# DJ Booga > Notes on music, culture & technology. Interviews with artists I respect. Founder of Defrostatica Records in Leipzig, Germany. Public Ghost content for AI and LLM tooling. This file includes a bounded export of public pages first, then recent public posts. Append `.md` to any post or page URL to get the content in Markdown (for example, `/example-post.md`). ## Pages ### About this site URL: https://www.djbooga.com/about/ Last updated: 2026-01-26T14:33:53.000Z Hi, I'm Robert Handrow, also known as DJ Booga. I started out as a jungle and drum and bass DJ, producing remixes for local bands. In 1999, I released my only 12" record, [Defrostatica](https://www.discogs.com/de/release/371544-Square7-Defrostatica?ref=djbooga.com), under the name Square7\. Some of my tracks ended up on various compilations by local labels and projects. I've been involved in the Leipzig drum and bass scene since the mid-90s and loved sharing news about it. From 2000 to 2003, I created and maintained a website called [breaks.org](http://www.breaks.org/?ref=djbooga.com), which featured local artists and information about jungle nights out in my hometown. From 2003 to 2013, I ran a loose community blog featuring many local drum and bass promoters, DJs, authors and artists from Leipzig called [It's Yours!](https://web.archive.org/web/20250000000000%2A/http://www.itsyours.info). Around 2012 I was really into footwork music from Chicago when it started to cross-pollinate with jungle from the UK because they were both around the same speed, at 160 beats per minute. In 2015, I started the label [Defrostatica](https://www.defrostatica.com/?ref=djbooga.com) that specialises in footwork jungle tekno music. In 2023, I founded the music publishing service Edition Aiax for selected Defrostatica artists. ![](https://www.djbooga.com/content/images/2025/11/01-m-beat-conne-island-1995.jpg) ![](https://www.djbooga.com/content/images/2025/11/02-Kemistry---Storm.JPG) ![](https://www.djbooga.com/content/images/2025/11/03-Square7---Defrostatica-2000.jpg) ![](https://www.djbooga.com/content/images/2025/11/05-IMG_4161.JPG) ![](https://www.djbooga.com/content/images/2025/11/06-Storm---Booga-2003.jpg) ![](https://www.djbooga.com/content/images/2025/11/07-Windy---Booga-2000.JPG) ![](https://www.djbooga.com/content/images/2025/11/Kiat-2017.jpg) flyer M-Beat at Conne Island, Leipzig · poster Kemistry & Storm at Conne Island, Leipzig · artwork of Defrostatica 12" by Blackred · poster DJ Marky & Stamina MC at Tangobar, Leipzig · Storm at Conne Island, Leipzig 2003 · my dj buddy Windy and me preparing a rave in the fields near Leipzig ca. 2000 · Kiat at Noch Besser Leben, Leipzig 2017 While being a DJ I started to do interviews with guest DJs and DJ/producers who played in Leipzig. On my blog you find [conversations](https://www.djbooga.com/interviews/) with artists, producers, and DJs who have influenced me. In my infrequent posts, I explore how music, culture and technology are interconnected. I try to understand the effects of this on the independent music ecosystem: fans and supporters, DJs, artists, producers, promoters, journalists, and label owners. ## Let's connect [Subscribe](https://www.djbooga.com/#/portal/signup) to the free membership of the blog to receive all posts via email and to be able to comment on posts. If you have already subscribed [sign in here](https://www.djbooga.com/#/portal/signin). Follow the blog anonymously via [RSS](https://www.djbooga.com/rss). You can reach me by email [blog@djbooga.com](mailto:blog@djbooga.com). In my [blogroll](https://www.djbooga.com/blogroll/) you'll find people & publishers relevant to my interests. To follow me on Fediverse, like Mastodon, search for [@rob@djbooga.com](https://fedi.pub/@rob@djbooga.com?ref=djbooga.com) on your platform. If you click on the link you'll see the latest notes too. Usually I crosspost to [Bluesky](https://bsky.app/profile/djbooga.com?ref=djbooga.com). I love [buying music](https://bandcamp.com/djbooga?ref=djbooga.com) on Bandcamp. Some of my recorded mix sets are on [Soundcloud](https://soundcloud.com/djbooga/?ref=djbooga.com). On [Crucial Tracks](https://app.crucialtracks.org/profile/djbooga/?ref=djbooga.com) I recently started to post a daily a good track. I'm on [Letterboxd](https://letterboxd.com/djbooga/?ref=djbooga.com), it's a great place to discover new movies. © Words and photos by Robert Handrow unless otherwise specified. ### Spectrum playlist URL: https://www.djbooga.com/spectrum-playlist/ Last updated: 2026-01-16T09:59:46.000Z [BANDCAMP](#) [JUNO](#) [BEATPORT](#) [SPOTIFY](https://open.spotify.com/playlist/7ICpO9cLpLlSSfBOIJmhDJ?si=7717234bd2834262&ref=djbooga.com) [DEEZER](https://www.deezer.com/de/playlist/12022333691?ref=djbooga.com) [Spectrum - bass music recommendations](https://www.djbooga.com/spectrum/) [BANDCAMP](#) [JUNO](#) [BANDCAMP](#) [JUNO](#) [BANDCAMP](#) [JUNO](#) [BANDCAMP](#) [JUNO](#) [![Spectrum - bass music recommendations](https://www.djbooga.com/content/images/2023/12/spectrum-color-2-1.jpg)](https://www.djbooga.com/spectrum/) ### Blogroll URL: https://www.djbooga.com/blogroll/ Last updated: 2025-12-30T10:25:42.000Z An alphabetical list of links to blogs and online publications that I like to read, usually via [RSS Feeds](https://www.djbooga.com/connect-with-music-using-rss/). Would you like to recommend a blog or magazine? [Write to me](mailto:blog@djbooga.com). - [1 More Thing](https://1-more-thing.co.uk/?ref=djbooga.com) · Dave Jenkins pushes global bass music culture - [The Ear & Drum](https://www.wozowski.com/blog/?ref=djbooga.com) · The original D&B archive - [Ben Werdmuller](https://werd.io/?ref=djbooga.com) · on alternatives to extractive business models - [Bob Macc's Blog](https://bobmaccsblog.wordpress.com/?ref=djbooga.com) · Good takes by mastering engineer Bob Macc - [Create Digital Music](https://cdm.link/?ref=djbooga.com) · Magazine from Berlin - [The Creative Independent](https://thecreativeindependent.com/?ref=djbooga.com) · Good resource for creative people - [Das Filter](http://dasfilter.com/?ref=djbooga.com) · Magazine for contemporary culture and society from Berlin - [DIY Musician](https://diymusician.cdbaby.com/?ref=djbooga.com) · Blog of distribution service CD Baby - [Drowned in Sound](https://www.drownedinsound.org/?ref=djbooga.com) · weekly insights into the future of music - [Energy Flash](http://energyflashbysimonreynolds.blogspot.com/?ref=djbooga.com) · Blog of author Simon "hardcore continuum" Reynolds - [First Floor](https://firstfloor.substack.com/) · Newsletter about electronic music by Shawn Reynaldo - [The Footwork Jungle](https://footwork-jungle.tumblr.com/?ref=djbooga.com) · tumblr blog is on hold but active on [FB](https://www.facebook.com/FootworkJungle)/[IG](https://www.instagram.com/thefootworkjungle/?ref=djbooga.com) - [The Honest Broker](https://www.honest-broker.com/?ref=djbooga.com) · Blog of Ted Gioia - [Fracture's Substack](https://charliefracture.substack.com/) · Blog of Fracture (Astrophonica Rec.) - [Frohfroh](https://www.frohfroh.de/?ref=djbooga.com) · Electronic music from Leipzig - [FSOL](http://fsolnews.blogspot.com/?ref=djbooga.com) · Blog of the Future Sound of London - [Groove Mag](https://groove.de/?ref=djbooga.com) · German music mag, I usually just skim the news feed - [Hard Noize](https://hardnoize.com/?ref=djbooga.com) · Drum and Bass blog of Khal - [It's Her Factory](https://www.its-her-factory.com/?ref=djbooga.com) · Robin James's research blog - [Nickel City Frequencies](https://nickelcityfrequencies.ca/?ref=djbooga.com) · Jordan Freeman's blog with love for all things rave - [No Expectations](https://www.noexpectations.fyi/?ref=djbooga.com) · newsletter from Josh Terry about music, culture & sports - [No Tags Podcast](https://notagspodcast.substack.com/) · newsletter & podcast from Chal Ravens and Tom Lea - [Pixel Envy](https://pxlnv.com/?ref=djbooga.com) · blog on technology by Nick Heer - [Punchblog](http://www.punchblog.de/?ref=djbooga.com) · Drum and Bass blog from Erfurt - [Riccardo Mori](https://morrick.me/?ref=djbooga.com) · writer, translator, technology observer - [Robyn Thinks](https://robynthinks.wordpress.com/?ref=djbooga.com) / [Robyn Thinks Lite](https://robynthinks.tumblr.com/?ref=djbooga.com) · Bass music blog by TTE Rec. founder - [Schneier on Security](https://www.schneier.com/?ref=djbooga.com) · Bruce Schneier on security, technology, and people - [Two Hungry Ghosts](https://twohungryghosts.blog/?ref=djbooga.com) · blog by Dave Sector and Sonar's Ghost, recommended! - [wreckage/salvage](https://www.wrecka.ge/?ref=djbooga.com) · Erin Kissane on cultural and technical qualities ### Imprint URL: https://www.djbooga.com/imprint/ Last updated: 2025-12-30T10:36:39.000Z Robert Handrow Riemannstr. 14 04107 Leipzig Germany Email: [blog@djbooga.com](mailto:blog@djbooga.com) All texts are protected by copyright. If you want to publish something for commercial purposes, you need my permission. Even though I check the content of external links, I'm not responsible for their content. The people who run the linked sites are responsible for their content. ### Quick Notes URL: https://www.djbooga.com/quicknotes/ Last updated: 2026-03-01T11:52:43.000Z Search for @rob@djbooga.com on your fediverse platform to follow my posts. ## Posts ### Benefits of Taking the Stairs URL: https://www.djbooga.com/benefits-of-taking-the-stairs/ Last updated: 2026-08-01T15:23:09.000Z One warm summer evening, I discovered a sign in a three-floor family-owned and managed restaurant called [Piccolo Grande Amore](https://maps.app.goo.gl/amZg6gM1CFdXLRih7?ref=djbooga.com) in Berat, Albania. At first, I thought it was just funny being there on the second floor because of the stairs you have to climb, but it clicked somehow for me. That and the fantastic traditional food they served. Here's what it says: - No special equipment is needed. - There is a significant lower risk of mortality when climbing more than 55 flights per week. - Stair climbing requires about 8-11 kcal of energy per minute, which is high compared to other moderate level physical activities. - Active stair climbers are more fit and have a higher aerobic capacity. - Even two flights of stairs climbed per day can lead to 6 lbs of weight loss over one year. - There is a strong association between stair climbing and bone density in post-menopausal women. - Climbing stairs can improve the amount of "good cholerestol" in the blood. - Stair climbing increases leg power and may be an important priority reducing the risk of injury from falls in the eldery. - Stair climbing can help you achieve and maintain a healthy body weight. - Stair climbing can help you build and maintain healthy bones, muscles and joints. ![](https://www.djbooga.com/content/images/2026/08/benefits-of-taking-the-stairs.jpg) I found the sign simply friendly — as if the owners were a bit embarrassed about having to send people up and down the stairs. Yet, it’s also so straightforward, informative, and convincing. None of that marketing-speak nonsense. Just helpful. And it put a smile in my brain. ### My Crucial Tracks Playlist URL: https://www.djbooga.com/my-crucial-tracks-playlist/ Last updated: 2026-05-02T11:09:14.000Z Thanks to the [namesake service](https://www.crucialtracks.org/profile/djbooga?ref=djbooga.com), I recently started posting one favourite track every day, just for fun. They end up in this [playlist](https://music.apple.com/de/playlist/dj-boogas-crucial-trax/pl.u-2xqPeFg59vX?ref=djbooga.com) on Apple Music. You can follow the daily additions via [RSS](https://www.crucialtracks.org/profile/djbooga/feed?ref=djbooga.com), on the [Fediverse](https://fedi.pub/@rob@djbooga.com?ref=djbooga.com) or on [Bluesky](https://bsky.app/profile/djbooga.com?ref=djbooga.com). 2026-05-02 **DJ Shadow - Midnight In A Perfect World** (from Endtroducing, Mo Wax 1996). Rough with the smooth. | [listen elsewhere](https://song.link/i/1660486423?ref=djbooga.com) 2026-03-26 **MC 900 Ft. Jesus - Killer inside Me (Meat Beat Manifestation, No. 2)** from Welcome To My Dream (Nettwerk, 1991). My friend Donis used to play The City Sleeps at Zündspule nights and I loved it. This instrumental version is for the b-boys. | [listen elsewhere](https://song.link/i/15149048?ref=djbooga.com) 2026-03-16 **Arcane & Jon1st - Bloodstone** from Bloodstone EP (Defrostatica, 2022). The debut EP of the dream collaboration team ends with an epic slowfast track. It is literally the last track on the label that was released on vinyl. | [listen elsewhere](https://song.link/i/1652622591?ref=djbooga.com) 2026-02-12 **Oriol - Night And Day** (from Night and Day, Planet Mu 2010). The album is hard wired with my tumblr era of joyful discovery, expression and web optimism in general. It's the perfect summer album by a mile. | [listen elsewhere](https://song.link/i/708984917?ref=djbooga.com) 2026-03-11 **Rebel MC - I Can't Get No Sleep** (from Word Sound Power, 1992). The album that connected hip hop and proto jungle breakbeats with a proper political stand, I rinsed this record so many times! | [listen elsewhere](https://song.link/i/1539601705?ref=djbooga.com) 2026-03-10 **Galaxy 2 Galaxy - Hi-Tech Jazz**. One afternoon in the early 2000s, DJ Till recommended the 12" at Freezone Records, saying that I should really get to know it. At the time I only bought jungle and drum and bass. He revealed the connection between 4hero and Underground Resistance, which I had not known about before. | [listen elsewhere](https://song.link/i/257002397?ref=djbooga.com) 2026-03-09 **Underworld - Cowgirl** (from Dubnobasswithmyheadman, 1994). DJ and club culture basically reinvented the group after two mid albums. | [listen elsewhere](https://song.link/i/1443809057?ref=djbooga.com) 2026-03-08 **Generate - Imagination (Missingsense Remix)** from Engines EP (Antilounge, 2013). Drama slowfast music that defies first floor mentality without being aimless. Check out the original as well. | [listen elswhere](https://song.link/i/1463724615?ref=djbooga.com) 2026-03-07 **Dispondant - Jazz Solo** from Acid Jazz EP (Defrostatica, 2018). Lightweight footwork track by the Londoner with a big impact on me and Sun People as well. | [listen elsewhere](https://song.link/i/1570318313?ref=djbooga.com) 2026-03-06 **SB81 - Reversal** (Narratives Music, 2018). Seven and a half minute of perfect tech step. | [listen elsewhere](https://song.link/i/1705696349?ref=djbooga.com) 2026-03-05 **Herbaliser - A Mother (For Your Mind)**. Today's crucial track is based on the prompt "A song you've seen performed live". It was Ninja Tune night in late 1996 at Conne Island, Leipzig featuring The Herbaliser, DJ Vadim and DJ Food aka Coldcut. | [listen elsewhere](https://song.link/i/416326993?ref=djbooga.com) 2026-03-04 **Agzilla - Observers** from Cats Can Hear Ultrasound (Metalheadz, 2018). Outerworldly sounds from Iceland's finest. | [listen elsewhere](https://song.link/i/1449032528?ref=djbooga.com) 2026-03-03 **B12 - Hall Of Mirrors**. One of the first techno records I bought was Hall of Mirrors by Musicology on the B12 label in 1992\. When they went to Warp Records a year later they changed their alias to B12\. Tune is timeless and the synth line is still the shit. | [listen elsewhere](https://song.link/i/305130856?ref=djbooga.com) 2026-03-02 **Protect Ryan - Contact** (Gutterfunk, 2022). I first came across the mysterious Bristol-based trio with the Party Tracks for Horse Girls EP, which has had two more releases on DJ Die's label since then. Contact is not only a fantastic opening tune, but also has an epic ending. | [listen elsewhere](https://song.link/i/1609004625?ref=djbooga.com) 2026-03-01 **D\*Note - D*\**Votion** from Babel (1993). I'm still amazed by the restraint to release the breakbeat just 30 seconds before the end. Much later I learned about the important [context of the "Come Out" sample](https://pitchfork.com/features/article/9886-blood-and-echoes-the-story-of-come-out-steve-reichs-civil-rights-era-masterpiece/?ref=djbooga.com) used in the beautiful track. | [listen elsewhere](https://song.link/i/27678930?ref=djbooga.com) 2026-02-28 **4hero - Loveless feat. Ursula Rucker** from Two Pages (Reinforced, 2000). "The embrace, now an anaconda's grip, unmerciful and swift, swift with the killing." | [listen elsewhere](https://song.link/i/1669431424?ref=djbooga.com) 2026-02-27 **Samotek - Lydia** from Side Quest EP (Defrostatica, 2025). He's a master at creating tension through space, deliberately using footwork and phonk aesthetics in contrast to strummed keys. | [listen elsewhere](https://song.link/i/1816044413?ref=djbooga.com) 2026-02-26 **Sci-Clone - Hold On** (Metalheadz, 1999). Thanks to Kemistry & Storm's K7 mix CD, 'Everywhere I Go (Remix)' was all the rage back then. To me, Sci-Clone's masterpiece is this jungle-jazz fusion at 160 bpm — it's so cool and epic, and it warms a drummer's heart all at the same time. | [listen elsewhere](https://song.link/i/1523390232?ref=djbooga.com) 2026-02-25 **DJ Rashad - Who Da Coldest** from Itz Not Rite EP on Planet Mu, 2010\. This is my fave DJ Rashad tune by far - acid juke and footwork with the hardest clap. Sorely missed, RIP. | [listen elsewhere](https://song.link/i/708878041?ref=djbooga.com) 2026-02-24 **Alexandra Love & Beef Wellington - Empress To the Night**. I discovered Beef Wellington's album 'Feel Fantabulous' on the show The Wire and then found this collabo gem while I was looking for more of his music. This kind of soul/r'n'b reminds me of 4hero so hard. | [listen elsewhere](https://song.link/i/1725759861?ref=djbooga.com) 2026-02-23 **Jacob's Optical Stairway - The Fusion Formula (The Metamorphosis) \[feat. Juan Atkins\]** on Reinforced Records, 1995\. Dollis Hill meets Detroit, enough said. | [listen elsewhere](https://song.link/i/303071829?ref=djbooga.com) 2026-02-22 **Sinistarr & Kiat - Black Diamonds** (Hospital, 2009). Beautiful scenes. The world needs an album from this top tier team. | [listen elsewhere](https://song.link/i/317366520?ref=djbooga.com) 2026-02-21 **Wiley - From The Outside (Special Request VIP)** \[Big Dada Rec., 2015\]. *What song makes you feel like you're in a different country?