the mentasm/dominator stabs were a necessity! We started working on this track last summer and we both put the hours in, although Junkie is the Head Honcho on engineering as I’m still learning and I have an excellent teacher, so watch out!.

We started working on this track last summer and we both put the hours in, although Junkie is the Head Honcho on engineering as I’m still learning and I have an excellent teacher, so watch out!.

The DnB/Jungle scene has become a platform for lots of online debate from purists and current fans & artists. Here at Free Breaks Blog, we believe DnB/Jungle is every bit as good now as it was in it’s formative era, what’s your take on this lively debate?

The Jungle D&B scene is so strong now. I admire the foundation artists that have been working and contributing in the scene since it fist began and stuck to their guns and stood by D&B to get it where it is today and there are many names I could mention who fit that honour. I try to avoid online debates are I think they are fruitless and energy wasting as sometimes people just want to argue. I’d love to have a time machine and go back to my early days of raving because the memories and the emotions I have from back then are so special.. as they must be for many many other music lovers and ravers. There are so many timeless tunes from the Original Jungle days that get played today and still sound fresh, which is remarkable when you think about the level of production nowadays and the tools available to do it. Sometimes I think that there is a lack of a vibe in some new Jungle D&B I hear, and that is what this music is all about. Having said that, there is some excellent new music around and its a very inspiring time right now for artists. On a personal level, I play music that connects with me, which is why I will play any genre of D&B and I love to drop the classics in my sets too. To answer the question, I think the scene is stronger now than ever and the music has evolved.

I try to avoid online debates are I think they are fruitless and energy wasting as sometimes people just want to argue. I’d love to have a time machine and go back to my early days of raving because the memories and the emotions I have from back then are so special.. as they must be for many many other music lovers and ravers. There are so many timeless tunes from the Original Jungle days that get played today and still sound fresh, which is remarkable when you think about the level of production nowadays and the tools available to do it. Sometimes I think that there is a lack of a vibe in some new Jungle D&B I hear, and that is what this music is all about. Having said that, there is some excellent new music around and its a very inspiring time right now for artists. On a personal level, I play music that connects with me, which is why I will play any genre of D&B and I love to drop the classics in my sets too. To answer the question, I think the scene is stronger now than ever and the music has evolved.

There are so many timeless tunes from the Original Jungle days that get played today and still sound fresh, which is remarkable when you think about the level of production nowadays and the tools available to do it. Sometimes I think that there is a lack of a vibe in some new Jungle D&B I hear, and that is what this music is all about. Having said that, there is some excellent new music around and its a very inspiring time right now for artists. On a personal level, I play music that connects with me, which is why I will play any genre of D&B and I love to drop the classics in my sets too. To answer the question, I think the scene is stronger now than ever and the music has evolved.

Sometimes I think that there is a lack of a vibe in some new Jungle D&B I hear, and that is what this music is all about. Having said that, there is some excellent new music around and its a very inspiring time right now for artists. On a personal level, I play music that connects with me, which is why I will play any genre of D&B and I love to drop the classics in my sets too. To answer the question, I think the scene is stronger now than ever and the music has evolved.

MADCAP

Your sound is a pure sound system one, plenty of deep dubby baselines and layered drums. We’re guessing the 70s/80s dub reggae sound plays a big part in your production style?

Yes, I love all the old dub reggae but didn’t grow up listening to the original tracks. Like many of us, I have gone back & done my history, finding out where the samples came from, discovering great tracks along the way. Listening to early Hardcore & Jungle & hearing tracks like Noise Factory – Futuroid (The Capsule EP) or 3 Way Split feat. Easygroove – Wicked Ones both really inspired me.

What was it like winning the Movement/Technics DJ competition back in 2002? It was an amazing feeling.

I remember feeling really nervous before hand but had about 30 of friends there supporting me, which was really appreciated as I only found out 3 days before that I was in the top 5. Winning the comp got me a lot of work around London including the infamous Movement at Bar Rumba.

As well as DJ’ing and producing, you also promote events, any that you are particularly proud of? Any events in the pipeline?

