Thursday, April 30, 2009

Nick Craddock Interview

Here's the promised chat with Nick Craddock. Incidentally, there won't be a show this weekend as I'm on family business and haven't been able to find the time to prerecord. This means that the last show will be repeated and, therefore, Nick's mix will be rebroadcast.

Many thanks to Nick for giving such full and interesting answers.

What are you up to at the moment?

On the DJing front, things are a bit quiet if I’m honest, but these things do tend to ebb and flow so I’m just sitting it out at the moment. I haven’t actually played at the last few Sud parties, where I’ve held a residency for several years. They’re not that regular anyway, so it does feel like ages when I’ve missed one. I had some problems with my back last year, which kept me out of action for a bit, and through just trying to have a bit of a less hectic lifestyle, it seems to have put me out of touch with a few of the semi-regular haunts I have played at in the past. Some promoter called me up recently and asked if I was still living in London (I am), so I seem to have gone to ground quite effectively! I think, in London anyway, you need to be going out a lot and living within the scene to stay on the radar of promoters, and I’ve never been very pushy in that respect. I would say, though, it’s been quite nice to have a bit of a break. It’s nice to get back to your roots a bit, musically and listen to stuff because it appeals to you and not necessarily have to consider whether it will work in a DJ set. It would be nice to get a few more gigs now because I feel quite replenished from the time off.

Your website's an intriguing one. What's the idea behind the pictures linked to the mixes?

Originally, they were all photos taken around Huddersfield, where I’m from. A lot of them I took myself. It’s a pretty rural place, as you can see. It might have been the case, actually that I built the site when I was up there visiting. A lot of people comment on the photos. I didn’t really set out to make a big statement with them, really – it’s just what I had to hand, but I like that it makes the site quite personal. Also, I think techno/house imagery can be a bit clichéd, whether it’s the rundown urban cityscape, borrowed black imagery, or hackneyed futuristic stuff. I’d rather have something that represents my own background, I guess.

When you put a mix together for your site, or for download generally, do you have a specific methodology in mind, and does your style differ much from when you play out?

Yeah, when I’m recording a mix at home I’m mostly led by a mood or an atmosphere or a theme of that sort. I guess my methodology has changed quite a bit since I started using Serato, but the majority of the mixes on my site are with vinyl. I’m probably a bit more considered these days as Serato makes it easier to playlist and arrange your tracks, but I’m glad to say that most of the mixes have been happy flukes, in a way. There isn’t much planning and in more than one instance the tracks in the mixes were very new to me when I recorded it. I think a lot of DJs would tell you that they sometimes get best results when they’re on their toes with new music, though. My style when I play out is quite different. I think I have more of a ‘live’ sound, with more energy. I like to chop it up a bit and the EQing will be more pronounced. Lots of stop button kills and old tricks that the DJs I grew up listening to would use. Not that I’d put myself in the same bracket as Derrick May or whatever, haha.

How would you describe your sound?

I don’t know, really. I probably wouldn’t! I’m not sure if there’s one distinct sound that I’m more tied to. It might be easier to see a thread with the mixes on my site, because I think they’re quite moody, and textured, and those are certainly qualities that I like, but it depends what mood I’m in really. I tend to only record when I’m in a certain frame of mind, so you wouldn’t catch any scrappy hard techno throwdowns or whatever. I wish I could capture that kind of energy in a mix sometimes, but it seems to only work for me when I’m in a different kind of mental space.

Ever thought about making any forays into production? (Why/Why not?)

I have thought about it, but not very seriously. I’ve had bits of software around for years – I remember when Rebirth came out, and Fruity Loops was first being picked up by a few people. They were both things that I had access to and would mess around with, but then I’d have friends who would spend hours getting really competent and experimenting in ways my patience wouldn’t really lead me to. In terms of music, I’ve always preferred the quick fix outlet of having a mix. The older I’ve become, my inexperience with music production technology has seemed an even greater hill to climb. I’m not bothered, though, to be honest. I don’t believe that people should necessarily make tunes if they’re not inspired to do so. There are enough mediocre tracks out there from people just knocking out tunes to get gigs or whatever.