* 'I've been in the wrong system, the wrong territory, for way too long.' | [listen elsewhere](https://song.link/i/990260254?ref=djbooga.com) 2026-02-20 **Patrik Cure - Smile This is the End** from the Hybrid Hooks compilation on Defrostatica in 2021\. Perfect track title of a baaad club track on 155 BPM. | [listen elsewhere](https://song.link/i/1571758452?ref=djbooga.com) 2026-02-19 **Submerse - Give It Up**. Part autonomic, part postdubstep, part beats - the 2012 'They Always Come Back EP' on R&S' sublabel Apollo still sounds fresh. | [listen elsewhere](https://song.link/i/1114614102?ref=djbooga.com) 2026-02-18 **Ital Tek - Gonga (µ-Ziq Remix)** from Gonga EP on Planet Mu, 2011\. The original is amazing but the remix by Mike Paradinas is timeless. | [listen elsewhere](https://song.link/i/708769200?ref=djbooga.com) 2026-02-17 **Flora Purim - Open Your Eyes, You Can Fly** (1976). First time heard the bassline on ‘Bug Powder Dust’ by Bomb The Bass. | [listen elsewhere](https://song.link/i/1444084660?ref=djbooga.com) 2026-02-16 **Kiat - Brooklyn (Agzilla Remix)** from Leipzig EP on Defrostatica, 2016\. One of my favourite tracks remixed by one of my favourite producers. | [listen elsewhere](https://song.link/i/1570317652?ref=djbooga.com) 2026-02-15 **Bah Samba feat. The Fatback Band - Let the Drums Speak (Harvey Lindo Edit)** on BKO Productions 2005\. Perfect Sunday groove. | [listen elsewhere](https://song.link/i/1553020024?ref=djbooga.com) 2026-02-14 **Ryuichi Sakamoto - ZURE (Cornelius Remix)** from async remodels, 2017\. Inhale. Hold on. Exhale. | [listen elsewhere](https://song.link/i/1506968227?ref=djbooga.com) 2026-02-13 **Samotek & Utelka - Way Back 4 U** (Defrostatica, 2026). It takes some muscle to make it right, especially to the ones we love. | [listen elsewhere](https://song.link/i/1866600936?ref=djbooga.com) [![CTA Image](https://www.djbooga.com/content/images/2026/02/150-bpm-1K.jpg)](https://www.djbooga.com/150-bpm-club-tracks-playlist/) The 150 BPM Club Track Playlist [show me ](https://www.djbooga.com/150-bpm-club-tracks-playlist/) 2026-02-12 **Desert Sessions - I Wanna Make It Wit Chu** (2003). 'I ain't here to break it, Just see how far it will bend, Again and again, again and again.' | [listen elsewhere](https://song.link/i/989425894?ref=djbooga.com) 2026-02-11 **My Bloody Valentine - You Made Me Realise** (1988). It's the soundtrack to what she made me feel. | [listen elsewhere](https://song.link/i/1567655930?ref=djbooga.com) 2026-02-10 **Paradox - Kickdat** (Paradox Music, 2018). He's a b-boy at heart and you can hear the influence in many of his tunes but this 132 bpm breakbeat tune is the bomb! | [listen elsewhere](https://song.link/i/1705416900?ref=djbooga.com) 2026-02-09 **Sun People - Never** (Serenity EP), Modern Ruin 2018\. This timeless classic featuring an iconic sample is probably my favourite tune by the Graz producer. | [listen elsewhere](https://song.link/i/1354468081?ref=djbooga.com) 2026-02-08 **Gescom - Cicada** (Gescom EP, Skam 1994). Strong 115 bpm signals from Manchester to Detroit. | [listen elsewhere](https://song.link/i/326529043?ref=djbooga.com) 2026-02-07 **Mako & Andy Skopes - In The Raw (dBridge Remix)**, 2010\. It's the B-Side of the first release of Makos label Utopia Music, 6:26 minutes of pure bliss. | [listen elsewhere](https://song.link/i/1282768349?ref=djbooga.com) 2026-02-06 **Skinnz - Burn Me** (Super, 2011). One of my fave post dubstep era tunes is actually by Sam Binga, I found out today. | [listen elsewhere](https://song.link/i/418058118?ref=djbooga.com) 2026-02-05 **Inner City - Whatcha Gonna Do With My Lovin' (Def Mix)** 1993\. Epic remix by David Morales and Frankie Knuckles, with a surprise in the second half. | [listen elsewhere](https://song.link/i/714621741?ref=djbooga.com) 2026-02-04 **Kenny Larkin - Tedra** (Warp 1994). I discovered the track on the Various Artists compilation called 'Virtualsex' that had extra red-blue glasses for the 3D artwork. Tune is timeless. | [listen elsewhere](https://song.link/i/288651592?ref=djbooga.com) 2026-02-03 **Machinedrum - The Statue** from Room(S), 2011 on Planet Mu. Witnessing his live performance in 2012 was a game changer. | [listen elsewhere](https://song.link/i/1760188171?ref=djbooga.com) 2026-02-02 **Visioneers - Hurt So Bad (feat. Carina Andersson)** from Marc Mac presents Visioneers – Def Radio (2024). Marc Mac is one half of 4hero, enough said. | [listen elsewhere](https://song.link/i/1767563963?ref=djbooga.com) 2026-02-01 **Acid Lab - Listen** (2025). Dub Techno Drum and Bass at its best. | [listen elsewhere](https://song.link/i/1812849332?ref=djbooga.com) 2026-01-31 **Photek - 124** (Modus Operandi, 1997). Untouchable. | [listen elsewhere](https://song.link/i/724527410?ref=djbooga.com) 2026-01-30 **Innerzone Orchestra - The Beginning of the End** (1999) · It's Carl Craig feat. Lacksi-Daisy-Cal doing a hiphop track on 110 BPM. | [listen elsewhere](https://song.link/i/1217016188?ref=djbooga.com) 2026-01-29 **Opal Drums · Sarsen Cinema** (Sarsen Cinema EP, 2025). Opal Drums = Jon1st + Mux Mool. Sarsen Cinema is a hot 110 BPM bop. | [listen elsewhere](https://song.link/i/1845150925?ref=djbooga.com) 2026-01-28 **Ultra Naté - Twisted**. Produced by 4Hero in 2002\. Trust me, [watch this](https://www.instagram.com/p/Cop6tDbOB86?ref=djbooga.com). | [listen elsewhere](https://song.link/i/1438565881?ref=djbooga.com) 2026-01-27 **Digital · Ras 78 (X Nation Remix)**. Digital: “When Ras 78 was released it was a big step forward for Function in creating its own identity. This is a pivotal release in every direction.” | [listen elsewhere](https://song.link/i/1741452551?ref=djbooga.com) 2026-01-26 **Curve - Want More Need Less** (from Gift, 2001). Kevin Shields from My Bloody Valentine is on the guitar, what else do you need to know? | [listen elsewhere](https://song.link/i/1443636770?ref=djbooga.com) 2026-01-25 **M/A/R/R/S · Pump Up the Volume** (UK 12" Mix, 1987). The uneasy collaboration between A.R. Kane and Colourbox sampled "I Know You Got Soul", by Eric B. & Rakim, which was released prior in the same year. | [listen elsewhere](https://song.link/i/314596689?ref=djbooga.com) 2026-01-23 **Hone Sound - Lockdown** (from Original EP, 2026). Cold Dub Techno Breaks at 134 BPM on Defrostatica Records. | [listen elsewhere](https://song.link/i/1857870689?ref=djbooga.com) ### Notes from the forest #10 URL: https://www.djbooga.com/notes-from-the-forest-10/ Last updated: 2026-09-05T15:54:31.000Z ## Two Hungry Ghosts is back I'm thrilled that Dave Sector has decided to [relaunch the blog](https://twohungryghosts.blog/?ref=djbooga.com) and its archives, wich feature great interviews (Friske, Fanu, Jem One), a new dubplate project and the charts recommendations section. The euphoric reactions on [Dog's On Acid](https://www.dogsonacid.com/threads/the-return-of-the-two-hungry-ghosts-blog.831445/?ref=djbooga.com) to the blog's return speak for themselves. ## A nomad does not play for the gallery The recent [portrait of dBridge](https://www.theransomnote.com/music/interviews/aggressively-beautiful-the-nomad-spirit-that-keeps-dbridge-moving/?ref=djbooga.com) in the Ransome Note resonates with me. > The thrill of the unknown has been a big motivation: “I like the sense of adventure when people ask what I’m gonna play and I say I don’t know.” He realised that there was a common theme in his work, and that this would surely apply to his DJ and live sets, too. The tension that pervades his music is 'aggressively beautiful'. So well said. This reminds me of Fracture, [who described](https://www.djbooga.com/interview-with-fracture/) the development of artists in light of fan expectations: > "People get quite protective over the music they like. And they then put their own sort of projections of what they think an artist should be doing. And what's important to always remember is that, that an artist should be doing what they feel is the right thing to do." I have learned not to expect things from an artist as a fan, but to let them grow by doing what they feel they need to do. That hasn't always been the case. ## Anna's Archive backed up Spotify lol [Observation](https://birchtree.me/blog/streaming-music-is-the-lie-we-tell-each-other/?ref=djbooga.com) of the year: > "I've come to the conclusion that streaming music platforms are a shared lie we all agree to that suggests we're paying for music when we're actually may as well be pirating it, we just pay $10 a month to keep the cops away." The open source search engine for shadow libraries seem to have had a similar thought but came to a different solution. > "A while ago, we discovered a way to scrape Spotify at scale. We saw a role for us here to build a music archive primarily aimed at preservation." [Anna's Archive](https://annas-archive.li/blog/backing-up-spotify.html?ref=djbooga.com) started working statistically through the body of data as well. ## Go get a blog Joan 'Thinking Out Loud' Westenberg [makes the case](https://www.joanwestenberg.com/the-case-for-blogging-in-the-ruins/?ref=djbooga.com) for blogging (in the ruins). And I'm with her. > "We've organized the sum total of our collective knowledge into formats optimized for making people angry at strangers in pursuit of private profitability." It's a harsh observation since I'm not sure about the 'private profitabitlity' because sometimes it feels an awful lot like helplessness in regards to everything that happens in the world right now. She focuses on an aspect every artist and creative mind should hold on to - how to build [permanence](https://book.micro.blog/permanence/?ref=djbooga.com): > "If you're trying to build a body of work, or to create something that will outlast the platform of the moment, a blog is simply a better tool." She has useful context and tipps on how to start as well. ## Cold Storage [Jeffrey Zeldman](https://zeldman.com/2026/01/02/cold-storage/?ref=djbooga.com) wrote an allegory about capitalism without the [Dickensian aspect](https://www.youtube.com/watch?v=bpLIrYOy2U4&ref=djbooga.com) in mind. [Bettina Fairchild](https://www.reddit.com/r/TheWire/comments/x8cur3/comment/inmbv78/?ref=djbooga.com) explained what it means very well: > "It exposes a bias people have towards individual anecdotes rather than the big picture, and grand drama over complicated reality." I can still relate to the personal story of Jeff especially because that shitty storage company survived while his absolute phenomenal [A Book Apart](https://abookapart.com/?ref=djbooga.com) did not. ## Personal note 2025 was a tough year; I stopped posting notes due to personal circumstances. Meanwhile I saved interviews that I did in the early 2000s from a blog that is only partial online. In 2026, I plan to republish these interviews with jungle drum and bass artists and hopefully add some new ones. My interview with the great [Spirit is now online](https://www.djbooga.com/). --- *🌱 The title of the weekly notes refers to Erin Kissane's* [*dark forest*](https://www.djbooga.com/notes-from-the-forest/#the-dark-forest) *metaphor for a resilient and non-gamified human network on the web.* ### Spirit interview (January 2006) URL: https://www.djbooga.com/spirit-interview-january-2006/ Last updated: 2026-01-23T16:47:51.000Z Spirit's career as a drum and bass producer began in 1995 with a [dubplate](https://www.discogs.com/de/release/4681979-Photek-Spirit-One-Nation-Brass?ref=djbooga.com): Photek with One Nation on one side and his track Brass on the other. The first Spirit record I bought was released in 1998 on Timeless Recordings. The track [Confusion](https://www.discogs.com/de/master/64309-The-Spirit-Chapter-Two-Confusion?ref=djbooga.com) already carried the sound DNA of the later Phantom Audio success – the duo consisting of Digital and Spirit. [Klute](https://www.djbooga.com/klute-interview-november-2000/), [Photek](https://www.dropbox.com/scl/fi/epqbrtt08y23laxydzwmj/photek%5Fbarcode%5F2008.pdf?ref=djbooga.com), [Digital](https://www.educationandbass.online/our%5Fteam/digital/?ref=djbooga.com), and [Spirit](https://www.discogs.com/de/artist/2160-Spirit?ref=djbooga.com) all come from Ipswich. What was in the groundwater of this port city in the east of England? Apparently, a healthy dose of jungle drum and bass potion. At the time, [DJ Storm](https://www.djbooga.com/storm-interview-april-2000/) was the ambassador of the Digital & Spirit sound for me. In 1999, the creative power of the two “Metalheadz Boys” culminated in their own label [Phantom Audio](https://www.discogs.com/de/label/451-Phantom-Audio?ref=djbooga.com) and their groundbreaking 001 release Phantom Force / Backlash. When it was announced that Spirit would be playing at the Metalheadz Session at [Conne Island](https://conne-island.de/plakat/termin37.html?ref=djbooga.com) in January 2006, I was there and managed to persuade him to do an interview. It was originally published on the blog [It's Yours!](https://web.archive.org/web/20210514000240/https://www.itsyours.info/drum-bass/interview-mit-spirit-inneractive-music) but it is not online anymore. Duncan Busto aka Spirit passed away in the summer of 2018\. It was a heavy blow for his family, friends, and fans. By sharing the interview again, I want to remember him. --- *For many Leipzig clubbers, Spirit was THE surprise at the last Metalheadz session at Conne Island. As a producer and label boss, he talks about his white label strategy, why the head is still a musician's best instrument, and how much the early Reinforced sound influenced him. Oh, and England will be world champions.* **Booga: How did you experienced the Metalheadz Session at Conne Island two weeks ago?** Spirit: I enjoyed it a lot. Everyone who was there seemed to be getting into it and going with the flow of the night. It was a good lively crowd. **Booga: There are some pictures over** [**here**](https://web.archive.org/web/20210514000240/http://www.itsyours.info/photos/2006%5Fmetalheadz%5Fsession/)**, you might have a look at.** Spirit: Nice, some good shots. **Booga: Everybody I talked to about the night was like: „This guy called Spirit was really great, offered some heavy tunes and mixed very smooth, I think he was more into music than Grooverider this evening.“ Does this surprise you?** Spirit: Hmmm.. dunno. I must admit I enjoyed Groove’s set a lot. It’s been a while since I heard him play and it’s good to be able to catch him for a couple of hours than the usual hour in the UK. It’s good to know that people enjoyed what I was doing though. I was getting really into it. For me it’s the 2 hour plus thing as well.. you can go through different moods and build it up and down. There’s so much good music out there. I’m definitely more into longer sets. It also always seems to work well with Rage MCing. He knows when the moods are changing and flows with it well. **Booga: In the UK the DJ’s are more limited to 1 hour sets?** Spirit: In a lot of places, yeah. There are nights around the country where there are samller, more concentrated line-ups and you can get 1 1/2 hours or maybe more but there don’t seem to be that many. **Booga: Your skills in producing bold and deep tracks are well known by Drum’n’Bass aficionados but less people consider you’re deejaying as well. From my point of view I would persuade anyone who is a promoter because I really like your style.** Spirit: Thank you very much! I’ve been DJing for a long time, gonna be close to 20 years soon. But along with that I have old DJing habits… A lot of newer people seem to be aiming for that quick mix, drop after drop impact syle but personally, I’m playing all these tracks that are 5/6 mins long so I like to give people the chance to hear them. **Booga: Do you have some favourite tracks at this time?** Spirit: There’s quite a few at the moment, always some stuff from the Tactile crew, whether it’s together or individual. SKC’s „Butchery“ is one of my faves at the moment and Commix have done a killer remix of one of their tracks for dispatch. Some tracks from Goldie’s next album, a break remix of an Invaderz track.. some wicked Breakage bits.. lots, haha. **Booga: Let's talk about your label** [**Inneractive**](https://inneractivemusic.bandcamp.com/?ref=djbooga.com)**. What was the purpose of establishing your own label and where do you head at with the label?** Spirit: In the beginning it was mainly an avenue to release stuff that I really liked more on a personal level. It all began with „Memories“. It was a track I really liked and no one else was showing much interest so it was time to build a new home for myself. [Active-Ated / Memories (INNA 001) by Spirit](https://inneractivemusic.bandcamp.com/album/active-ated-memories-inna-001?ref=djbooga.com) It’s now developed into my main outlet but it’s now incorporating music from other artists that I’m really into. This year will probably be more geared towards that as last year was all centred around Puzzle Box. Time to catch up! It also gives me a chance to work for all the other labels I’ve been promising to work for over the last year or two! If all goes to plan, there’ll be music from Heist, Tactile, Phobia, Outrage as well as some remixes from various people before the end of they year. There will still be some from myself though before I start work on the next album in about a year’s time probably. **Booga: You split your album tracks on four 12 Inches. So goes the naming „Puzzle Box“. Why do you wanted to let the buyer decide instead of releasing the album in one piece?