I haven’t promoted any events for a few years now. It was something I did from 1994 onwards, starting local, hiring small halls, sports clubs, 150-200 capacity etc & then progressing to clubs around 1997. I was involved behind the scenes with an event called Uncertified which took place monthly on a Thursday night in Aylesbury, Bucks & we had names like Randall, Kenny Ken, Nookie, D-Bridge, Friction to name a few. A couple of highlights from these events were having Goldie because not only was there a great atmosphere but it was a big achievement. Also, Storm played a great set dropping Golden Girl by Makoto Feat. MC Conrad & he was in the crowd, so we managed to get him on the mic singing along to it. The last things I did were on a smaller scale but we had DJ Sy & Tango doing Old Skool sets down one of local pubs which was pretty mad. I have no plans to promote any events at the moment.

The last things I did were on a smaller scale but we had DJ Sy & Tango doing Old Skool sets down one of local pubs which was pretty mad. I have no plans to promote any events at the moment.

You’ve worked with Vinyl Junkie on a number of occasions over the years, how did you meet up?

If my memory serves me correctly John (Vinyl Junkie) messaged me through myspace, after hearing some tracks I did back in 2008. At the time I was doing a side project experimenting with the 140bpm sounds, so our first studio sessions were at this tempo. Meeting up several times in the studio & events formed a great friendship.

You have a collab with Vinyl Junkie on Ghetto Dubs Vol one, is there any chance of some further collabs cos’ we’re loving this one!!!

Thanks man, Mind, Body & Soul started to come together last year but I recently went back in on it, changing the bassline to make it roll a little more. It’s had some positive feedback & has been supported by Donavon ‘Bad Boy’ Smith, Randall & Bukem. Yes, John & I will be back in the studio at some point but at the moment I’m working on a number of projects that I need to finish.

Your production style is rooted firmly in the deeper ‘intelligent’ jungle sound that was popular from 1993 up to the late 90s. You have worked with many of the top names within that circle. Is there any famous producer from that time period you would love to work with that you haven’t had the chance to yet?

I love that era & yes, you’re right, my sound has an old skool influence, it’s hard to shake it off haha. LTJ Bukem & Nookie are friends I speak to on a regular basis & would love to get in the studio with them in the future, they have been supporting my tracks for a long time & I have a lot of respect for them.

JAY AFTERMATH

How did you get the music production bug?

Well, it’s such a cliche but it was through DJ’ing. I’d always been messing about with sounds and various software, throwing samples and loops together, nothing ever good enough to play out. Then through doing loads of gigs I started to realise there wasn’t really anything that would make my sets stand out from anyone else, so it just kind of started from there really. I wanted to play out stuff that was just going to be used in my sets.

You’ve got off to a good start with a previous EP on Ghetto Dub, how did it feel getting that first release?

Yeah, it was a bit surreal at first to be honest, seeing my name on iTunes etc. And hearing the good feedback from people in the scene that I’ve always looked up to, it was a good feeling overall. I’d put off releasing anything for quite a while as it just didn’t feel right, I then got talking to John (Vinyl Junkie) and one thing lead to another and I was really impressed with what was going on with Ghetto Dub and where its going so we ended up putting out a 6 track ep!

I’d put off releasing anything for quite a while as it just didn’t feel right, I then got talking to John (Vinyl Junkie) and one thing lead to another and I was really impressed with what was going on with Ghetto Dub and where its going so we ended up putting out a 6 track ep!

You’re clearly influenced by a wide range of styles, where did you have to go to discover the multi-faceted world of DnB?

Just through going to all the different raves really, when I first got into it, it was all just DnB, you could go to a rave or event and the line up would have loads of different DJs repping different styles, and i just loved it all. Ended up becoming a DnB fiend. Its also nice to always be able to find a DnB tune that reflects my mood, so I always end up listening to one of the many different

Its also nice to always be able to find a DnB tune that reflects my mood, so I always end up listening to one of the many different sub-genres. And with the internet now it’s so easy to discover new music of all styles. I also try to listen to as many different types of music as possible from Hip Hop to even film soundtracks.