What are you listening to at the moment and how has your taste in music evolved?

I listen to loads of music, all the time! Lots of different stuff. I spend a lot of time listening to guitar-based music – certainly as much as electronic stuff. Some weeks it’ll be the majority of the music I listen to. It’s nice to have that as a counterpoint to dance music. I don’t really feel that it’s that far removed. I’m quite comfortable jumping between the two, depending on what mood I’m in. As an evolution thing, it feels like it’s come full circle, as I used to be a lot more indie/rock focused as a teenager. When it comes to electronic music, it’s also pretty broad – I do like a lot of the ‘nu-ambient’ type stuff which seems popular at the moment, but there’s a lot to soft through as it’s getting a bit overkill. I check out a lot of the current crop of dubstep producers as there are some really fresh things going on there. Still listen to a lot of house music (deep or otherwise). I’m also into harder techno. It’s nice to bang it out from time to time – it would be nice to have an opportunity to play a bit harder / faster for a change. I do make a point of listening to new music, but I often find playing older stuff from whatever genre more satisfying, as I seem to have an aversion for whatever’s in fashion. I can’t really relate to what the ‘minimal’ scene became, having been an advocate of some of the earlier music that was around ten years ago or whatever. Similarly, I’m wary of the current deep house obsession as there’s a lot of watered down stuff around, so I think to some extent my taste evolves in opposition to what’s big in shoreditch (hmmmm, another reason the gigs have gone quiet? hehe)

If you had to choose a favourite period from the last twenty years or so of electronic music, which would it be?

I’d have to say the mid 90s. Obviously, that’s a few years after the real conception period in places like Detroit and Chicago, but if you look at what was happening in around 1994, for instance, it was such a fertile and diverse time. Amazing things were happening in Chicago with labels like Relief and Dance Mania – but something which is often overlooked is the importance of what was going on in this country at that time. UK techno was fantastic then – the GPR stuff, early Luke Slater, Black Dog, Ifach – I could go on. It was also a really good time for seeing Techno DJs – Jeff Mills was absolutely killing it, Dave Clarke was in his prime. Admittedly, this is the time when I got into the music, but I think the great points of this period are evident, bias aside.

Who are your favourite DJs, past and present?

In past terms: Derrick May, Claude Young, Jeff Mills, Richie Hawtin, Dave Clarke. I’d put Surgeon in this list, too, but he’s still one of my favourite DJs – probably the only one who I’d still count as such. Later on, I’d include Dan Bell, Theo Parrish… erm. DJ Pete? I dunno. I actually don’t have as many ‘favourites’ these days. Theo can be a bit self-indulgent. I’d always check out Surgeon and Dan Bell, I think. Michael Mayer was a big favourite for a while, but I think he fell right off. That’s how it goes, I guess. Derrick’s still impressively, technically, but I get the feeling he’s doing it for the cash. He used to be just electrifying, though. Mills – fairly explanatory. Claude Young had a wicked energy and would just throw down – loads of deck tricks. Dave Clarke used to be a stunning DJ and I’ll always be grateful to him for introducing me to Chicago, Relief etc. I still cherish some of his old mixes. I used to be such a Plastikman fanboy. Quite embarrassing, really. I’d travel the length of the country to see him play. He used to blow my mind. I can’t work out whether it was just me being young and under the influence or whether he’s just lost his way. I’m not gonna pass any further comment on that.

Where's the best place you've played and why?

Probably Room 2 at Fabric, just because it’s so solid and you can hear everything perfectly, the equipment’s shit-hot, the sound guys are very professional and you get a nice view when the lasers go off. I played ‘Plasticity’ by Plastikman in there, which felt like a bit of a gamble at the time, and it was nice to spot the people that knew it when a few whoops went out. I’ve had previous bedrooms that I’ve enjoyed playing in very much, too, but my current flat isn’t very comfortable for DJing in, unfortunately. Need to move.

How did you first get into DJing? Have you always bought music and gone through a few trends, or was it a business decision?