** Spirit: These are difficult times … Financially it can be quite a big layout for a four-piece album. It gave people the chance to buy the tracks they wanted on vinyl instead of forcing them to pay more, while concentrating the full album on the CD. To be honest, the way it’s structured is how it’s heard on the CD, with the four extra tracks. Releasing a four-piece vinyl album to me is still nowhere near an accurate representation of Puzzle Box anyway. A large part of vinyl sales are to DJs these days and as it wasn’t a compilation of dancefloor hits I think it was good to give them a choice. **Booga: Yes, a good decision. And then you put four more tracks on the CD Release: „Underground Noise“, „Intermission“, „Mirror“, „Where Do We Go From Here“. But the last one isn’t a reminiscene to the rock band Filter?** Spirit: I have no idea, haha.. I must admit to never having heard anything from them. **Booga: Ha! It wasn’t meant that serious…** Spirit: Hahaha! It was designed as a kind of deep Techno/Drum’n’Bass crossover.. instead of changing the tempo on the album and doing the ‚token non dnb track‘ I wanted to keep it as a full Drum’n’Bass album but explore certain elements further. **Booga: Sometimes it is hard to get hold of all your activities. Speaking of founding new labels you are a pro: Underground Noise (3 untitled Releases by Spirit in 2003), DS LTD. (only one release as Digital & Spirit in 2003), SPCC (with Cause 4 Concern in 2005). Where are they now?** Spirit: Actually, Underground Noise will still be running. **Booga: Good to hear that!** Spirit: That was designed as a purely white label experiment. A lot of music is about names and labels. The idea was to just let the music speak for itself and try and break through those barriers. They’re all tracks I really really like, not throw away pieces I didn’t want to release anywhere else. That’s why one side of UN003 is on Puzzle Box, it was kind of the advance warning for the album. They’re also limited to 1000 of each. A reward for the peple who actually bothered to check them out, as 1 & 2 are sold out and now deleted, and 3 will be coming soon. This is actually the first time I’ve spoken about Underground Noise, maybe more people will find out about it now. **Booga: I have the UN 001 two times but not 002 – anyone interchange? Ugh …** Spirit: Hahaha! Maybe it’ll be worth some money in 10 years! **Booga: Your word in some wealthy ears, ha! The latest label joint venture is PhuturoInna: You remixed „Cool Down“ from Juju and he remixed your legendary „Moving Target“. How come?** Spirit: I’d had this idea for a while about doing split series with other labels. I first mentioned it to Klute but nothing ever came of it about three years ago, and I’ve been planning one with Dispatch… But when the album took over there wasn’t really any space for it. Then when I was in San Francisco last year, Juju asked me about remixing „Cool Down“ and there was the opportunity. I think it’s worked well and again, like Underground Noise, it’s another way to try and break that names and labels barrier. Hopefully there’ll be people who’ve bought Phuturo releases and have never touched an Innercactive release. They’ll be able to have an insight and vice versa. It’s about expanding each other’s sound to more people. [Tuned In LP by SPIRIT](https://ciarecords1.bandcamp.com/album/tuned-in-lp?ref=djbooga.com) **Booga: Once you said in an interview, your head is the best tool for making music. But surely you don’t make music with the same set of instruments and programs since you started with. Do you see some influence due evolved technology?** Spirit: Definitely but the basic principles are still the same. You can have the newest and best gear in the world and 100 GB worth of sounds but unless can think how to put them together it won’t help one bit. Life is much easier these days though. Recently I’ve been working solely on a powerbook and I’m very happy with the results but you can have too much. Too much at your fingertips can sometimes mean you spend more time tweaking sounds than making music with them and you can lose the direction of the idea you started with… Peope talk about the production quality of drum and bass these days. To me it’s not that important what so and so did with this filter or how so and so did that as long as the mood is right and it sounds balanced. Having said that though, software like Kontakt does give you possibilities that you could only have dreamt about ten tears ago! **Booga: So you rather assimilate the technology in your sense than the other way round?** Spirit: Definitely! The equipment is meant to be the slave to your mind, rather than letting yourself be a slave to technology. **Booga: Did you ever had a mentor while your first steps in making Drum’n’Bass?** Spirit: Not really, there were peope around but we were all close to the same level back then. Digital, Klute, it was more playing each other music and feeding the reaction back in. **Booga: What would be your number one advice for a beginner in making Drum’n’Bass music?** Spirit: Have patience! Hahaha! Actually, that’s quite serious. Talking about advancements in technology, you can own a decent home specified PC these days and be able to make music on it. And a lot of people are jumping the gun when they’re not ready. There are a lot of labels out there and plenty that will release almost anything it seems. My advice would be to seek and heed the advice of some more experienced people. If you’ve got what it takes, bide your time until that potential is being met. Don’t just jump on the first person that offers to release your music if it’s really not ready yet. If you start out on the wrong foot, it’s diffcult to get people to listen afterwards. > My advice would be to seek and heed the advice of some more experienced people. **Booga: How would you describe the influence of Reinforced Records and their releases to you?** Spirit: Reinforced… yeah. That whole ’92-’94 sound was the golden era. It changed the face of breakbeat music forever. I think it still has a strong prominence today without people realising it. A lot of the harder stuff still uses a lot of those types of sounds and breaks. And it’s more quoted as the Metalheadz sound but really it’s an extension of the Goldie sound, which was all part of that era alongside 4 Hero, Manix, Doc Scott… The big pads and strings, the riffs, the break programming. It kind of annoys me a bit when it’s called the Metalheadz sound. Not because it not paying tribute to Reinforced but to me the Metalheadz sound is more wide-ranging. It’s almost like people have forgotten that Alex Reece, Wax Doctor, Photek, Hidden Agenda, Peshay, tracks like Doc Scott’s „Far Away“ where all an integral part of the Metalheadz sound. It’s definitely a big influence for myself but I’m also just as happy making tracks like „203“. **Booga: The reason I ask is that I became aware of certain sounds you use and were used in this time. Some example: Nasty Habits „As nasty as I wanna be“ EP from 1992 (**[**Reinforced #1233**](https://www.discogs.com/de/release/1193-Nasty-Habits-As-Nasty-As-I-Wanna-Be?srsltid=AfmBOoqDbFQ8keHC31gNCtXkqvAbF0gwYA2FjYHnWWvW9C2p3mDF3dU2&ref=djbooga.com)**). The spinbacks on nearly every track which you obviously like. The plug bass sample from „Let’s Go“. The fingersnap sample from „Here Comes The Drumz“ – also very nice used in „Heavy Handed“ (Timeless #029). I mean, this is truly history and you keep it alive.** [ ![Video thumbnail](https://i.ytimg.com/vi/na8MnZTLku4/maxresdefault.jpg) ](https://www.youtube.com/watch?v=na8MnZTLku4&ref=djbooga.com) Spirit: Hahaha! Yeah, the fingersnap… you see? There are probably a lot of people out there who have no idea what it is. I think is about keeping it alive but putting it into something new. The attitude of that era seems to be dissappearing too… I was talking to Goldie the other day about how back then people would do something and then feed off that and go a stage further, share the breaks around etc. **Booga: This time in Leipzig you were recognised as part of the Metalheadz camp. How do you rate the steps taken by the label the last 16 months? And how would you describe your attachment to Metalheadz after having seven tracks released there?** Spirit: I can see where Goldie’s coming from. There are a lot of new artists around and he’s been getting into a revival. The name Meytalheadz is back in the spotlight again after almost disappearing for a few years and it’s good to see a prominent outlet for some different music back again. For me, it’s somewhere I will always see myself coming back to. A lot of the older artists have their own projects going but somewhere like Metalheadz is still a base to group it all back together again. It definitely stands for something and it’s still an aim for new producers. It was like the Holy Grail of labels and personally it will hold a special place because of the amount of great music it’s released over the years. **Booga: Goldie said in an** [**interview**](https://web.archive.org/web/20210514000240/http://www.itsyours.info/main/2006/01/interview%5Fmit%5Fg.html)**: „We are not commercial or any of those other people who sound very commercial and produce cheesy kind of stuff. That is not really my sound. People might like it but those people are usually kids. I am 40 years old this year. I don’t listen to kids’ music. I have grown up with this music so I listen to this music in its grown proportion.“ Would you agree since you ain’t no twen anymore?** Spirit: Definitely. I’m not far behind him age wise, haha. I think there’s more to it than that as well though. The dancefloor is the home of drum and bass but it can be it’s own worst enemy sometimes. **Booga: Doc Scott is about to launch his new imprint „Plus30 Rec.“. A further hint of the trend to make more „adult“ Drum’n’Bass?** Spirit: I think there always has been a good proportion of adult drum and bass so to speak. I just think that sometimes it can be self destructive. The emphasis seems to swing back to easy dancefloor music and that’s when you begin to alienate the people who were listening and buying it for it’s more musical content. Then sometimes all you’re left with is that dancefloor and DJ market so you have to start the grind of bringing it to other people’s attention again. It’s getting more and more difficult. Paper magazines are dissappearing fast. That used to be the easier outlet. If you can get the music press on your side then you have them championing it for a while. There’s so much music in this world that you could fill your time with stuff you already know about so it’s not unreasonable to think that sometimes people have to be told that something is worth checking out for them to actually spend the time and money to do so. The internet has it’s good and bad. It’s a free medium. There is no concensus of opinion. One site is telling you that Drum’n’Bass is great, another is telling you it’s absolute crap. With the music press you had a situation where they’d all say it was good because they didn’t want to be left out. **Booga: „Drum & Bass Arena“ released a CD called „The Classics“ this week undertitled „a 40 tracks history lesson“. Do you see a need for the younger generation to become teached like this?** Spirit: The classics… most certainly. It also has „Calling Card“ and „Phantom Force“ on it, hahaha. But seriously, that’s a big yes. It needs to be treated as music again, not just as dancefloor tools. People jump onto compilations of classic Detroit from the late ’80s, why shouldn’t they with drum and bass? **Booga: What did draw you into Drum’n’Bass when you were younger?** Spirit: Probably the breaks and energy more than anything. For years it had been the late ’80s house and techno dominance which is when I started DJing. But then that sound all but dissappeared except for Underground Resistance and Plus 8\. I wasn’t really into the Euro techno sound of 1990/91 except for the odd track but when the breaks started filtering in it had a funkier edge. And of course, the bass! Warp had begun the sub bass overload but Drum’n’Bass took it further. **Booga: Speaking of the bass. You and Digital formed one of the biggest bad bass teams around: Phantom Audio. Bringing the oldskool vibe to the actual sound in 1999 had an interesting and innovating approach. Did you expect the massive effect it definitely had to the scene?** Spirit: Not at all really. I think it was just well-timed. Everything had become very sterile. I think it had reached that point where technology was overtaking vibe. It was time for something more organic. **Booga: The last track from Phantom Audio I got my hands on is „Heavy Handed“. When will some more Phantom Audio stuff hit the floors?** Spirit: There are no plans at the moment. Who knows what the future will hold. **Booga: I hope there will be some more innovation coming from that shore… On the other side, Outrage represents kind of the next wave. What do you think when I say the tracks from Outrage sounds like he is a protege of Phantom Audio?** Spirit: Ha! I think his sound has become a bit more chopped up but he’s been someone who’s been sending tracks and listening to what we’ve had to say for a while now but I think he’s definitely developing his own raw sound. Breaks with attitude. [The Tube (Outrage Remix) / Recall (INNA 015) by Amit / Outrage](https://inneractivemusic.bandcamp.com/album/the-tube-outrage-remix-recall-inna-015?ref=djbooga.com) **Booga: Ok, last question and thank you for your patience! Who do you think will win the Football World Championship this year?** Spirit: Hahahaha! England! **Booga: Thank you for the interview.** ### Interview with Fracture URL: https://www.djbooga.com/interview-with-fracture/ Last updated: 2025-11-27T11:03:14.000Z J*ust before he took to the stage at the Conne Island venue in Leipzig, Germany in February 2024, Fracture kindly took the time to answer questions from Francis, the audience and myself. The interview has been edited for length and clarity.* **Francis:** We are here at [Conne Island](https://conne-island.de/?ref=djbooga.com) Cafe today and welcome a special guest: Fracture from London, UK. We're going to dig into the history of UK jungle music and pirate radio because Fracture did a great research project on that topic recently. I'll hand over to Booga, who is looking back into history as we are diving into the year 2012. **Booga:** The last time you played at Conne Island was in 2012\. Overall, it was a time of exciting musical development with both post dubstep and footwork jungle emerging in DJ sets. Ben UFO played here at Conne Island, Martyn played here, Machinedrum played here, and Fracture. Within a few months a lot of different musical developments were brought to an ecstatic audience. With this context, what was your point of view when these different genres and ideas from different places collided and created something new? **Fracture:** 2012 was indeed an interesting time and I think to set it up, I will go back a few years previous to that and mention dBridge and Instra:mental and the [Autonomic](https://soundcloud.com/club-autonomic-com/autonomic-podcast-layer-01?ref=djbooga.com) series that they did. They did a series of podcasts and a series of music releases that took the framework of drum and bass music, blew it apart and looked at it from a much more spacious point of view which came from dubstep, I suppose. And then in 2012 it opened the doors for a lot of other influences to be able to be brought into drum and bass. The Autonomic stuff took drum and bass and presented it in a half tempo form, which opened the doors for a kind of hip hop to be mixed in. And what that did, at least for me, as a DJ and a producer, it made me start to look for music from outside the drum and bass world, which I wasn't doing at that tempo at the time. So then that was a lot of music from the States, I remember mixing in music by people like Machinedrum and Mr. Carmack, you know the L.A. beats in general. And so that whole thing was quite exciting because up until then, drum and bass has been very, very drum and bass. Which was great, but the Autonomic thing opened the doors for the music and the influences to reach further but also to take on new influences. And I think 2012 was definitely a year where that started to happen. And then along with that was the kind of mix with footwork from Chicago, the Teklife stuff that made sense all of a sudden with drum and bass. Fracture in 2012 about his label Astrophonica, the relation of Footwork and Juke to Drum and Bass and a DJ’s approach to mix up slow/fast tunes. Filmed by LXC, edited by Tina Gleichmann. **Booga:** When the UK label Planet Mu released the first edition of the Bangs & Works series in 2010, many producers realised that there is oldskool jungle at 160 bpm with the same tempo range. So you, Om Unit, Sam Binga took it from there and came up with footwork and juke influenced tracks that had that uptempo energy. Is that how you came up with the track Get Busy? **Fracture:** I want to just pause and shout out Om Unit because I think he was the guy that helped me find new influences for my music. He comes from a hip hop and scratch DJ background. So he was starting to bring in hip hop and a lot of U.S. influences. And then Get Busy was just my take on a mix of where I'd come from, so jungle and drum and bass with this kind of new stuff that I was hearing primarily from Chicago, the footwork