What’s on your portable music player right now?

Ghetto Dubz Vol 1 Obviously!. There’s all sorts on there from Kendrick Lamar to Groove Armada. Recently I’ve been listening to more stuff from the early to mid-90s, The Prodigy and Jungle music, that’s more to try influence my own production and bring some of them vibes into the songs I’m working on now. But next week I could be listening to Slipknot .

As someone who is breaking into the scene, what would you advise other serious aspiring producers?

Have fun without a doubt that is the most important thing, just do your own thing and try not to worry about what people think too much, not everyone is going to like what you do. Keep learning as well, I suppose we are all still aspiring producers in a sense as technology is constantly moving forward and we have to learn new techniques and ways of making sounds. Also just keep going, there’s going to be times when you just want to give up, but it only takes one tune to make the difference.

Also just keep going, there’s going to be times when you just want to give up, but it only takes one tune to make the difference.

What were you going for when putting together your track for ‘Ghetto Dubz Vol One?’

I had an idea of wanting to make just a full on jungle tune, and I had this sample from the film seven that I have been wanting to use for ages which I felt just fitted with a jungle track. Its basically a guy saying how’s this for culture, hence the name, and I wanted to use it to sort of show people that the jungle scene is a whole culture within itself. Sounds a bit deep for an idea to make a tune but it goes that way sometimes and I just went with it and John and Rachael really liked it.

Where do you hope to go on this journey as a producer?

Anywhere exotic would be a bonus I suppose! … being serious though, where ever it takes me it’s been fun so far and I’m just getting started so let’s see where I end up…

X-E-DOS

Could you offer a glimpse into those early days making beats on the Atari and attending raves back in the golden ear, if you could describe it in a few short words what would you say?

My first adventures on the Atari were super limited, never really made a track. Used a piece of software/hardware called Stereo Replay. Allowed you to play 3 samples at once, one panned left, one right and one out of both speakers…. 1 thing it did teach me was to be creative with what you had.

Which era of Jungle/DnB do you have the fondest memories of?

It has to be the early Photek & Source Direct era. These and others were bringing some really stripped back, eerie atmosphere and sharp breaks. They sort of appeared at a time when the drums had snares rolling all over the place, and brought a fuck load of soul back into the scene.

You’re rather fond of the darker side of beat making as evidenced on your awesome tunage, any particular reason for this preference?

Not really. Just what I like. I’ve always liked the heavy side of music. Back in the rave days, I went for the darker ones, and have always been a sucker for a heavy break and deep sub. I like a track to have atmosphere, something that pulls you under with interesting noises popping in and out, stuff that makes you think.

As someone who has worked with music hardware and software through out the progression from Sequencers, Amigas and Ataris to modern day DAWs do you prefer the old equipment or the new stuff?

New, without a doubt. Things you can achieve on even the most basic of setups is the stuff of dreams from when I first started out. I do miss the midi timing, the Atari and a sampler still felt tighter to me. But, with a pair of virtual scissors and a load of audio files, much fun can be had!

What did you have in mind when you switched on the studio for this track on ‘Ghetto Dubz Vol One?’

To be honest, I had already got the intro roughly penned out when John contacted me. He mentioned that he was after something a little more ‘dubby’ and I thought that it was going in the right direction. I tried to turn it differently, for me anyway, not over darken it and roll it out more.

Ghetto Dubz Vol 1 Feature And Interviews

Known as “The Godfather of Breaks” Rennie Pilgrem’s contribution to the early Nuskool Breaks scene is outstanding and given this title is often considered responsible for the creation of the Nuskool Breaks genre. Before moving into breaks Rennie produced techno and acid house and was part of the influential rave group Rhythm Section along with Ellis Dee. Rennie is also the boss of Thursday Club Recordings aka TCR a label which he founded in 1993. TCR records was a major force in the Nuskool breaks scene. Now concentrating more on his talented art skills Rennie has stepped back from the dance scene and continues to produce some great works of art.