I got the techno bug, heard Jeff Mills ‘Live at The Liquid Room’ and I guess I wanted to emulate that. I think at first my only goal was to own all the records on that mix, haha. A mate in Huddersfield had a pair of decks so we’d mess around on those, and then a couple of mates at university, but I didn’t get any of my own until about 1998, I think. It was annoying as I’d mastered the belt drive decks I’d been messing about on, then got Technics and had to start from scratch. I’ve always bought music, but prior to DJing it had mainly been alternative rock CDs, of which I used to have hundreds. There’s never been a financial motivation, which is just as well as I’ve made sod all money out of DJing!!

Wednesday, April 29, 2009

David Cameron Raving At Sunrise In The Second Summer Of Love 1988

I have it on good authority that at around 14 seconds the fresh-faced toff-like fizzog that looms large in the foreground is indeed that of our current leader of the opposition, David Cameron. Judge for yourselves.

Get in touch and get down with the kids David. Is it you? The country needs to know.

Wednesday, April 22, 2009

Gastronomic Delights 5: Gratin Dauphinois

Another unplanned day off looking after Hector, another impromptu throw down. Named after the potato dish in itself. The photo is of an actual specimen that Hector had to make for a school cooking project (with a little help from yours truly of course).

Gratin Dauphinois


Knob of soft butter
1 clove garlic
568ml carton double cream
200ml whole milk
1kg waxy potatoes such as Cara, Charlotte or Estima

1. Rarely will you find so many different recipes for what purports to be the same dish. Some books specify waxy potatoes; some say floury ones are essential. Some say soaking the potatoes first is crucial; others say it's anathema. Some insist you boil the potatoes and cream before baking. Some use lots of garlic; others only a suggestion. Some add onions, cheese or mushrooms; this horrifies purists. What follows is the method I've always used. It owes most to Nigel Slater's dauphinois: a very simple version with minimal preparation.
2. Preheat the oven to 190°C, gas mark 5. Butter a gratin dish, about 30cm x 20cm, with a 2-litre capacity. It must be broad and shallow or the potatoes will take ages to cook. The broad top allows maximum 'gratination'.
3. Peel the garlic, slice in half and put in a pan with the cream and milk. Heat to just below boiling and set aside to infuse. There's a lot of cream in this dish, but it is important: if you use a thinner mixture, such as milk and single cream, it's more likely to curdle in the oven, and it just doesn't taste as good.
4. Peel the potatoes and cut into slices 3mm thick. I use waxy potatoes because they keep their shape even when soft, giving the gratin a lovely texture. Plenty of cooks prefer floury spuds, which absorb the cream more readily and even dissolve into it. You can slice the potatoes by hand, but a food processor makes it very quick.
5. Layer the potatoes in the dish. Make the layers as flat as possible so there aren't gaps that will hold too much cream. Season every few layers with salt and pepper. For the top, overlap the potatoes neatly. Remove the garlic from the warm cream and pour over the potatoes; it must almost cover them, so add more if needed. Bake for 1-1½ hours, till the potatoes are soft throughout and have absorbed most of the cream, and the top is golden with patches of brown. Serve alongside a green salad, sausages, grills, or lentils.

Gastronomic Delights 5: Gratin Dauphinois

Bermuda Triangle - Spandex (Hand On The Plow)
Hope - Efdemin (Diamonds & Pearls)
Pulsemotel - Kvadratklan (DeepHartKasino)
I Believe (You And Me Make Love Forever) - Kettenkarussell (Giegling)
Stupidisco (Alex Q remix) - Mr Dynamite (Farbton)
Floorboards - Simon Beeston (Bond)
Skeleton Key - Voodeux (Mothership)
Yam Yam 02 (B) (Yam Yam)
The Sun - Cabin Fever Tracks Vol 3 (Rekids)
El Alma (B) (Joke)
Sad Little Piano - Rene Breitbarth (ContentIsMissing)
Sniff Them - Alan 1 (Final Frontier)
Nightstalker - Arne Weinberg (AW Recordings)
The Power Of Silence - Edgar 9000 (Pastamusik Ltd)
The Fall (Peverelist remix) - STP (Sub Solo)

Download Gastronomic Delights 5: Gratin Dauphinois here.