stuff. Yeah, Rashad and Spin and Teklife. ****Fracture** is a [producer](https://fracture.bandcamp.com/?ref=djbooga.com), [dj](https://soundcloud.com/fracture-official?ref=djbooga.com) and label owner ([Astrophonica Records](https://astrophonica.bandcamp.com/?ref=djbooga.com)) from London, UK who is constantly experimenting and flipping the script within electronic music genres spanning a career over two decades. In 2022 he launched the [0860 project](https://0860.fm/?ref=djbooga.com) which now includes 3 albums, an EP, a radio station and a 2 season podcast that explores the history and legacy of Pirate Radio and its importance in the development of UK underground music. **Booga:** You released Get Busy under your alias Dawn Day Night on Exit Records in 2012\. The label was founded by dBridge, who was part of the drum and bass producer group Bad Company. He kind of emancipated himself from the stadium sound to a leftfield drum and bass that eventually led to a half-tempo subgenre called Autonomic with a podcast series of the same name. When he released your footwork/juke influenced 12" vinyl, did you feel it was an active decision to support the hybrid development of footwork and jungle influences at that time? [EXIT040 - Fracture ft. Dawn Day Night - Get Busy / Get Down von Fracture](https://fracture.bandcamp.com/album/exit040-fracture-ft-dawn-day-night-get-busy-get-down?ref=djbooga.com) **Fracture:** Yeah, definitely. I think dBridge has always been really good at giving artists space to try new stuff on his label Exit Records. So it felt just comfortable artistically working on that label, working with dBridge. He definitely opened those doors and helped me join those dots. **Francis:** We've been now in 2012\. But this is already ten years back and now we're going to travel like another twenty years back – to 1993, that's a bit frightening actually. I'm going to play a few beats of a song you know and we’d like you to comment on that. **Fracture:** So yeah, that's Helicopter Tune by Deep Blue from 1993 and that's a classic jungle sound, but also very clean and very stripped back. So I would say that was one of the tunes that probably paved the way for drum and bass. Because it's got everything that jungle had, but it was also a bit more linear in the arrangement. Less crazy, less all over the place and a bit cleaner and based around one groove. Whereas a lot of the jungle stuff before that was based on various different grooves throughout the whole track. **Francis:** Could you describe a bit more what was going on music wise at that time and just to zoom in on, why this track brought up something new at that time? **Fracture:** I guess the interesting thing about this one is that previous to this a lot of the big jungle tracks at the time all had vocals in them. And this was one of the first tracks that wasn't focused around the vocal. You had Burial by Leviticus, I think that was maybe a year after this, but around that period you had a lot of tracks with vocals in them. But this one was really stripped back, so it presented the music in a new way. Previous to that – in 1991, 1992 – there was a lot of UK hardcore stuff, which was a bit more ravey, lots of stabs and lots of big ravey hooks and riffs. Whereas this one was not necessarily built around any particular sort of riff or hook or anything like that, it was much more built around a drum and bass group. **Francis:** One of the reasons we wanted to talk with you was your series of interviews and mixes called 0860 where you discussed the emergence of jungle and drum and bass with a focus on pirate radio. So, why this specific focus? How did you decide you wanted to do something about pirate radio? **Fracture:** Well, that's how I found the music. I grew up in London, and when I was about 12 or 13, in 1991 or 1992 the whole scene was a subculture. It wasn’t like it is now, where it's a much broader and available culture. So the music was hard to find, the culture was hard to find. And one of the ways in which you found it was via pirate radio. So I found it by just being in my bedroom, listening to, going through radio stations and hearing the music. And, it gave me an insight and a taste for this world that I didn't really know existed but all of a sudden I had a window into. And I think a lot of people found the music the same way as well. Obviously it was a big influence for me, so the [0860 project](https://0860.fm/?ref=djbooga.com) was very much a personal project for me. I wanted to show people where I had come from as an artist and what my influences were. But I also wanted to highlight how important pirate radio was in bringing this underground and subculture music to where it is today. Because at that time no national radio stations were playing the music. It was impossible to find on national radio. It wasn't really spoken about in the media or the press, not like it is today. And obviously there was no internet. So it took for illegal pirate radio stations to present that music. I wouldn't be here as an artist if it wasn't for pirate radio stations. So I thought it was important to show that. Also I think that it's probably the same story for a lot of artists. **Booga:** When we zoom out what pirate radio is, it actually is an illegal counterculture and it also is probably your first contact with DIY culture, right? Do you remember a time when someone told you stuff about why this is illegal? Did you have a clue about what's going on, what these guys risked at that time? And was it *just* the music that you were hooked on or also the fact that it was different or dangerous? **Fracture:** I'm not sure if the danger necessarily played a part, but I was definitely fascinated from a cultural point of view as well as by the music. I was so young that I didn't necessarily understand, but I was aware that culturally it felt different from what I was seeing on the TV or reading or hearing on national radio. I'm a big music fan anyway, right? So I was going from listening to Michael Jackson or whatever on national radio and then I would flick it over and listen to some hardcore on the pirate radio station. And it immediately felt different. It felt completely different. And I suppose as a youngster, it feels like you found it yourself because it's not presented to you in the wider channels. ![](https://www.djbooga.com/content/images/2025/06/Fracture-Booga-Francis-1.jpg) ![](https://www.djbooga.com/content/images/2025/06/Fracture-Booga-Francis-2.jpg) ![](https://www.djbooga.com/content/images/2025/11/Fracture-ad.jpg) Fracture, Booga, Francis at Conne Island Café 2024 / Photos by Tina Gleichmann **Booga:** To add some context and perspective from the first generation of DJs in Leipzig: We were recently talking about the emergence of the local drum bass scene and how radio played an important role for us, but with commercial radio stations, because we didn't have any kind of illegal pirate stations here. In the late 80’s we were fascinated by the sample-cut-up style music that was popular at the time, like Doctor in the House by Cold Cut or House Arrest by Crush or Pump Up the Volume by Mars or what Bomb The Bass was doing. These tunes definitely played a role in our developing interest in breakbeat music as such. So when hardcore breakbeat music from acts like Shut Up And Dance, Rebel MC, The Prodigy spilled over into the record shops over here, we felt it was connected to what we'd heard before and went from there. And I would also say that music television played a big part at the time. So the excitement of breakbeat music and jungle drum and bass came to us through the mainstream media. We missed out on the illegal pirate radio culture that helped develop the genre in the UK at the time. We're coming at it from different angles, but we're still here. Do you see the similarity in the excitement around breakbeats? **Fracture:** Well, I think that sampling and breakbeats fit into the story because it's diverse in a way. It is in itself inherently illegal. It's stealing other people's music, right? And reinventing it. So that fits into the story somehow as well. And particularly the jungle stuff was quite often made by people who didn't necessarily have a background in music and just wanted to make music, but didn't have any knowledge of how to do that. And all of a sudden the samplers and so on gave people the ability to steal other people's music and put it together. So yeah, I think there is definitely something exciting. I still find sampling breakbeats incredibly exciting. And perhaps that is because it is somewhat anti-establishment. It's not just that, though. I'm excited by taking something that exists and presenting it in a new way. And in fact, some of my favourite records, for instance, the Helicopter Tune that you played, was made by people that don't have a background in music. And I find that sometimes culturally more exciting than music created by people that have years and years of training. **Francis:** So pirate radio is not just about the radio bit, but also about recording tapes which during your research you have put online on SoundCloud. So now we can listen to – and some are really crappy – recordings from the 1990’s. Could you describe a little bit of the tape culture at that time? There's a personal story to that. I lived at that time in a smaller city called Dessau. There have been British exchange students and they played recordings from Kool FM on tape – and that's how I learned about drum and bass. In a very unlikely situation, basically, at that time, I was surrounded by punk music and ska. But it's interesting because it's also a two step sound in a way. So, I would be interested in both of these aspects. The two step aspect, but also then the tape aspect. **Fracture:** I'll just touch on the punk thing first, because I think that electronic music and jungle in particular have a lot of parallels with punk music. For a lot of the things that I was just talking about: The fact that punk music is quite simple. Not necessarily made by extremely talented instrumentalists and I put myself into that same bracket as well. I don’t play any instruments. I played the guitar a bit, but it's more of an expression. And I think that's why punk and jungle and rave music share a lot of similarities. It's not necessarily about being a virtuoso instrumentally. It’s much more about giving yourself a voice, giving a culture, a community a voice. I made tapes every weekend: I would record pirate radio every weekend onto a cassette and then take them into school on Monday and share them and you swap them with other tapes for your friends. Bearing in mind I was too young at this point to go out to any raves. This was still when I was like 13, 14, 15 years old. So that was my only way of hearing this music. And the tapes became your archive. I always remember one particular time a friend of mine recorded Origin Unknown's remix of Dead Dread onto a cassette. And we, we just sat there and we ran it like ten million times, constantly, for the whole night. So tape culture became a way of archiving the music pre internet. Also it links again with the piracy thing, because you're recording music that's being played on an illegal radio station and then you're making essentially an illegal copy of it as well. **Francis:** It was maybe also an opportunity to cut out the advertisements that were part of the program. **Fracture:** It’s funny actually, because those have now become my favourite bits of my old tapes. **Francis:** Really? Okay (laughing). **Fracture:** Well, because obviously I know all the tunes now so I can listen back to the tapes and still get excited by the music, but the adverts provide a real window into what was happening culturally at the time. Because you could hear about all the raves, all the parties and I suppose now they've become cultural artefacts in that not only do they document music, but they document things like how language has changed, how slang has changed, and even how accents have changed. So, the London accent has changed drastically since those tapes have been recorded. What I found in this archiving process, I started off from a sort of musical point of view, and then realised that this is also providing an archive of accents, language, dialect, and culture as well. And so thus the adverts have become some of my most treasured bits, yeah. ****Francis** was the co-founder and editor of Repertoire, a photocopied fanzine published in Leipzig from 1998 to 2002\. Since his relaunch as a [producer](https://francis-leipzig.bandcamp.com/?ref=djbooga.com) in 2022, his experience as a DJ since 1996 has enabled him to create exceptional bass music, combining elements of drum and bass, jungle, dub, and sound system culture with a post-rave attitude. **Francis:** I recommend readers go to the 0860 project website [https://0860.fm](https://0860.fm/?ref=djbooga.com) and check it out. One of the things that really shook me was that there was music playing and … **Fracture:** … then someone would really shout over it yeah. Well, you know, they would advertise the record shops, they would advertise the parties but they would also advertise restaurants as well on Pirate Radio. So you'd have jungle music and then you'd have the advert break and there'd be someone who maybe was a friend of the Pirate Radio station, their uncle had a restaurant or a bakery or cafe or something like that and there would be an advert for this cafe. It'd be like if you come in and say, “I heard about you on Kool FM”, and then you get a free something. There was an advert for a bagel shop actually on [Kool FM](https://www.rinse.fm/channels/kool/?ref=djbooga.com), and MC Det did the advert for it. The place was called Mr. Bagels, great stuff. **Francis:** It could be interesting to discuss this commercial aspect against today's understanding of how underground works. I personally despise any advertising but I find it a very interesting example of how community building works. When something happens within a community and it sort of organically blends … **Fracture:** … in, right? Yeah, definitely. I mean pirate radio was about music of course but it was totally about community as well. And it was about giving communities a voice that didn't have a voice and maybe weren't able to advertise in any other way. **Francis:** Okay, let's play a short recording from a DJ talking over the music.. **Fracture:** That's Nick Powell "You're through until 10pm tonight. With loads of new material. So don't go away. Don't even go to the toilet." **Francis:** Don’t you even dare to leave for the toilet. **Fracture:** You know it's true because – and I know, I keep saying it's not like today when we've got the internet – but the pirate radio station played it, and if you didn't tape it, that's it. It's gone. Never to be archived ever again. So he's right, you know, don't even go to the toilet because you might miss something that you'd never ever hear again. **Booga:** Pirate radio stations were illegal, so I wondered how they managed to not get shut down by the authorities? Is pirate radio still a thing today? Did some of the stations even manage to get licences and become legal? **Fracture:** Yeah, three excellent questions. So, if they were illegal, how did they avoid getting shut down? Well, most of the time they didn't avoid it. They would get shut down a lot. The way in which it worked is you had a studio, and you had a transmitter from the studio that would transmit to a midpoint. And then from the midpoint, it would transmit to people's radios. So, it was quite easy for authorities to track you down and cut you off. But it was not as easy for the authorities to find the actual studio. Pirate radio stations would quite often get cut off. But, because they were incredibly resourceful, they would always find a way to come back on, quite often, that same weekend. The pirate radio stations would know the authorities personally by name and the authorities would know the pirate radio stations as well by name. Unless you were caught in the act of doing it, then the authorities couldn't prove anything and thus you couldn't be arrested. So you had this kind of little cat and mouse thing going on. It was a constant battle. There was a certain respect. The stations had respect for the authorities, in that the authorities were just doing their job. So if the stations conducted themselves as professionally as they could, the authorities would kind of not go after them as much, they'd go after the stations that were causing more hassle. You asked if any stations went on to get licenses. Well yes, [Rinse FM](https://www.rinse.fm/?ref=djbooga.com) is probably the biggest, it started out as a pirate radio station. Their story is incredible, really. They were incredibly driven and professional about how they did it. They gained a community license for a short period of time, and then they've got a full license to legally broadcast on the FM. Kiss FM back in the 90s as well. Cool FM has recently been acquired by Rinse, so it's now also a legal station. And then you also asked if there are any pirate radio stations today. And this is a really good question and an interesting one. In terms of the music that we are into and we do, there's a couple, but not loads. But there are a lot of in London at least, there are a lot of Turkish pirate radio stations. I think there's quite a lot of African pirate radio stations as well. So again serving the community, playing music and giving news and information that otherwise is not available. So yeah, pirate radio stations do definitely still exist, but in a different world. **Booga:** Let's talk about