00:00:00 1 Dip In The Pool – What About This Love (Chaos In The CBD Remix) 00:05:15 2 Kibbi Gibbon – It’s All Good 00:09:46 3 Kindred Sol – Our Anthem (Illusions in Iramoo) 00:16:53 4 Hiele – Slink d’Ivy 00:19:19 5 Nick The Record – Break Fast Club 00:26:44 6 Holsten – A1 00:31:27 7 Bot1500 – Cycle 00:32:02 8 BufoBufo – Isopod 00:36:12 9 F*CLR Music – Hurt So Bad (No’West ‘Survival 78’ Vocal Remix) 00:40:45 10 Dj Aakmael – I Know U Care 00:46:50 11 Elaquent – Starlight 00:49:30 12 Ikonika – Your Vibe 00:51:55 13 Kaysoul – Poultry 00:56:48 14 KM 0 – Wondering Mind 01:03:33 15 Liza Dries – Cave In 01:04:21 16 Maara – Ultra Villain 01:09:15 17 Morewood – Untitled 16 01:09:19 18 Pessoas Que Eu Conheço – 012 01:12:43 19 Swoze – Tellin’ U 01:16:00 20 Abacus – Let Me Show U (Nyabingi Dub) 01:21:49 21 DMX Krew – Body Rock 01:25:51 22 The Philly All Stars – Bad Luck (Eric Kupper Remix) 01:30:59 23 Bad Colours – Freaks (ft. Ninjasonik) 01:32:54 24 Alewya & Dagmawit – Night Drive 01:36:00 25 Bad Colours – Moment of Silence (ft. Brandon Markell Holmes) 01:39:40 26 EGYPTRIXX – Chrysalis Records (feat. Robin Dann + Carlyn Bezic) 01:42:17 27 Flammy – Censored 01:44:15 28 Fine Young Cannibals – Johnny Come Home (Classic Club Feeling) 01:51:14 29 Héloïse – Rubbish Rubbish 01:57:04 30 HIEROGLYPHIC BEING – HEALING THE SHAME THAT BINDS U 02:02:49 31 Laze – Play 02:07:57 32 Marcelo Cruz – Deeper Dreams 02:13:36 33 Marlena Shaw – Love Has Gone Away (Edit By Mr. K) 02:18:59 34 Nick The Record – Move On Down To The Other Side 02:26:18 35 Ryan Sadorus – You Belong To Me (Ryan Sadorus Remix) 02:30:57 36 The Mechanical Man – Come with Me 02:34:37 37 Smalltownboy – Dark Room Dance 02:40:36 38 Elaquent – Sonic CD 02:43:51 39 Mauhomme – Cheesy 02:47:38 40 Brunch.wav – Horizons 02:51:17 41 Feudo – Urba 02:58:16 42 Helviofox – Sonho Lúcido 03:01:26 43 HIEROGLYPHIC BEING – BECOMING THE FOOL 03:06:40 44 Low End Activist – They Only Come Out At Night (Andy Martin Remix) 03:11:26 45 Neptune Orizon – Echoes 03:12:40 46 Brunch.wav – Projections 03:18:19 47 Klaus Layer – Lose Control 03:22:02 48 Ralph Session, Tinashe – Nasty 03:27:03 49 Razor-N-Tape – Saucy Lady – Falling 03:32:31 50 SESTRICA – fck am i schizophrenic? 03:34:16 51 Roxy Music – Love Is The Drug (Greg Wilson Edit) 03:39:36 52 Luke Solomon – Lets Go – Luke Solomon’s Body Edit 03:46:01 53 Lb Honne – B1 – Deeper 03:53:26 54 Danalogue – Sonic Hypnosis 03:58:31 55 Half A Map – Working Up the Air 04:04:59 56 Ste Roberts & Jabob Dwyer – Red Flowers 04:11:34 57 Fred P – Celestial Obsidian 04:16:38 58 Louie Vega, Funki Cadets – In Search of Peace of Mind (Louie Vega Peace Dub) 04:20:46 59 Morewood – Gyatt 04:23:15 60 Persian – Survival Dub (Miles J Paralysis ‘Big Slide’ Remix) 04:28:22 61 Tom Carruthers – Monkey Wah (Carruthers 25’ Edit) 04:32:55 62 TRAXMAN – SUPERMAN (corkys soft and ruff side rework) 04:37:36 63 Carl Hang – Breakdance Tool 04:41:04 64 Razor-N-Tape – Marina Trench – Icy 04:45:54 65 RV820 – Planetary Annihilation 04:50:24 66 Smau – It’s A Vibe 04:55:25 67 sugar plant – anything 05:00:00 68 DiscoGram – Pages
In discussion with Call Super on “My Answer” by Charley’s Vault (2000).