Technical specifications are the same as yesterday.

Tuesday, April 21, 2009

Gastronomic Delights 4: Steak au Poivre

Hector, one of my boys, has been throwing up all night so yours truly has had to take the day off work to look after him. What better occasion to throw together a quick mix, it's been a couple of months since the last one.

Steak au poivre

Serves 4

By Mark Hix

A real forgotten classic. When green and pink peppercorns became trendy and French bistros fell out of favour on the high streets, steak au poivre lost its identity. But black shouldn't ever go out of fashion, especially pepper. The important thing here is to buy a decent piece of beef - fillet, sirloin or rump - and preferably from a good pedigree. You may think you can't go wrong with fillet, but believe me you can. Because fillets fetch such a high price they are not so often hung on the carcass these days but are cut out from under the sirloin and vacuum packed so they don't lose weight. This generally means they leak blood, though; when you open the bag there's loads of it, and the result is that the meat's dry and tasteless when it's cooked.

The best way to crush your peppercorns is in a spice grinder, mortar and pestle or an old coffee grinder. If you haven't any of those, put them in a tea towel and smash with a hammer. Maybe that's why people think of steak au poivre as a guy's dish. Ideally cream shouldn't be used, just natural meat juices such as the nice concentrated veal stock restaurant kitchens have. As that's not something you're likely to have at home, I have used a little cream and stock together to thicken the sauce.

4 sirloin, or fillet, steaks weighing about 180-200g each
3tbsp coarsely crushed black peppercorns
1tbsp vegetable or corn oil
A good knob of butter
3 small shallots, peeled and finely chopped
2tbsp brandy, or Cognac
100ml beef stock
150ml double cream

Spread the crushed peppercorns on a plate. Season the steaks on both sides with salt and press one side into the peppercorns so they stick to the meat. Heat the vegetable oil in one, or two heavy-bottomed frying pans, depending on the size of your pans, and cook the steaks for 3-4 minutes on a medium heat on each side for medium rare and 5-6 minutes for medium. Remove the steaks and keep warm.

Add the butter and shallots to the pan and stir well on a low heat for a minute or so. Add the brandy and turn the heat up so it ignites then pour in the stock and cream and boil rapidly until it reduces by half and thickens.

Season if necessary and pour over the steaks. Serve with watercress salad or chips or rich, cheesey, puréed aligote potatoes

Gastronomic Delights 4: Steak au Poivre

North At Night - Adam Marshall (Cynosure)
Shift - Ribn (Styrax Leaves)
The Only Way To Win Is Not To Play Me (A) - Donnacha Costello
Reainy Stroll (Don Wlliams Nostalgic Redraft) - Yoshihiro Arikawa (Kodaira Tracks)
03 (Hobo remix) - *** (Snork Enterprises)
Guilty (B) - Oddvar (Pour la Merite)
Love Tempo - Agnes (STHMLAudio)
Source - JC Freaks (Wandering)
Omul Care Nu Se Duce (Afrlounge remix) - Ali Nasser (Supernature)
Blown Valvetrain - Omar S (Sound Signature)
Truckin' - Huner/Lauhaus (3120)
Re-Kidz - Mr G (Phoenix G)
(A) - Frozen Border 002 (Frozen Border)
Seldom Felt 005 (Seldom Felt)
Sadim - Leonid (Sistrum)

Download this spontaneous and raw mix here.

Done at Castle Corey, Haverhill, Suffolk, UK on two 1210s, two Pioneer CDJ200s an Allen & Heath XOne:32 and recorded onto a Mac Probook using Audacity. Luvverly.

Saturday, April 18, 2009

Machines Are Funky Playlist: 18.4.09

This is the first hour of tonight's show. The second was Nick Craddock's "A Darker Shade of Spring" mix, for which I am yet to be awarded the tracklist.