your beginnings now. What made you go from listener to … **Fracture:** … player? Well, my dad is a guitarist. My dad was always in bands. Still plays in bands now. So, there was always a kind of understanding of being a musician. You know, creating music. I grew up in East London, where a lot of the pirate radio stations were based. So I was fascinated on a deep, deep level and I just wanted to be a part of it. Through my dad being a musician, I knew that it would be possible for me to also get into making that music, much to his disappointment. **Booga:** So your first thought was, "I want to make some beats and I want to be on that tower and represent that as a DJ"? **Fracture:** You know I started off playing the guitar and I was into grunge music and punk music and stuff. But around about the same time the whole rave and jungle thing was starting. I never particularly got good enough at guitar to even be in a punk band (laughs). But I felt, I'm going to do this. At school, everyone was listening to pirate radio stations. Everyone. At the age of 14 years old. At school, there'd be the phone numbers for the pirate radio stations written on the desks, the frequency, the names of the DJs and stuff – it was absolutely everywhere. **Booga:** There were still some hurdles to take, like buying Technics turntables. **Fracture:** Oh, I didn't have Technics for a long time. I started on belt drive Soundlabs, horrible yeah. But, DJing was just something that I had to do. I know that sounds a bit corny, but it was so ubiquitous that I just wanted to be a part of it on an inside sort of level. Yeah, I wanted to go beyond just listening to it. Yeah. **Booga:** So you bought the records, you had some shitty players. You were at home, you practiced and what was your first gig? **Fracture:** House parties with loads of teenagers getting very drunk. That was quite a big scene as well. As I got older, like illegal squat parties and stuff like that and then the first actual gig. Was it any good? I don't know, I can't remember honestly. **Booga:** When did you start making beats? **Fracture:** I started quite early on the family PC that had an audio recorder. So you could record sections of audio into the computer and then I edit them up. I'd record hip hop tracks and just loop one bar, and loop it for ages. That was the early kind of fascination, just recording stuff on my mom's computer which had maybe like 30 seconds recording time before it would crash. **Booga:** Would you say that it is important to be limited when trying to make music? **Fracture:** Yes, very much so. Limitation is really important. Again, taking it back to the pirate radio thing, it was born completely out of limitation. The limits being, no one else is presenting this music, so we got to do it ourselves. We don't have anywhere to do it, so we're just gonna do it in a squat with a crappy DJ mixer. And I think limitations, yes, in art and music is important because I think it pushes you to really master what it is that you're trying to do, crafting the message that you're trying to convey. **Francis:** When you produce music, what are your limitations today? **Fracture:** That's a good question, because there are no limitations now. I would say it's entirely possible to make a hit record on your phone. Software like Ableton gives us not only vast options, but it also gives us the ability to never have to commit to an idea because you can constantly undo it, constantly save different versions. Which is great in one way, but the limitations I experienced working on my mum's computer, was that I couldn't save multiple versions, there was only one stage of undo. Once you did five or six processes, that's what you had. So it just kind of makes you think a little bit more about what you want to do, and what the results of you doing that are. It's a tough one because now we have all the options we need, right? Hard disk space is no longer a problem. **Booga:** How would you encourage young artists you're working with, to hold on to a concept and not spacing out from one idea to another? **Fracture:** I always try to work really quickly. Because I think that in itself is quite a limitation. That is one of the key things that I would always say to younger artists to try and work as quickly as they can. Because the longer you sort of dwell on things, the easier it is to lose track of what it is that you're trying to do. And I'm saying this from experience because I've done it so many times and got sort of four or five hours into something and realized that I've got caught up in minute details that don't matter at all. **Booga:** What is more important to you as an artist? Reinventing a music genre from within or reinventing yourself as an artist? **Fracture:** I've always liked playing with genres. I've always liked playing with what is possible and I've always liked challenging myself but also challenging the preconceptions of what a genre is. I think that kind of goes hand in hand. So that in one way progresses me and challenges me as an artist. But then the result of that is often challenging the genre itself and trying new things. **Booga:** When we met before, you said you like to flip things, right? I wonder if that was inspired by Busta Rhymes, when he said he is “flipping things” to become the greatest. The first time I heard of you as a producer was when you were making drum funk. Jungle is of course the common thread through all of your excursions to halftime, juke, footwork, turbo and also electro. In 2022 you presented the 0860 pirate radio project with jungle at its heart. I feel like you're testing what is possible in all this. What is next? **Fracture:** Well I'm always interested in what I call the bits in between. So, you can take that back to 1992, 93, which is when it was sort of hardcore. It was before jungle had become proper jungle. It was this very experimental sort of period in between. Another era I have in mind is the kind of early dubstep and grime period. When it didn't necessarily have a name yet, and it was the bits in between. I think it was the same with Autonomic and also true for footwork, as it was a little bit in between jungle and footwork. Just before COVID I was playing a lot of electro and mixing that with jungle and slower kind of breakbeat stuff, and that felt really interesting as well. There seem to be a few people doing that as well. There's Lucy from Berlin, she was doing cool stuff, kind of halfway electro, halfway jungle at 130-140 bpm. That was really interesting. Then COVID happened and it messed that whole thing up. So where are we now? I don't know, it's a good question. It feels now more so than ever before that a genre is not as much of a constraint as it was previously. I think people are just doing whatever they want at different tempos. **Booga:** Even from a DJ point of view? **Fracture:** Yeah, from a DJ point of view as well. Which is good in some ways, but … **Booga:** I sense a downside? **Fracture:** No, no, it's not a downside. I quite like having the rules of a genre, to then be able to play with them. If there are no rules and there are no agreed set of parameters, then it's hard to break them. If things lose context slightly, because anything goes, it's a problem because we become unable to say, "Yeah, but what about the bits in between?" > If there are no rules and there are no agreed set of parameters, then it's hard to break them. **Francis:** I have another question regarding limitations. So from the music that I know of you as an artist, and also as a label boss, it's always like very fit for the floor, very danceable. Do you consider that as a limitation as well or a problem? **Fracture:** That's another really good question. Yes, that is certainly a limitation because there are just certain things that won't work in a dancefloor situation. But do I find that a problem or not? No, not really. To take you back to pirate radio stations, they did give certain records a platform that weren't necessarily getting played in clubs or on dance floors at the time. You'd hear certain songs on pirate radio that would become quite big pirate radio songs that wouldn't necessarily be big club tracks for the reason that they just didn't quite work in that situation. **Francis:** But it's not like you have a whole hard drive full of non club music made yourself. **Fracture:** Not really. I think what's great about having a label as well is that I can and have released music that is not immediately aimed for the dancefloor. There's one called Custom Tone which actually I did with my dad playing guitar on it, and that was very much not a club track. So, you know, having the label gave me the platform to be able to do that. [Customtone von Fracture & Neptune ft Martin Fieber](https://astrophonica.co.uk/album/customtone?ref=djbooga.com) **Booga:** I like to come back to the flip mode of 2013, when footwork met jungle music. In an interview with [XLR8R](https://xlr8r.com/features/b2b-dj-rashad-and-om-unit-compare-notes-about-their-new-albums-and-discuss-the-cross-pollination-of-footwork-and-jungle/?ref=djbooga.com), Rashad from Chicago and Om Unit from Bristol talked about how they feed off of each other musically across the pond. In our days, where music is globally available, I'd say it's important to encourage people to build bridges in a way and hold on to that. When Rashad died a year later, do you feel that there's a chance gone, that bridge between the states and Europe or UK in particular? **Fracture:** Yeah, that was definitely a moment. There was definitely a bridge there, you're right. I think particularly these moments in between, by definition, they only last for quite a short period of time, before people go off and follow their own solo career for a bit. All that bridge ended when Rashad passed. People went off and built on their own thing, you know? People like Taso, they continued that and developed the sound further. And likewise so did Om Unit, took it and went off in his own direction as well. So those kinds of bridges and those in between parts, they last for quite a finite amount of time. But I think that's what is quite beautiful about them, I think. > I think particularly these moments in between, by definition, they only last for quite a short period of time. **Booga:** Yes, that is something that needs more understanding. If a DJ or producer is a big part of a specific scene or genre – if the person is gone, or is changing their mode, it sometimes feels like a part is really missing from the piece, and of the whole scene. It's like when Photek released the Solaris album and he only managed to put one drum and bass track on it between the house tracks, there was kind of a confusion back then, not in a relaxed way, but people were like "he betrayed us". **Fracture:** Yeah. I mean, people get quite protective over the music they like. And they then put their own sort of projections of what they think an artist should be doing. And what's important to always remember is that, that an artist should be doing what they feel is the right thing to do. ### Notes from the forest #9 URL: https://www.djbooga.com/notes-from-the-forest-9/ Last updated: 2025-11-18T08:44:10.000Z ## Kendrick Lamar [Kendrick Lamar's Road to the Super Bowl](https://www.bbc.com/culture/article/20250207-how-kendrick-lamar-came-to-headline-the-super-bowl?ref=djbooga.com) halftime show is a great read by [Thomas Hobbs](https://www.clippings.me/thobbsjourno?ref=djbooga.com) that provides important context for what happened [last Sunday night](https://www.youtube.com/watch?v=KDorKy-13ak&ref=djbooga.com). In the aftermath a lot of white people, like [Noel Gallagher](https://www.musicradar.com/artists/trust-me-20-years-from-now-it-will-all-be-nonsense-kendrick-lamar-scored-the-biggest-superbowl-half-time-audience-ever-and-noel-gallagher-isnt-impressed?ref=djbooga.com), didn't miss the chance to demonstrate their cultural blindness. > Cultural blindness is when we actually think that we have addressed cultural differences and that we understand the differences. Although the reality of it is that we do not understand the differences. While we may have this philosophy of cultural competence, it goes very little beyond this whole idea of philosophy. Blindness does not draw attention to differences. Blindness ignores differences. It does not embrace difference, it ignores it. So, at a cultural blindness stage, we might hear people say, for example, “I don't see color.” “I think that we're all the same.” “I think we should all be treated the same.” (...) There is a philosophy of equality and embracing difference, but when it actually comes down to acknowledging these experiences and these worldviews as valid, and just as important in setting aside our superiority, we have not quite gotten there yet. – [Mindy Brooks-Eaves](https://www.continued.com/social-work/ask-the-experts/what-is-cultural-blindness-53?ref=djbooga.com) Julia Thee Junglist Historian [asked](https://x.com/Miss%5FToppin/status/1888944600510771273?ref=djbooga.com) "Has anyone Black written about Kendrick's Superbowl performance or will I have to show my students one of the Tik Toks? I need a written up version of [this](https://www.tiktok.com/@naenae%5Fjonez/video/7469666417650978094?ref=djbooga.com)." [Nae Nae](https://www.tiktok.com/@naenae%5Fjonez/?ref=djbooga.com) explained the deeper levels of Kendrick Lamar's halftime show in a two minutes tiktok and I copied the text for us, who are *not like us*, to better understand: > I know we all caught shade that Kendrick was throwing at Drake during the this halftime show performance. The A Minor necklace, bringing out Serena Williams (Drake stalked her publicly for years \[AN\]) for Crip walk, the sweet innocent but fugging diabolical smile on the camera during 'say Drake'. When I tell you I was giggling and kicking my feet when he said 'say Drake' ha ha ha ha. I know it was messy and petty and everything that we love about Kendrick Lamar but y'all to lock in because all truth no Jlo. > > I need y'all to also understand the political messages that he was sending as well. Start off with Samuel L Jackson dressed as Uncle Sam saying 'Welcome to the Great American game'. Bitch he was not talking about football. The great American game is how our government wants us to behave: silent, complicit going along with whatever the fugg they're doing. We get into Kendick Lamar saying 'the revolution will be televised, you picked the right time but the wrong guy'. Essentially saying that he is not just gonna fall in line be complicit, he goes against what the government want. > > Then we have Samuel L Jackson come back and he says that this is too loud, too reckless and too ghetto and ask Kendrick Lamar if he really knows how to play the game. Then Kendrick Lamar goes straight into humble. 'Sit down be humble', exactly what the government wants us to do. Then immediately after Kendrick Lamar stops doing what the government wants him to do, stop sitting down, stop being humble we see Uncle Sam come back and say '[deduct](https://www.instagram.com/oncanadaproject/reel/DF%5FtlkgtDNi/?ref=djbooga.com) [one](https://www.threads.net/@glam2greatness/post/DF74uNlxM0j?ref=djbooga.com) [life](https://www.youtube.com/watch?v=mviixdLUTxY&ref=djbooga.com)'. Please are we following along?! (Samuel L Jackson was an usher at the funeral of Martin Luther King Jr. \[AN\]) > > Then Kendrick Lamar teases 'Not Like Us' but doesn't perform it, he says 'I wanna perform their favorite song but you know the love to sue'. That was a dig at Drake because chile, you know he's on the phone with his lawyers as we speak. Also he says he's gonna slow things down meaning he's gonna fall back in line, be silent be complicit, not go against the government. When he brings out SZA the performance is chill and after that we see Uncle Sam comes back out and he says this is what America wants, nice and calm. Samuel L Jackson says 'you're almost there, don't mess this up' and then that's when 'Not Like Us' begins to start. > > Before he gets into 'Not Like Us' he says some really important points, number one he says that there is a [cultural divide](https://www.youtube.com/watch?v=boNsCoP5XfI&ref=djbooga.com) \- self explanatory. Number two he says '40 acres and a mule, this is bigger than the music'. If you're not familiar with the phrase '40 acres and a mule' that was a promise made to black people after the end of the American Civil War in which they were promised land and resources to help them build economically. This was a promise made by the government to black people which was broken which is why Kendrick Lamar says 'this is bigger than the music'. It points to the fact that the American government will lie to you which is why you should not trust them, why you should not be complicit, why you should not be silent. > > I think the greater message that Kendrick Lamar was trying to convey is that we have to stand up. America is a game and we can not play the game in a way that Uncle Sam IE the government wants us to. Hope this helps, peace and love, talk to you later. … maybe [the revolution was televised](https://stanforddaily.com/2025/02/11/kendrick-lamars-halftime-show-a-revolution-televised/?ref=djbooga.com) maybe it wasn't but it sure [sounded](https://www.youtube.com/watch?v=9J%5FyWSEaEIQ&ref=djbooga.com) and looked [sharp](https://www.youtube.com/watch?v=GCfC2JGDp2Y&ref=djbooga.com). ## Terror Danjah tribute Grime producer and co-founder of the Aftershock label [Terror Danjah](https://terrordanjah.bandcamp.com/?ref=djbooga.com) has died this week. Simon Reynolds has taken up the sad news and [re-published his liner