How did you come across „My Answer“? Was it in a record store, or in a club?
A club. The End in London.
Why does this record mean so much to you? Is this a time capsule of a certain kind? What is its appeal?
It very much is. Although it is of its time in certain ways I don’t really feel it has dated. It was a record that I heard quite a few times before I had any idea who it was. I was usually too shy to ask DJs back then and there were lots of tracks that you would hear and just know because you’d heard them before and maybe one day you’d actually turn it up in a store, or meet someone in the club who could tell you, or it got used on a mix. Which is how I found out what this one was.
The thing I love so much about it is it creates a mood that is perfect at any time of the night or morning. It has the exact balance of menace, tension, joy and release that the perfect DJ tool needs. The mixdown is really nicely done, the way it ebbs, flows and kicks at certain points. I have a distinction between what often gets called ‘tools’ which to my ear are usually just drum tracks with a stab or a pad or something and the really useful stuff which usually has a fair bit more going on and can always take you up, down, reset, roll out, maintain… anything that you ask of it. This is one of those tracks.
I guess most people stay true to their formative years in the clubs of their youth. What made The End so special?
It was a club that was very well designed. Loosely based upon The Tunnel in New York but with a crucial difference of placing the booth in the middle of the floor so the DJ was cocooned by the crowd, who were in turn were cocooned by the sound system. The fact that this set up existed in a tunnel created two opportunities. The first was that it was very easy to lose yourself at the back by the system without feeling any disconnection from the place. The second was that this architecture created a particular atmosphere that I think must have meant certain DJs would have fun in a way that more disconnected settings don’t encourage. Its obviously a truism to say that good DJs play to the setting they are in, whilst bad DJs do the same thing no matter where they are. Well, this was a space that I feel coaxed the best from people.
I went maybe twice a month on average for about two years, then less frequently for the next few years because I had relocated to Glasgow, but in that time almost every night held surprises at what had been played, or how it had been played. The video of Mills covers a little of that ground. You cannot understate the importance of having these experiences to draw on when you end up doing this for a living, your own constellation of places and people that inspired you. That’s what gives you your distinct voice and I feel massively grateful to have had that club incubating me. Read the rest of this entry »
In discussion with Luke Solomon about “Snow Borne Sorrow” by Nine Horses (2005).
How did you come across “Snow Borne Sorrow”? Was it out of a longtime fondness for David Sylvian’s work?
First and foremost, I am a huge fan, probably since the age of 11. “Snow Borne Sorrow” I was actually turned on to by one of my oldest and closest friends. It was only a couple of weeks after release.
Why did you decide to discuss this album, and not another one of his many remarkable records? What makes this so special to you?
There are records and there are records. That’s my philosophy. I’ll elaborate. We all know the classics, there are lists of those everywhere. But I believe in personal classics. This to me, is music that happens along at a poignant time in your life. The stars are aligned, and bang, it’s like a spark, and epiphany. A moment that can be deemed as a marker. “Oh, that was the Snow Borne Sorrow time.” Or something. That was the “Snow Borne Sorrow part” of my life.
How would you describe “Snow Borne Sorrow”, also in comparison to other music Sylvian was involved with?
More than anything, on first listen it was the sound and the maturity of his voice. I listened to it recently on an 8000 pound pair of speakers, and I was blown away by the detail. Incredible. And then there are the songs, the subject matter, the arrangements. I could go on.
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