I Remember House - Soul Minority (Pack Up And Dance)
Gridlock - Losoul (Playhouse)
Nashu - Cally (Fear Of Flying)
22 - Alex Under (Net 28)
25th - Derek Carr (Styrax Leaves)
Mysteries Of Nazerus - Mario Bernardi (Clone)
Spacepops - Ra.H (Morphine Doser)
Starslider - Kiki (BPitch Control)
King Of Fools - Damian Lazarus (Get Physical)

A Darker Shade Of Spring Mix - Nick Craddock. Download it here.

1. Soulcapsule ‘Waiting 4 A Way (Acapella)’ (Perlon)
2. Kassem Mosse ‘Shaqued’ (Mikrodisko Recordings)
3. DJ Minx ‘Crack’d House’ (Women On Wax Recordings)
4. Freund Der Familie ‘Sark (Taron Trekka remix) (Freund Der Familie)
5. Isomer Transition 'Loop Me Through To Control The Mains' (Moodgadget)
6. Louis Guilliaume ‘Missbelieve’ (SD Records)
7. Robert Dietz 'Klondike' (Deep Vibes)
8. G. Family feat Nombongo 'People with Bullets (Dubin Dark Dub)' (Earthrumental Music)
9. Modi ‘Aputicat’ (Sunplay)
10. Klockworks ‘Grab Me’ (Klockworks)
11. Scuba ‘From Within (Marcel Dettmann remix) (Hot Flush)
12. Seth Troxler ‘Love Never Sleeps’ (Crosstown Rebels)
13. Christian Morgenstern ‘Lydia To The Edge Of Panic’ (Forte)
14. Melchert ‘Swerve’ (SD Records)
15. Octave One ‘Burujha’ (430 West)

Machines Are Funky Tonight

The second half of this weekend's show will be given over to a guest mix from Nick Craddock.

Sud Electronic resident, Nick Craddock, hails from the North of England and began DJing in the late 90s, taking initial inspiration from some of the hard Techno DJs of that time. Since moving to London in 2000, he has pursued a more refined House and Techno sound - avoiding the pitfalls of recent trends and fads - securing his credentials as an individual DJ with a knack for tasteful selection.

Meanwhile the first half of the show will be a battle to squeeze in as much as possible. Expect something from Damian Lazarus' album on Get Physical and from the new "Net 28 2" compilation. Of course there will be more.

If you have a night that you want promoted, get in touch.

Keep it locked. Link to listen on the right.

Machines Are Funky: 7-9pm GMT

105FM in Cambridge globally

Wednesday, April 15, 2009

Nick Craddock In The Mix

This weekend, Machines Are Funky will be hosting a mix from the mind of the talented
Nick Craddock. Meanwhile, here's one to download to keep you all satiated. There are more mixes to
choose from on his website and they're all very good.

Nick Craddock 'Disc Operation'

1. As One 'Shambala (Balil Reflection)' (New Electronica)
2. Stasis 'Sound File Nos: 13' (Peacefrog)
3. Balil 'The Whirling Of Spirits' (ART / Warp)
4. Plez 'Can't Stop (Acid Rainforest Mix)' (Plezure)
5. Anthony Collins 'Rabouine House (Dyed Soundroom Tropical Mix) (Freak 'n' Chic)
6. Jug 'The Skye Is Always Greener' (Unreleased)
7. Nick Curly 'Dubnoise' (Cécille Records)
8. A Made Up Sound 'Density' (Subsolo)
9. DJ Minx 'Into Oblivion' (DEQ)
10. Freund der Familie 'Sark (Taron Trekka Remix) (Freund der Familie)
11. Blackdown 'Crackle Blues' (Keysound)
12. Ramadanman 'Offal' (Soul Jazz)
13. Untold 'Kingdom' (Hessle Audio)
14. 2562 'Enforcers' (Tectonic)
15. Benga 'Emotions' (Tempa)
16. TRG 'Broken Heart (Martyn's DCM Remix)' (Hessle Audio)

Download here.

I'll be getting an interview together with Nick which, if I move quickly (and he does too), will be put up on the blog next week.