notes](http://energyflashbysimonreynolds.blogspot.com/2025/02/rip-terror-danjah.html?ref=djbooga.com) to the [Gremlinz](https://planet.mu/releases/terror-danjah-gremlinz-the-instrumentals-2003-2009/?ref=djbooga.com) compilation that Planet Mu released back in 2009\. Terror Danjah started out in the late 90s with Reckless Crew, an East London jungle drum and bass collective of deejays and MCs, and here's how he describes the influence of that time on his production: > Some of that comes from listening to a lot of Roni Size and Andy C and producers like that. Lots of abstracty sounds rushing about, coming out of nowhere. There's a sense of more life in the music. That’s what I do in my tunes. Drum and bass gave me ideas about layering sounds and placing sounds. But it also comes from studying music engineering at college, doing a sound recording course. I learned about mic'ing a drum kit and panning. You've got the pan positions in the middle of your mixing desk, and the crash should be left or right, the snares should be slightly panned off centre, the kick should be in the center. So you've got a panoramic view of your drum structure. Derek Walmsley [adds a different perspective](https://slowmotion.blog/2025/02/12/this-is-a-preview-of-next-year/?ref=djbooga.com) on the producer that has gone too soon: > Terror Danjah’s place in grime might be seen alongside Gussie Clarke’s in reggae. Clarke did not produce too many albums of his own, but the beats he laid down for Gregory Isaacs, Shabba Ranks and others completely redefined how reggae was made and what dancehall and ragga would come to be. In a few months, everyone else needed to get with the programme or be stuck in the past. Terror Danjah posed the same question in the early 2000s. I discovered his music later on Hyperdub in the context of the post-dubstep funky era. My personal fave tune of Terror Danjah is [Pro Plus (feat. D.O.K.)](https://terrordanjah.bandcamp.com/album/acid-pro-plus?ref=djbooga.com). ## Ghost blog and the Fediverse If you're interested in getting a sense of what's coming this year with Ghost (this blog runs on the open source publishing platform), the Fediverse and how this might eventually work, I recommend John O'Nolan's talk at FOSDEM 2025\. Here's the [recorded video](https://www.youtube.com/watch?v=30ixDZOFEJA&ref=djbooga.com) of "Networked Journalism in the Fediverse" with a short Q&A session at the end. I encourage artists in particular to look at the potential of the Fediverse development and start thinking about how to emancipate themselves from the big corporate social media platforms in the long term. ## Three jungle labels rediscovered I'm talking about [Bear Necessities](https://justanotherlabel.bandcamp.com/album/bear-necessities-the-collection?ref=djbooga.com) (1992-2002), [Genetic Stress](https://justanotherlabel.bandcamp.com/album/genetic-stress-the-collection?ref=djbooga.com) (1995-2001) and [Narcotix](https://justanotherlabel.bandcamp.com/album/narcotix-the-collection?ref=djbooga.com) (1995-2007). A [Dogs On Acid](https://www.dogsonacid.com/forums/the-board/?ref=djbooga.com) thread lead me to the [Just Another Label](https://justanotherlabel.bandcamp.com/?ref=djbooga.com) Bandcamp page where the catalogs of these labels exists as digital albums. I've got a lot of records from that period and was just happy to discover that they were available digitally. Producer pseudonyms on Bear Necessities were a big thing: Strategy = Aquasky, Tight Control = A-Sides, Legacy = Total Science (love [Data Transfer](https://justanotherlabel.bandcamp.com/track/data-transfer?ref=djbooga.com)). Q Project aka Acess (one half of Total Science) released some absolute stunning non-dnb breakbeat tunes on Narcotix. If you check out Genetic Stress, there's a gem called Dilemma - Spring Box (Matrix Remix) that you should definitely give a listen. ## What I'm working on I am still busy applying for jobs, so the article on remixes will have to wait a little longer. --- *🌱 The title of the weekly notes refers to Erin Kissane's* [*dark forest*](https://www.djbooga.com/notes-from-the-forest/#the-dark-forest) *metaphor for a resilient and non-gamified human network on the web.* ### Notes from the forest #8 URL: https://www.djbooga.com/notes-from-the-forest-8/ Last updated: 2025-11-18T08:44:37.000Z ## Proto-Halftime Jungle Drum and Bass tracks I was recently sorting my CD collection and stumbled across the first release by Jonny L on his own label Piranha. *Bell* is the main track on it and it has that irresistible bboy vibe to it, still love it. The last track *Approaching* though made me stop sorting - that is a true halftime drum and bass track! The single came out in 1999 a year before *Deadline* by Digital on Doc Scott's 31 Records. *Deadline* featured a rhythm and an air horn that made it an exceptional drum and bass tune at the time: The tribal beats had no up-tempo snare and the groove focused on the genre's halftime tempo of around 170 bpm. The tune is considered the breakthrough halftime jungle drum and bass track, spawning a whole subgenre in the 2000s and a more minimal turn with the autonomic wave led by dBridge and Instra:mental in 2011\. So if *Approaching* by Jonny L slipped through my memory, could it be that there are more proto-halftime tracks out there? I remembered there were non-drum and bass tracks on the Metalheadz Box album which I found exciting back then and yes, ten out of eighteen tracks were 140 bpm and below. The tracks had a distinct downtempo character: Urban Style Music 90bpm Reprise by Lemon D, Westway by Ed Rush and Reckless Mission Dub Mix by Optical. They are all around 90 bpm and have that hiphop swing feel, not exactly halftime dnb as we know it today. So I started asking around on [Dogs On Acid](https://www.dogsonacid.com/forums/the-board/?ref=djbooga.com) and in a local bass heads group chat. I collected 16 tracks that met the requirement of having a groove that, for the most part, revolves around a half-time jungle drum and bass tempo – before it became a thing in 2000: 1. Hyper On Experience - [Half Stepper](https://www.youtube.com/watch?v=gcbA%5FxQq5Xk&ref=djbooga.com) (Moving Shadow, 1994 / 82 bpm) 2. Boymerang - [The Don](https://www.youtube.com/watch?v=KWjfzy3NHiU&ref=djbooga.com) (Leaf, 1995 / 84 bpm) 3. T.Power - [Indigo](https://www.youtube.com/watch?v=4cA9z36GGxo&ref=djbooga.com) (Avex Trax, 1995 / 82 bpm) 4. Boymerang - [Secret Life](https://www.youtube.com/watch?v=DEZsLEg9nXc&ref=djbooga.com) ( Parlophone, 1997 / 81 bpm) 5. Tsuneari Fujii - [The Mirror](https://www.youtube.com/watch?v=PwMe83k8f1o&ref=djbooga.com) (Precision Breakbeat, 1997 / 82 bpm) 6. Tsuneari Fujii - [Flowers](https://www.youtube.com/watch?v=BDiqtLAw2M4&ref=djbooga.com) (Precision Breakbeat, 1997 / 82 bpm) 7. Decoder - [Connect](https://www.youtube.com/watch?v=DL54lmAlHI8&ref=djbooga.com) (Vibe'z, 1997 / 84 bpm) 8. Luke Vibert - [Fused Into Music](https://www.youtube.com/watch?v=wX9IJJLKt%5FQ&ref=djbooga.com) (Mo Wax, 1997 / 84 bpm) 9. Decoder - [Vapour Dub](https://www.youtube.com/watch?v=KFT8PQ%5FvPE4&ref=djbooga.com) (Hardleaders, 1998 / 84 bpm) 10. Deep Blue - [Oceans Above Life](https://www.youtube.com/watch?v=8t4RaBB1QRw&ref=djbooga.com) (Partisan, 1998 / 80 bpm) 11. Matrix - [Convoy](https://www.youtube.com/watch?v=YJf11ZReEtw&ref=djbooga.com) (Prototype, 1998 / 83 bpm) 12. Banaczech - [Ipcress File](https://www.youtube.com/watch?v=562z8AGXjEs&ref=djbooga.com) (Partisan, 1998 / 82,5 bpm) 13. Photek - [Yendi](https://www.youtube.com/watch?v=lHlx%5FkxIet8&ref=djbooga.com) (Science, 1998 / 85 bpm) 14. Tertius - [Structure (Deep Blue Mix)](https://www.youtube.com/watch?v=ZjCeBVnzCVs&ref=djbooga.com) (Partisan, 1998 / 85,5 bpm) 15. Jonny L - [Approaching](https://www.youtube.com/watch?v=7mjnkkPwAos&ref=djbooga.com) (Piranha, 1999 / 86,5 bpm) 16. Q-Project - [Radar](https://www.youtube.com/watch?v=9EtfAxDpIBE&ref=djbooga.com) (Good Looking, 1999 / 86 bpm) 17. Digital - [Deadline](https://www.youtube.com/watch?v=5Kz1sNDdPOI&ref=djbooga.com) (31, 2000 / 86 bpm) I know that I'm stretching my own requirement with the Deep Blue remix and the Q-Project track but hey, they are so good they had to be in the list. Check out the tracks in this YouTube playlist: [Proto-Halftempo Drum and Bass 1994-2000](https://www.youtube.com/playlist?list=PL1mmKN-JR9Fk3iNENupi99nR1ugMWW94S&ref=djbooga.com). ## Subvert previews artist page Last week I [wrote](https://www.djbooga.com/notes-from-the-forest-7/#bandcamp-vs-subvert) about the co-op based Bandcamp competitor [Subvert](https://subvert.fm/?ref=djbooga.com). Since then, they have released a [preview](https://www.youtube.com/watch?v=se0cjO93HjQ&ref=djbooga.com) of their upcoming artist page, which looks promising. The discussions in the platform's [forum](https://forum.subvert.fm/?ref=djbooga.com) on this topic, but also in general, are interesting to say the least, the signal to noise ratio is way above average. There is no better time to get involved than now. ## Apple Music doesn't get artist fan relationship Last [summer](https://x.com/djbooga/status/1828366797050888458?ref=djbooga.com) I wondered why I couldn't follow an artist on Apple Music. A [community thread](https://discussions.apple.com/thread/251126291?sortBy=rank&ref=djbooga.com) told me that Apple had removed the feature in 2018\. What I didn't know at the time was that in the summer of 2023, they [reintroduced](https://www.youtube.com/watch?v=CY354klD-YQ&ref=djbooga.com) the ability to follow an artist. How could I have missed this? Apple didn't bother to implement the Favorites button in the desktop Music app, where I prefer to manage and listen to my music. My 2015 laptop runs macOS 12, and the Music app on that system does not have the same feature set as the newer version on the current MacOS. I could think of good reasons to support older software with simple but essential features to support the artist-fan relationship, but what can I do? With an Apple Music subscription and a phone running iOS 17, I was able to favorite artists in the app by tapping the star icon on the artist page. I don't remember if the app told me what to expect when I favorite an artist, though. What I did not expect to happen was that after *about half an hour*, the artists I favorited appeared at the bottom (!) of the Apple Music home screen, and I only know this because I looked for it. Now, what I expected to happen is that when I tap on the artist icons, it takes me to the artist page, right? Lol no, it plays a random song from the artist, and not even from the latest release, just a random song from their entire repertoire, while a full screen player interface shows you the controls and which random track from the artists is coming next - that's it. If you're curious enough to tap on the artist name, a pop over will give you two buttons, one to the artist page and the other to the song's album. I can navigate to favorite artists in the mobile app only and not in the desktop app since that feature is not there in my version of the app. As a label owner I wanted to know if an artist gets a notification when a new fan hits the favorite button and if the artist can see the fan count in the [Apple Music for Artists app](https://apps.apple.com/de/app/apple-music-for-artists/id1366467972?ref=djbooga.com). No, the artist won't know if there's a new fan on the app or the total number of fans, where the fans are from and what releases they are favoriting by them. In fact, everything that artists can learn in real time about their fan relationships from the [Bandcamp for Artists & Labels app](https://apps.apple.com/us/app/bandcamp-for-artists-labels/id1185670538?ref=djbooga.com) is completely missing from the Apple Music for Artists ecosystem. To be fair, the Apple Music for Artist app offers two insights that no other app does: it shows the number of [Shazams](https://www.shazam.com/?ref=djbooga.com) for each track and the city in which it happened. It also shows information about radio plays and the exact station. ## Please follow Bob Macc Robert Macciochi is a professional [mastering engineer](http://www.scmastering.com/?ref=djbooga.com) with a deep love for music, musicians, and engineering. He occasionally writes smart and funny posts on his [blog](https://bobmaccsblog.wordpress.com/?ref=djbooga.com) about mastering but more importantly about mixing and the relationship between the two processes. Every time my [rss feed reader](https://reederapp.com/classic/?ref=djbooga.com) tells me he has posted something new, I [instapaper](https://www.instapaper.com/?ref=djbooga.com) it immediately - because I know I will learn something new. Yes, it is that good. ## What I'm working on At the moment, I am mainly busy writing applications. --- *🌱 The title of the weekly notes refers to Erin Kissane's* [*dark forest*](https://www.djbooga.com/notes-from-the-forest/#the-dark-forest) *metaphor for a resilient and non-gamified human network on the web.* ### Notes from the forest #7 URL: https://www.djbooga.com/notes-from-the-forest-7/ Last updated: 2025-11-18T08:44:59.000Z ## Responsible sovereignty Last week [I ended the notes](https://www.djbooga.com/notes-from-the-forest-6/#how-to-interweb-in-2025) with a question about how we like to communicate with people on the web instead of dealing with algos from [centralised surveillance networks](https://www.theguardian.com/technology/2019/jan/20/shoshana-zuboff-age-of-surveillance-capitalism-google-facebook?ref=djbooga.com). I recommended to look out for platforms in responsible ownership. > The TikTok ban, the Musk Twitter takeover, the Facebook moderation policy changes, the Republicans’ rapidly intensifying crackdowns on speech... let these be the proof you needed to move anything you care about online to a space you control. Digital sovereignty is more important than ever. – [Molly White](https://www.mollywhite.net/micro/entry/202501190959?ref=djbooga.com) It is indeed a good time to talk about [digital ownership](https://www.citationneeded.news/we-need-to-talk-about-digital-ownership/?ref=djbooga.com) as Molly White does. Here's a good concept on how to achieve digital sovereignty and reclaim social media in a responsible way: POSSE = Post (on) Own Site Syndicate Elsewhere. Please read Molly White's [very good explanation of POSSE](https://www.citationneeded.news/posse/?ref=djbooga.com). If you want to jump right in, have a look at [Micro.blog](https://micro.blog/?ref=djbooga.com), run by [Manton Reece](https://www.manton.org/about/?ref=djbooga.com) (author of [Indie Microblogging](https://book.micro.blog/?ref=djbooga.com)). The service allows you to automatically cross-post to Mastodon, Bluesky, Threads, Tumblr, Nostr, LinkedIn, Medium, Pixelfed and Flickr. Most importantly, Micro.blog supports [the export](https://help.micro.blog/t/exporting-from-micro-blog/557?ref=djbooga.com) of all your posts and data should you consider moving to another platform - no lock-in really. But the first thing you could do is to get a domain name yourself, like I did with djbooga.com. Do you need any tips on how to do this and what to avoid? [Sign up to comment](https://www.djbooga.com/about/#/portal/signup) or [write to me](mailto:blog@djbooga.com) and I consider coming up with a dedicated article. ## Bandcamp vs Subvert In their [Bulletin #001](https://blog.bandcamp.com/2023/11/22/bandcamp-bulletin-001-highlights-from-2023-whats-next/?ref=djbooga.com) from November 2023 the new [Bandcamp](https://bandcamp.com/?ref=djbooga.com) owners and parent company [Songtradr](https://www.songtradr.com/?ref=djbooga.com) promised to work on automated releases and public playlists ([private playlists](https://blog.bandcamp.com/2023/02/22/the-bandcamp-app-now-supports-playlists/?ref=djbooga.com) are available since February 2023), both features haven't been shipped yet. They shipped these features in 2024 though: - a better [discovery tool](https://blog.bandcamp.com/2024/04/25/new-in-discover-search-and-filter-by-combining-tags/?ref=djbooga.com), where you now can search and filter by combining genre tags - [private streaming sharing](https://blog.bandcamp.com/2024/06/24/private-streaming-lets-link-up/?ref=djbooga.com) of albums and tracks with visitor and play count insights - Bandcamp [partners with Linkfire](https://www.linkfire.com/blog/bandcamp-linkfire-partnership?ref=djbooga.com) to include the platform on release link pages In the spirit of looking at platforms in responsible ownership or to be precise in steward-ownership, I registered my label [Defrostatica](https://defrostatica.bandcamp.com/?ref=djbooga.com) on [Subvert](https://subvert.fm/?ref=djbooga.com), a platform that describes itself as "Own and control the next Bandcamp". The people behind Subvert put in the time, effort and money to build and explain how they strive to achieve this: > Subvert is a cooperative working to build an online marketplace where artists and labels can sell music and merchandise directly to their supporters. Our goal is to provide a comprehensive and transparent look into how we operate as a collectively owned music platform. – [Subvert documentation](https://subvert.fm/docs/?ref=djbooga.com) Until now, the concept of Subvert has been theoretical, but in [just three days](https://subvert.fm/roadmap/?ref=djbooga.com), Subvert will be giving its members a first glimpse of what's to come: Platform Preview (Artist Page + Audio Player Experience) on the 30th of January. I'm excited about that! The public launch is aimed at summer 2025. Oh and Bandcamp has not been posted a Bulletin #002 until now. ## 5 Ways To Beat The Winter Blues From the *place for bass with no boundaries* aka [1 More Thing](https://1-more-thing.co.uk/?ref=djbooga.com) run by Dave Jenkins comes a helpful listicle for those affected by the miserable season we're literally and [figuratively](https://www.tbray.org/ongoing/When/202x/2025/01/22/In-The-Minority?ref=djbooga.com) all in at the moment. [The five tipps](https://1-more-thing.co.uk/culture/5-ways-to-beat-the-winter-blues/?ref=djbooga.com) to beat the blues put together by Shenice Friday are sound. I'm team vitamin D supplement. ## Can music discovery be automated? Earlier this month [DJ](https://djmag.com/news/algorithm-free-music-discovery-app-djs-lazyrecords-launched?ref=djbooga.com) [mags](https://www.dj-lab.de/lazyrecords-neue-app-liefert-musikentdeckungen-ohne-algorithmus/?ref=djbooga.com) reported on a new web app called [Lazyrecords](https://lazyrecords.app/?ref=djbooga.com), because the new platform "wants to cut through the homogeneity of algorithm-driven recommendations" and to help djs find new music. Alright, how does it work? The service uses [Discogs](https://www.discogs.com/?ref=djbooga.com)' huge record database, which has eight million entries with YouTube videos to preview the actual recorded music. LazyRecords lets users filter music by Discog's genre catalog and then shows a handful YouTube tracks *at random*. Despite of the platforms claim that the app is algorithm free, *random* is an algorithm – if it's a helpful one in this regard is up to your taste. If Lazyrecords wants to win the hearts and minds of artists as well as DJs, they should put buy links next to the track names, preferably to Bandcamp and in the future to Subvert. ## What I'm working on I finished a refix of [Woanders](https://www.youtube.com/watch?v=LOmx8Lzt5AY&ref=djbooga.com) by Trettmann for a dj gig in two weeks and I'm currently working on an article on the relation of original music and remixes, stay tuned. --- *🌱 The title of the weekly notes refers to Erin Kissane's* [*dark forest*](https://www.djbooga.com/notes-from-the-forest/#the-dark-forest) *metaphor for a resilient and non-gamified human network on the web.