This mix is a Breakzlinkz exclusive !

Made To Move takes it back to the oldskool with a House music twist!!! We first heard this artist on Spira Music. Since then he has featured on some of the scene’s top labels like the two Simmas (Black & Red), Hustler Trax & Nurvous. Some of his latest releases are here for review below, check them out!!!

Made To Move- Hardcore Feel EP

http://www.traxsource.com/title/764686/hardcore-feel

Both ‘Hardcore Days’ and ‘Feel The Beat’ conjure up the early 90s rave vibe perfectly with excitement laced synths and rolling beats a la Low Steppa, Dennis Quin & co

Made To Move- You Had It

http://www.traxsource.com/title/757469/you-had-it

We really love this one, for the keen spotters out there, this is a homage to Bass Ballistics ‘Blow Out’, the kick drums get swapped for some rolling breaks and if this doesn’t make your skin go all goosebumpy then quickly check your pulse!!!

Made To Move- Classic But More EP

http://www.traxsource.com/title/748586/classic-but-more

The title track takes a teeny weeny snippet of Baby D ‘Let Me Be Your Fantasy’ and blends it in the percolator for a  rushy garage/breaks hybrid that practically forces you to hit replay. ‘Radi Call’ features a really cool vocal sample and hits the dubstep tempo for a slammin’ breaks banger of a tune!!!

Made To Move- House Tracks with The 90s Rave Vibes

It wasn’t that long ago that we brought you the debut EP from Wax Worx and Ron Mexico‘s new label, Shanghaied, and to show their not messing about, here comes the second instalment ‘EP 2′. Both of the guys are leading selectors for Data Transmission, so they know the avenues to take that will always lead them to top quality House music and the highly skilled producers that make it.

Their wanderings have this time led them to the doors of established producers, Clouded Judgement, Ben Sterling and newcomers Def Mob, who have all stepped up to the plate with 3 new originals each that are bound to not only fill dance floors, but to send the ladies and gents on them wild with delight at what their hearing. Once again all the tracks are all yours for free so once you’ve got them, go spread the love!

Click here to get Soundcloud, then download each track via Hypeddit.

Links for Shanghaied :

Soundcloud / Facebook / Twitter / Instagram

A little experience doesn’t mean you don’t have talent. With about 2 years in the DJ and breaks scene local Spanish talent Santabeat mixes up a selection of Breaks, Bass & 2 Step from such labels as Wasted Records, Distortion Records and Rat Records to name a few.

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Pre-Order Here Release date: 13/03/17

Open House Records Spring 2017 features a diverse range of House music styles from top artists like Mismatch, Aaron North and more

R&B meets Deep/Future House on the uplifting stabs of Crpl3d ‘All You Need.’ Aaron North revisits a manic House classic from 1999 with ‘Boy Wunda.’ For something a bit more quirky and atmospheric, try on Anto ‘Cloud 9.’ Eames straps us into the backseat for an enchanting ride to ‘Deep City.’

Everyone loves a piano and will love the pianos on Jack Buck ‘Find Us.’ Then you will adore the jazzy guitars and timeless house grooves and vocals of Kay Barton ft. Jared KF Jones ‘I Adore U’ (this guy has a great voice!!!)

Bit of Bass House? Luke Preece ‘What Are You Recording’ will fill that craving. Bit of ‘Ibeefa’ style chunky beats and cowbells? Martin Green ‘Step 2′ will have you in the big room in mind and body!!! Next is this writer’s pick from the LP, Mismatch x MC Blenda ‘Promise Land’ has massive crossover tune written over every kick, stab and MC Blenda bar. If you took the vibe of golden era UKG and sprinkled it on some upfront Tech-House you would struggle getting it as on point as Mismatch. And that leads to a very close second fave, that being  Rob Evs ‘I Love You’, a track with pulsing Techno style riffs and bouncing beats plus the most gorgeous and tranquil of keys. You need this album!!!

Open House Records Spring 2017