Saturday, April 11, 2009

A Few Words With Mr G

A true UK techno legend, Colin McBean, aka Mr G, has been present in the record boxes of DJs right across the house/techno spectrum in one form or another since the halcyon days of acid house at the end of the 1980s. He's still churning out his bass-heavy tech-house grooves for his own Phoenix G label, but has been more noticeable recently due to his productions for Matt "Radio Slave" Edwards' Rekids. I couldn't meet Colin in person, so I sent him some questions by email and got the answers back about a week ago. There's a dearth of information about Colin, and God knows if these questions will add anything to knowledge already gained, but the guy's a star and his music speaks effortlessly, and without pretension, for itself.

What do you prefer, playing live or DJing, and how much do you do nowadays?

CM: Playing live with my mpc, and the danger keeps me on form, and the limitation of only eight channels ain't easy . . .I do it when I feel the venue, the crowd and the sound are right, there are always a good few live gigs dotted around. . .Ohh, and I only do it 'cause I want to, as I get a different buzz from different sound systems.
Must say though I'm getting more choosy, as it's no fun playing on a system set up for mp3s.

What/Who are your biggest influences?

CM: Loved ones, friends, life's ups and downs, King Tubby, loads of rum, ballads, new music, Thursdays? . . .joining the dots in between.

What motivates you?

CM: New blood and the need to be still on it and relevant after being in the game for so long. It ain't over 'til the fat lady sings.

You've never visibly compromised your style appealing in the process to a huge range of DJs past and present. How would you define your output and your status?

Output, status . . .I just do what I feel when I feel it, (follow fashion monkey can't boil good soup - old Jamaican saying). I've watched many producers come and go and the ones I love and respect are the ones who have highs and lows yet still enter the ring again for another fight against the in-crowd . . .and that includes me as well. Remember, you are only as good as your last beatz some would say.

Your work as half of The Advent is memorable, but it's been said thatas well as wanting a break from touring one of the reasons you and Cisco Ferreira called it a day was because you wanted to distance yourself from the genre. Is this true and, if so, for what reasons?

CM: I love this question and I think it's good people still talk after so long. I did need a break from touring, and immigration wasn't fun either, but I still have fond memories of those dayz and techno is in my blood . . .Mr Mills, Mr Beltram, Mr Slater . . .plus what I learnt from Cisco, changed my world and added another chapter to my music library. I still believe the techno from that era was ground breaking and is still the funky best.
I was made to find my own feet, (respect the bird that jumps the nest and flies), and think my wings work ok. I also think that being in any partnership is hard and that you see the good, bad and indifferent in each other; as you grow there's a need to do things your own way.

What is "G Style"?

CM: The hybrid sound of dub, roots, soul and funk thrown together with no rules in a techno way through an analogue system with me having lotz of fun along the way. It must be fun, no?

Ever thought about updating your website? I'm interested in your philosophy and how your love of low-end frequencies, from your sound system days is responsible for the sound you have today.

CM: Yeah, I should update the site and even have a Myspace page but I'm no good when it comes to the Internet and computers. I'm not that great as I only work with analogue kit and I realize it doesn't do me any favours by not being in the public eye like my peers; but until I meet someone who I can work with and who can help me achieve what I want - beatz always come first - it will stay that way for now. My philosophy is all I know, it's how I grew as a kid: house parties, rum, sound systems, that bread basket grunt that reggae has and how the houses used to rattle with the sub . . .it's my norm.
Lifting speaker boxes you learn how those boxes sound in different spaces and how speakers hold the bass, which to this day is still a passion. You never stop learning.

Do you think you'll ever grow out of this?

CM: Nope! As I said, I love doing this and I am music. Without it there is no me.

You've produced for Rekids which is a taste-making label par excellence. How far will your collaboration with it go and do you have any plans to release on any other labels besides those you run?

CM: Yeah, the family that is Rekids - what can I say . . .Matt and James love what they do and they do it very well with heart. Being in the same camp as nu blood keeps you on your toes . . .love dat! As these guys are so open and honest I've chosen to do an album with them, I'm about half way through it. I'd also love to release with other labels that feel and treat the music right, I'm always open to that. Collaborations . . .love the idea of two minds meeting but hmmmmmm, not sure as I've had a few strange episodes and you have to protect your soul . . .but never say never. However, with Rekids there's a common bond and respect, which is unusual to say the least, and a knowledge and history within . . .Rekids crew, good fa yu!