* ### Notes from the forest #6 URL: https://www.djbooga.com/notes-from-the-forest-6/ Last updated: 2025-01-21T08:02:32.000Z ## Boiler Room sold out Last week [I wondered](https://www.djbooga.com/notes-from-the-forest-5/#boiler-room-2025-audience-report) who the audience for Boiler Room's Youth Report really was and three days later I found the answer: Boiler Room's parent company Dice sold the venture to European festivals organiser [Superstruct Entertainment](https://www.reuters.com/markets/deals/blackstone-cvc-consider-bids-superstruct-festivals-firm-sources-say-2024-04-11/?ref=djbooga.com) (Sonar in Spain and Mysteryland in the Netherlands, a.o.) who is owned by private quity giant KKR who is accused of [environmental racism](https://www.ehn.org/private-equity-giant-kkr-is-funding-environmental-racism-new-report-finds-2665280171.html?ref=djbooga.com) and currently being sued by the [Department of Justice](https://www.justice.gov/opa/pr/justice-department-sues-kkr-serial-violations-federal-premerger-review-law?ref=djbooga.com). It all felt different in 2019 though, when Sherelle dropped her ground-breaking [footwork jungle set](https://www.youtube.com/watch?v=Z4%5FKD9UhdCE&ref=djbooga.com) \- good times. ## Partisan Records Surge I cross posted the Moving Shadow - Partisan - Over/Shadow [timeline articles](https://www.djbooga.com/notes-from-the-forest-5/#moving-shadowpartisanovershadow) on [Dogs On Acid](https://www.dogsonacid.com/forums/the-board/?ref=djbooga.com), a UK based message board dedicated to jungle drum and bass music. The thread sparked a new interest in Partisan Records and unearthed two lost interviews with the label's founders, which are revealing to say the least. As the magazines in which they originally appeared have disappeared from the web for years, I'm currently considering republishing them here and making them available to the public again. In the meantime, check out this great [Partisan tunes-only mix](https://www.wozowski.com/blog/?p=1354&ref=djbooga.com) by Woz from 2017. ## Rashad x Om Unit Interview in XLR8R Since [cross-pollination](https://www.djbooga.com/notes-from-the-forest-4/#a-timeless-take-from-sam-binga) is kind of my thing I wanted to link to one of my favourite interviews from 2013: "[DJ Rashad and Om Unit](https://xlr8r.com/features/b2b-dj-rashad-and-om-unit-compare-notes-about-their-new-albums-and-discuss-the-cross-pollination-of-footwork-and-jungle/?ref=djbooga.com) Compare Notes About Their New Albums and Discuss the Cross-Pollination of Footwork and Jungle". It's still so refreshing to read how they connect the genre dots in real time and are open to collaboration to push things forward. Now is the best time to read it and probably save it too, as the XLR8R mag has [closed up shop](https://firstfloor.substack.com/p/xlr8r-closed-up-shop-and-nobody-really) in December last year and nobody seems to know if the articles remain online. ## How to interweb in 2025? The German ambassador to the US [said two days ago](https://www.reuters.com/world/us/german-ambassador-warns-trump-plan-redefine-constitutional-order-document-shows-2025-01-18/?ref=djbooga.com) that Trump is likely to hand big tech companies "co-governing power". For the record: Tim Cook (Apple), Jeff Bezos (Amazon, Washington Post), Mark Zuckerberg (Meta, Instagram), Sam Altman (OpenAI) - all pledged $1 million to Trump’s inaugural fund. I think it's a good time to think about how we like to communicate on the web, how we like to build our networks, and how we like to be independent of publicly traded mega-corporations. There is some good news about the alternative called [Fediverse](https://socialwebfoundation.org/what-is-the-fediverse/?ref=djbooga.com): 1. [Mastodon](https://blog.joinmastodon.org/2025/01/the-people-should-own-the-town-square/?ref=djbooga.com) announced that it is going to transfer ownership to a new non-profit organization. 2. [Ghost](https://activitypub.ghost.org/the-story-so-far/?ref=djbooga.com) (a [non-profit](https://john.onolan.org/democratising-publishing/?ref=djbooga.com) organization) announced that ActivityPub, the technical standard on which Fediverse runs, will be coming to the blogging platform in 2025: "Suddenly, we could see a path to your personal website becoming the single source of your identity on the social web." They have confirmed that this will work on their [hosted platform](https://ghost.org/?ref=djbooga.com) as well as on self-hosted Ghost blogs. In my view the key difference to mainstream platforms is responsible ownership. ## What I'm working on In light of the good news from the Fediverse, I will be thinking more about the concept of a future [Defrostatica](https://defrostatica.bandcamp.com/?ref=djbooga.com) website as an instance in the Fediverse and how to involve our artists in this. --- *🌱 The title of the weekly notes refers to Erik Kissane's* [*dark forest*](https://www.djbooga.com/notes-from-the-forest/) *metaphor for a resilient and non-gamified human network on the web.* ### Notes from the forest #5 URL: https://www.djbooga.com/notes-from-the-forest-5/ Last updated: 2025-01-21T10:07:27.000Z ## Boiler Room 2025 Audience Report The report is called [The New Rules of Youth Culture](https://boilerroom.tv/page/audiencereport?ref=djbooga.com) and says: "For our community, music isn’t just entertainment. It’s a tool for connection, a catalyst for well-being, and a platform for cultural exchange." In their study they focused on people aged 18-34 from all over the world. ![](https://www.djbooga.com/content/images/2025/01/CleanShot-2025-01-12-at-11.25.59.png) Page from the Boiler Room 2025 Audience Report I was hoping the audience report would tell me something new about how young people relate to the moving parts of the music life – like artists, producers, DJs, performers, labels and their platforms. Do they prefer to buy or stream music? How do they support their favourite artists? Do they know what problems independent artists and labels have to deal with when it comes to [mood machines](https://firstfloor.substack.com/p/liz-pelly-wrote-a-book-about-spotify) like Spotify and [monopolistic gatekeepers](https://www.djbooga.com/the-epic-games-bandcamp-deal/) like Apple? Do they want to get involved, like by making music, organising nights or becoming a DJ, and what's their motivation? What's stopping them from getting involved? Despite the summaries in the picture above the report does not provide answers to my questions as a label owner. On the other hand the target group for the report may not be those active in the independent music sector, but [potential investors](https://www.musicbusinessworldwide.com/dice-exploring-sale-valuing-it-at-hundreds-of-millions-of-dollars-report/?ref=djbooga.com) interested in customer data provided by Boiler Room's parent company DICE, a ticketing enterprise. Here's the call to action at the end of the report: > This report outlines the major themes and key findings from our audience research. Get in touch with us to explore deeper insights about the Boiler Room community – from detailed behavioral analysis to market-specific data across attitudes, beliefs and cultural trends: partnerships@boilerroom.tv. Did the people in the study knowingly agree to their data being processed by third parties? As 'pragmatic technologists', they may have. ## 25 Ideas to Keep Your Music Scene Alive Drowned In Sound, the weekly newsletter about *the future of music + music recommendations* offers a [good list of tips](https://www.drownedinsound.org/25-ideas-to-keep-your-music-scene-alive-in-2025/?ref=djbooga.com) on how to support your local venue, record labels, acts and independent music media. The list is the result of a [community effort](https://community.drownedinsound.com/t/how-to-support-the-musicians-and-music-scenes-you-love/86066/2?ref=djbooga.com) to gather these ideas. Of course this one resonated well with me: > Labels invest in the music you love, so show them some love back. I like the thoughtful *Why it matters* sections a lot. ## Moving Shadow - Partisan - Over/Shadow For the jungle drum and bass people interested in past and present of the wider shadow universe spanning three different labels I recommend these insightful profiles. In [The Strange World Of… Moving Shadow](https://thequietus.com/interviews/strange-world-of/the-best-of-moving-shadow/?ref=djbooga.com) Joe Muggs looks at the beginnings of the label and the context of how hardcore, jungle and drum and bass music became popular, which artists influenced the sound and how they pushed each other to new limits creatively. > Budding producer Rob Playford started in classic rave style selling his own white labels out of the back of a BMW – he borrowed a book on starting a label out of the library, following it step by step. – Joe Muggs The short-lived but highly influential label Partisan Recordings (1997-1999) was [profiled 2012 on the God Is No Longer A DJ blog](https://godisnolongeradj.wordpress.com/2012/12/09/whatever-happened-to-partisan-recordings/?ref=djbooga.com): In the late summer of 1997 and after legal wrangling with Moving Shadow’s head honcho Rob Playford the entire staff of five people resigned from their posts and founded Partisan Recordings, hence the five-pointed red star featuring as the label’s logo. > “The label was born out of distinguishing between right and wrong in an attempt to operate in an ethical manner.” – Caroline Butler (label manager) Ben Hindle tells the story of the late successor to Moving Shadow in [The Sound of: Over/Shadow](https://djmag.com/features/sound-overshadow-2-bad-mice-interview?ref=djbooga.com). > Sean explains how they always felt they had “unfinished business” with Moving Shadow, however, and almost two decades later, they decided to do something about it. Having stayed in touch with many of the label’s artists over the years, in 2018 they invited over 30 members of the extended crew to a pub in King’s Cross, London, and floated the idea of a new outlet. It was a rather good idea that spawned [cutting edge drum and bass music](https://over-shadow.bandcamp.com/music?ref=djbooga.com) from long standing artists like Paradox, 2 Bad Mice but also new talents like Sully and Arcane. ## What I'm working on This week I published an [interview with DJ Crystl](https://www.djbooga.com/dj-crystl-the-remixes-album-interview/) and made plans with [Sun People](https://campsite.bio/sunpeople?ref=djbooga.com) & Tina on this year's [label anniversary](https://defrostatica.bandcamp.com/?ref=djbooga.com). --- *🌱 The title of the weekly notes refers to Erik Kissane's* [*dark forest*](https://www.djbooga.com/notes-from-the-forest/#the-dark-forest) *metaphor for a resilient and non-gamified human network on the web.* ### DJ Crystl - The Remixes Album & Interview URL: https://www.djbooga.com/dj-crystl-the-remixes-album-interview/ Last updated: 2025-11-17T08:55:51.000Z The effect of Warpdrive by DJ Crystl on me as a young jungle drum and bass dj was undeniable because the tune felt bold and iconic while maintaining a dj friendly flow. It turned out that Warpdrive stood the test of time: An originally twisted amen pattern paired with a mad noise loop on top of accented sub bass drops until the tune serves the iconic breakdown into a mystic two tone pad that built nothing but euphoria before the beats kicked in again. I bought the tune when it came out on the [Drum & Bass Selection 1](https://www.discogs.com/de/release/97955-Various-Drum-Bass-Selection-1-16-Of-The-Most-Requested-Rewinds?ref=djbooga.com) compilation of Breakdown / Suburban Base Records in 1994 and it stayed with me as a secret weapon for years. From then on then I had bought every tune from DJ Crystl on sight but not for long as he didn't make new tracks. In a recent [interview](https://slowmotion.blog/2024/12/22/utilising-the-transients/?ref=djbooga.com) with Derek from Slowmotion blog he tells the story of his upbringing into hardcore jungle music, explained what happened when he was offered an album deal from a major label and how he got back in the game just two years ago – it's a great read. I linked to this interview in [last week's notes](https://www.djbooga.com/notes-from-the-forest-4/) as I was excited to learn anything about Dan Chapman aka DJ Crystl. On Instagram I tagged [him](https://www.instagram.com/djcrystl%5Fofficial/?ref=djbooga.com) when I promoted the blog post and to my surprise he reached out. The result of that awesome interweb moment is a new interview\* with him and a review of his [Remixes Album Project](https://djcrystl.bandcamp.com/merch/dj-crystl-the-remixes-album-usb-collectors-edition?ref=djbooga.com) below. Alright, *let it roll!* 🔊 While you're reading, here's a [playlist of DJ Crystl classics](https://www.youtube.com/playlist?list=PL1mmKN-JR9FlrxOFzvNlp5qZ8O23nQ%5Fkq&ref=djbooga.com). **Are you a night owl or an early bird?** Early bird. My day starts at 5am. **What music are you listening to when there's no set to prepare?** I often listen to a lot of dj sets from djs I like. Loxy, Bailey, Storm, Benny L, Digital, Outrage, Kiljoy, Dom & Roland to name a few. Other than that I'll regularly tune into Kool FM for certain shows like Bailey Intabeats and Storms show. Other musical interests when not listening to jungle and dnb is late 90's hip hop, I often catch mixes from my good friend DJ MK to hear what's going on in hip hop both old and new. **What's your favorite breakfast cereal and favorite comfort food?** Weetabix and shreddies. Spag bol and I love chocolate. Sorry actually I meant to say bone broth and tofu lol. **Do you feel jungle is more like an over-fit grandparent that can't let go or rather an undead relative powered by expectations and rejections of other new genres?** Jungle and drum and bass is what it is. A genre and culture unlike anything else. It stood the test of time and only continues to grow bigger and stronger in all its glorious forms. Nothing can touch it. It doesn't care what people think. ![VA - Jungle Massive 2 (Collective Records, 1994)](https://www.djbooga.com/content/images/2025/01/let-it-roll-1994.jpg) VA - Jungle Massive 2 (Collective Records, 1994) **Is there a future beyond warming up early 90's jungle and where would you enjoy to see it evolving towards, how will it hopefully sound like?** > The old with the new, the rough with the smooth as DJ Storm says. Where the scene is right now is very special and I see it continuing to evolve with even more artists old and new introducing more breakbeats and late 90's to naughties influences. The old with the new, the rough with the smooth as DJ Storm says. The future of drum and bass is keeping it original and fresh with nods to the OG foundations. Never forget where it came from. **Who's one to watch, may it be old skool heritage or fresh steps taken? Where to find the exciting beats and inspiring sounds?** The one like Fierce is coming back. He also has done a remix for my album which is slamming. I don't really follow too much in terms of who's new and up and coming but my mate and breakbeat enthusiast John Rolodex has some very fresh talent coming from his stables on his label Machinist Music. He also has done a fantastic remix for my album. **Did some producers in the past approach you to remix some of your classics? And how did you handle that?** Yes I've had many producers over the years ask me if they could remix my old tracks. At the time it probably wasn't something I wanted to explore. **The 2023 Golden Era Collection USB (sold out) contains a remix of Warpdrive by DJ Trax, it is not part of the actual *Remixes Album* – why is that?