Do you go clubbing regularly, and how do you consume your music? Is it at home online or do you go to record shops still?

CM: I still know what and who's out there, and if I don't I make a point of checking them out and hearing a sample of what they're about and forming my own opinion. I get my music from many sources: online, promo companies, through friends, but most of the time I hunt it myself. I've been going record/cd shopping for years every Thursday like clockwork, and al the shops in the West End know me and my eclectic taste. I'm always open to something new or different and by being there you meet nu people and get turned onto nu sounds and, in turn, turn others on to things they may have missed. That interaction is very important to me.

Ever tempted to have a KCC reunion? How do you think you'd sound now?

I see Keith every now and then in Kentish Town. He's still good and I'm sure if it were right it could happen, but I don't really think it would 'cause we're all very outspoken people. That's why ultimately we all do our own thing in different ways, but it would be interesting to see how the sounds would evolve.

Many thanks Colin.

Colin's latest venture, apart from recording for Rekids, is called Oproof.

Friday, April 10, 2009

Bank Holiday Beatz

I've got a few moments post-lunch, so I thought I'd post a few links to some sets I've come across over the last week or so.

Jamie Jones at Het Depot, Belgium: 14.3.09

Sets from the secretive Dr Jones aren't easy to come by in Cyberspace, this is the first one I've seen this year. It's just over an hour long and is a groovesome ride through the house sounds of today. Download it here.

Simon Baker at Nu Echoes, Prince, Riccione, Italy: 14.2.09

Ploughing a similar furrow to Jamie Jones, and also one of his recording partners, Simon Baker comes correct with nearly three hours of techy beats. Can't say I think much of his new effort on 20/20 Vision though. Anyway check this out here.

Harri & Domenic Subculture Pts 1 & 2

Recorded late last year, (according to the Faith forum), this is a double header by the redoubtable Subculture residents. Again, you don't see many of these around so grab while you can. I haven't the foggiest who's playing when, btw.

Part 1 here, part 2 here.

Sunday, April 05, 2009

Machines Are Funky Playlist: 4.4.09

Here's last night's playlist. There are no track names for Le Jockey's set as it's one huge conglomeration of techy sound. I manage to keep up my record of scheduling at least one track that I don't have time to play. This time it was Fear Of Flying's Cally that fell victim. Not to worry. They'll be at the front of the queue for next week's show.

Early Light - Stereociti (Mojuba)
Love's Call (Smith Hall Main mix) - Smith Hall feat Veronique (Mixmode)
Stucco Homes (Derrick Carter remix) - Brett Johnson & Dave Barker (Classic Digital)
The Healer - Ekkohaus (Morris Audio)
Mainline - Kris Wadsworth (Hypercolour)
Inferno Jack (Anja Schneider remix) - Butane (Crosstown Rebels)
Limbo For Coco - Chris Lattner & Coco Malente (Einmaleins)
Monster - Mark Henning (Frankie)

Le Jockey Live Set. Click here to download.

Brauchbar - Mike Dehnert (Fachwerk)
Destination Nagano (Joris Voorn remix) - Nagano Kitchen (Ibadan)
Above 90 - Peter van Hoesen (Time To Express)
Voice Modulation - Aux 88 (Puzzlebox)
You're Only SQL (Bcn remix) - The Black Dog (Soma)

Friday, April 03, 2009

Machines Are Funky: 4.4.09

This week we have some guest action in the shape of Le Jockey, who'll be dropping by to show me the fruits of his recent labour. He's just had a track signed by Luke Solomon and Justin Harris, aka The Freaks, so should be interesting. In addition to that, I'll be playing new stuff by The Black Dog on Soma, Kris Wadsworth on Hypercolour, Cally (yet another hot combo from Rumania) on Fear of Flying and Mark Henning on French label Frankie, plus tons more.

If you have a night that you want promoted, get in touch.

Keep it locked.

Machines Are Funky: 7-9pm GMT

105FM in Cambridge globally