** Oh yeah, this was a wicked montage of both of my OG versions of Warpdrive that DJ Trax did as a special dub plate. He approached me with it and I loved it. It wasn't an actual “official” remix and we wanted to keep it as a dub plate – although I did add it to the Golden Era Project but it isn't uploaded anywhere as an official release to download. My new *Remixes Album 2025* is a more “modern” dance-floor take on my old classics so the more retro sounding vibes wouldn't suit this project. > BBoyism is an attitude, a way of expression that I like to embody in my work. **In the credits to the Golden Era Collection USB you called DJ Trax "an all round oldskool bboy producer of the highest level". How important is bboyism as a state of mind to you?** BBoyizm is everything I have grown up with, it's something that's just there in my blood running through my veins. It plays a massive part in the way I go about my production, everything from how something drops to the use of a simple stab sample to the way I make my drum patterns and filter effects. It's an attitude, a way of expression that I like to embody in my work. Both music and actual art. **Although you did hip hop inspired artwork for labels like Lucky Spin you commissioned 'OG MEAR' for the artwork of The Remixes. What is the story behind the reference to graffiti and the artist you chose?** I wanted to make something special for the *Remixes Album*. Something that would feel like and look like it's a part of me and what I love. Grafitti has been a part of my life just the same as everything else bboy related. But this time I wanted to bring in an artist and I chose UK artist and writer MEAR. I've known of him since the 80's back in the days when I used to ride the northern line. Thanks to social media I started following him on instagram a few years ago and liking his works. I asked if he could get involved in creating the Album cover which he agreed to. I had no doubt he would come through with something special. **Why don't you like djing despite your name?** It's not to say I don't or will never dj again. I will return to the decks one day but for now fully focused on making new music for the people dem. **When you dj, do you use the loop function or sync button or both?** If I did dj – I wouldn't use either. ![Let It Roll 2004 / Warpdrive 2004 (Photek Records 2004)](https://www.djbooga.com/content/images/2025/01/let-it-roll-2004.jpg) Let It Roll 2004 / Warpdrive 2004 (Photek Records 2004) **Apart from a recent remix you did for Keep Your Nose Out only 5 tunes from your works are available on streaming platforms, a little bit more can be found on popular download shops. Most of the Golden Era tracks are available on Hardcore Junglism. Your general release strategy evolves around exclusivity on Bandcamp though where you put tracks, stems, exclusive mix sets on USB cards with no previews at all. What is the reason behind all that?** I have always preferred exclusivity and a bit of mystery. I'm not a fan of streaming or uploading much digitally to those kinda platforms. I will however at some point release all the remixes digitally and streaming so it can reach wider but not until much later in 2025\. The album project is physical only and it's created as a collectors edition. **Currently you are working with Digital and Outrage on a release for Function Records. What is your relation to both and what kind of tracks is to be expected coming from you?** It was a natural progression to end up working with Digital and Outrage seeing that Outrage just remixed Meditation and he is part of the Function Records family as is Kiljoy. Phase 02 of my remix project was to release some singles from the *Remixes Album* on vinyl throughout 2025 along with a collaboration. I decided to offer Kiljoys *Let It Roll* remix to Function Records and that then progressed into Digital and Outrage suggesting to also add the new *Meditation Remix* to this release plus a collab by all three of us. What's crazy is although we had all been a part of this scene since the beginning – I'd never had the chance to actually meet them until now. We got a date in the diary for the collab and all met at Outrage's house/studio. Needless to say it was pure vibes from the start. We smashed out a naughty little banger which is more than a nod to the magical Blue Note Metalheadz era. Something we all realised we shared the love for. The track is called *Killa* and it's a true heavy stepper with hard thumping amens and deep sub basses. This will be available in 2025, no set date as of yet. We have since got together again and created yet another banger in the same direction as *Killa*. Expect a lot more throughout 2025 from Digital x Crystl x Outrage. *\* Thanks to* [*LXC*](http://www.lxc808.com/?ref=djbooga.com) *and* [*LUI*](https://linktr.ee/luuiii?ref=djbooga.com) *from the Leipzig Rum'n'Bass chat group who came up with additional questions for DJ Crystl.* ![](https://www.djbooga.com/content/images/2025/01/dj-crystl-the-remixes.jpg) ## DJ Crystl - The Remixes Album *The Remixes Album* is available as a merch item only on [his Bandcamp](https://djcrystl.bandcamp.com/merch/dj-crystl-the-remixes-album-usb-collectors-edition?ref=djbooga.com), no streaming platforms, no official download shop release – just a beautifully designed USB card with 14 tracks in highres audio format. With DJ Crystl's permission I created audio previews each containing snippets from the original track and then the remix. This way you may get a feel for the remix work that has been done considering that between the originals and the remixes are three decades of jungle drum and bass evolution. You witness not just a pitch to higher bpm's but a whole new level on production quality of what is possible today. Some things don't change though and the prominence of the [Amen break](https://www.youtube.com/watch?v=FFKMtv8tU0U&ref=djbooga.com) is a testament to the genre's robust foundation. If you're curious about the original tracks by DJ Crystle, here's a [YouTube playlist](https://www.youtube.com/playlist?list=PL1mmKN-JR9FlrxOFzvNlp5qZ8O23nQ%5Fkq&ref=djbooga.com) of all of them including the reworks from 2004 released on Photek's label. His [Golden Era Collection](https://djcrystl.bandcamp.com/merch/dj-crystl-the-golden-era-collection-usb-pre-order-item?ref=djbooga.com) on USB is sold out unfortunately but have a look on [Hardcore Junglism](https://hardcorejunglism.com/?post%5Ftype=product&s=dj+crystl&asp%5Factive=1&p%5Fasid=1&p%5Fasp%5Fdata=1&filters%5Finitial=1&filters%5Fchanged=0&qtranslate%5Flang=0&woo%5Fcurrency=GBP¤t%5Fpage%5Fid=20998&ref=djbooga.com) for more of his early music. Quick rewind to what DJ Crystl said in the interview about the remixes: > My new Remixes Album 2025 is a more “modern” dance-floor take on my old classics so the more retro sounding vibes wouldn't suit this project. And now the full track list: 1. DJ Crystl - The Dark Crystl (Dom & Roland Remix) 6:47 2. DJ Crystl - Inna Year 4000 (Tech Itch Remix) 8:48 3. DJ Crystl - King of the Beats (Fierce Remix) 5:39 4. DJ Crystl - Mindgames (Dj Crystl Remix) 10:21 5. DJ Crystl - Paradise (Voyager Remix) 7:11 6. DJ Crystl - Warpdrive (Benny L Remix) 6:44 7. DJ Crystl - Let It Roll (Kiljoy Remix) 6:30 8. DJ Crystl - Meditation (Outrage Remix) 6:52 9. DJ Crystl - Experience (Dj Crystl Remix) 8:06 10. DJ Crystl - Deep Space (Tech Noir Remix) 5:42 11. DJ Crystl - Crystlize (Friske Remix) 6:32 12. DJ Crystl - Your Destiny (John Rolodex Remix) 6:12 13. DJ Crystl - 183 (Dj Crystl Remix) 4:39 14. DJ Crystl - MindGames Special VIP (Scar Remix) 4:56 ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/01-DJ-Crystl---Dark-Crystal--Dom-and-Roland-Remix-_thumb.jpg) 01 DJ Crystl - Dark Crystal (Original + Dom and Roland Remix) 0:00 /48.06530612244898 1× The trademark thunder kicks on [Dom and Roland](https://domandroland.bandcamp.com/?ref=djbooga.com)'s amen breaks are rolling into the intro pads and for anyone familiar with his dystopian take on drum and bass this feels like home but with that DJ Crystl pads touch. After the second drop he turns the carnage knob considerably. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/02-DJ-Crystl---Inna-Year-4000--Tech-Itch-Remix-_thumb.jpg) 02 DJ Crystl - Inna Year 4000 (Original + Tech Itch Remix) 0:00 /48.06530612244898 1× This is another perfect example of an escalating second drop, [Tech Itch](https://www.last.fm/music/Technical+Itch/+wiki?ref=djbooga.com) takes his time working the amen with a hint of how Dillinja used his own vox samples as a kind of overdub commentary. Heavenly brutal remix. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/03-DJ-Crystl---King-of-the-Beats--Fierce-Remix-_thumb.jpg) 03 DJ Crystl - King of the Beats (Original + Fierce Remix) 0:00 /48.06530612244898 1× I love the original drum cascade and how it is pitched lower towards the end of the pattern and it feels like it is drowning in itself. In his remix [Fierce](https://www.youtube.com/watch?v=q9PV6lcLChU&ref=djbooga.com) is focussed razorsharp on the main characteristics of the rhythm pattern, I dare say it reminds me of how Doc Scott used to lay out beats. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/04-DJ-Crystl---Mindgames--Dj-Crystl-Remix-_thumb.jpg) 04 DJ Crystl - Mindgames (Original + DJ Crystl Remix) 0:00 /48.06530612244898 1× DJ Crystl himself elevates his atmospheric [Good Looking](https://djmag.com/content/good-looking-records-release-back-catalogue?ref=djbooga.com) tune with a playful and funky bassline into a bolder version, stripping the motif to its bare essential and adding an amen to that – 2025 style. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/05-DJ-Crystl---Paradise--Voyager-Remix-_thumb.jpg) 05 DJ Crystl - Paradise (Original + Voyager Remix) 0:00 /48.06530612244898 1× Paradise is such a gem, the bell melody is immediately recognisable and the second generation think break feels perfect in combination in the original. DJ Crystl's co-producer & engineer Voyager decided to go with the [cold sweat breakbeat](https://www.youtube.com/watch?v=zCGeG4jzYDk&ref=djbooga.com) for the remix combining it with another funky breakbeat for more depth. The atmospheric roller remix is a great ode to the original. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/06-DJ-Crystl---Warpdrive--Benny-L-Remix-_thumb.jpg) 06 DJ Crystl - Warpdrive (Original + Benny L Remix) 0:00 /48.06530612244898 1× Enough said about the epic Warpdrive tune, here comes the remix by [Metalheadz late generation](https://www.metalheadz.co.uk/artist/benny-l?ref=djbooga.com) artist Benny L. It's a true "the remix can't be better than the original" type of situation, the stakes are high and all. But he knocks it out of the park because he took the amend pattern AND made it his own, big one. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/07-DJ-Crystl---Let-It-Roll--Kiljoy-Remix-_thumb.jpg) 07 DJ Crystl - Let It Roll (Original + Kiljoy Remix) 0:00 /48.06530612244898 1× I love the original because of it's inherent bboy feel, imagine how one could boogie to this. To appreciate the remix by Kiljoy to the full extent you need to know he's a [Function Records](https://functionrecordsuk.bandcamp.com/music?ref=djbooga.com) artist, the label of Digital who had a long and legendary producer partnership with Spirit. The duo started the Phantom Audio label with [Phantom Force 12"](https://www.youtube.com/watch?v=gUvIKS0Y9OM&ref=djbooga.com) which felt like a much needed return to organic and raw breakbeats in 1999\. Kiljoy's Let It Roll Remix is a genious mashup of two north star tracks of jungle drum and bass music: Let It Roll and Phantom Force. If that reads as if that sounds a bit messy – listen to his master stroke. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/08-DJ-Crystl---Meditation--Outrage-Remix-_thumb.jpg) 08 DJ Crystl - Meditation (Original + Outrage Remix) 0:00 /48.06530612244898 1× [Outrage](https://outrage.bandcamp.com/?ref=djbooga.com) takes the original atmospheric jungle tune to contemporary production heights and adds drum edits with an edge that support the overall flow so well – definitely one of my fave remixes. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/09-DJ-Crystl---Experience--Dj-Crystl-Remix-_thumb.jpg) 09 DJ Crystl - Experience (Original + Dj Crystl Remix) 0:00 /48.06530612244898 1× The original track was re-released in 2022 on [Deep Jungle Records](https://deepjungle.bandcamp.com/album/dat059-dj-crystl-i-cant-understand-experience?ref=djbooga.com) which offers everything an excellent jungle tune needs: piano, vox sample and amen breaks. DJ Crystl takes Experience to standard dnb tempo, retaining almost exactly the amen edit while going in a little bit harder. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/10-DJ-Crystl---Deep-Space--Tech-Noir-Remix-_thumb.jpg) 10 DJ Crystl - Deep Space (Original + Tech Noir Remix) 0:00 /48.06530612244898 1× If you listen to the original it's barebones jungle drum and bass at its best, with typical mystic pads and the energizing bboy stab. Tech Noir is the project of Metalheadz artists [Mikal](https://www.metalheadz.co.uk/artist/mikal?ref=djbooga.com) and zouk bass pioneer [Riot](https://sumolsummerfest.com/line-up/riot/?ref=djbooga.com) and together they decided to come up with a new devastating bassline, making it a real headz remix. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/11-DJ-Crystl---Crystlize--Friske-Remix-_thumb.jpg) 11 DJ Crystl - Crystlize (Original + Friske Remix) 0:00 /48.06530612244898 1× The original was released in 1993, the version on [Deep Jungle](https://deepjungle.bandcamp.com/album/dat069-dj-crystl-crystlize-94-live-ep?ref=djbooga.com) is an unreleased version, likely a vip mix for Bukem. The continuous bleep sound is like a buoy in an ocean of amen waves and [Friske](https://www.metalheadz.co.uk/artist/friske?ref=djbooga.com) incorporated it as well although slightly different and more like a submarine ping. Top notch remix in my book. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/12-DJ-Crystl---Your-Destiny--John-Rolodex-Remix-_thumb.jpg) 12 DJ Crystl - Your Destiny (Original + John Rolodex Remix) 0:00 /48.06530612244898 1× Your Destiny is a hardcore tune at 155 bpm and John Rolodex decided to up the tempo to 165 bpm – a very fine range for jungle imho. I hope I don't offend anyone when I say the remix has this Paradox bboy feel to the breaks and the bass I absolutely love. The second drop with the layered breaks is a perfect weighted hommage, this is probably the most played remix this week. ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/13-DJ-Crystl---183--Dj-Crystl-Remix-_thumb.jpg) 13 DJ Crystl - 183 (Original + Dj Crystl Remix) 0:00 /48.06530612244898 1× In the original part I used the [Head Nod Dub](https://www.youtube.com/watch?v=sMo6cc64bpo&ref=djbooga.com) rather than [the real thing](https://www.youtube.com/watch?v=O94vYtFATpk&ref=djbooga.com). The boom bap version is so good and underscores why hip hop and the ethos it comes with feel like home for Crystl. It is fascinating to see how well the rhymes work on double time at 172 bpm as it has that live MC working the club over a baaad tune vibe. This is still a DJ Crystl tune mind you! ![audio-thumbnail](https://www.djbooga.com/content/media/2025/01/14-DJ-Crystl---MindGames-Special-VIP--Scar-Remix-_thumb.jpg) 14 DJ Crystl - Mindgames Special VIP (Original + Scar Remix) 0:00 /48.06530612244898 1× In contrast to DJ Crystl's new version the Scar duo (Survival and Script) decided to go full tech step with a switch up pattern on the drums and a bucket of filter sweeps. 👟 [DJ Crystl - The Remixes Album](https://djcrystl.bandcamp.com/merch/dj-crystl-the-remixes-album-usb-collectors-edition?ref=djbooga.com) I hope that DJ Crystl's album will re-engage old fans and attract new ones. The parallels between BBoyism and jungle drum and bass music also play a [role in my universe](https://daily.bandcamp.com/scene-report/b-boy-culture-drum-bass?ref=djbooga.com), so I feel very connected to this attitude. I look forward to more of his music, maybe I'll see him behind the decks once in my life. ### Notes from the forest #4 URL: https://www.djbooga.com/notes-from-the-forest-4/ Last updated: 2025-11-18T08:46:25.000Z ## DJ Crystl and the album that never was Simon Reynolds, coiner of the term [Hardcore Continuum](https://www.thewire.co.uk/in-writing/essays/the-wire-300%5Fsimon-reynolds-on-the-hardcore-continuum%5Fintroduction?ref=djbooga.com) and author of the highly recommended book [Energy Flash](https://www.genialokal.de/Produkt/Simon-Reynolds/Energy-Flash%5Flid%5F20184492.html?storeID=serifee&ref=djbooga.com), linked to a new interview [Utilising The Transients](https://slowmotion.blog/2024/12/22/utilising-the-transients/?ref=djbooga.com) with Jungle producer Dan Chapman aka DJ Crystl. His most famous and also my favorite tunes are [Warp Drive](https://www.youtube.com/watch?v=-5JJr4BvhzM&ref=djbooga.com) and [Let It Roll](https://www.youtube.com/watch?v=mdG24ajjn6w&ref=djbooga.com) from the 90s. In the interview he talks about from what tune Warp Drive was inspired by and it feels like it's the spirit of drum and bass itself. I learned two more fascinating bits: Despite his artist name, Chapman doesn’t relish DJing and he was signed to London (Warner Music) to make an album he admitted couldn't finish. I recommend the discussion in the comments of the [blog post](http://energyflashbysimonreynolds.blogspot.com/2024/12/the-crystl-vision.html?ref=djbooga.com) by Simon Reynolds about jungle albums on major labels being a disappointment in general and I disagree with Reynolds here: for example Photek - Modus Operandi and Source Direct - Exorcise the Demons are excellent albums despite being released on a major label. DJ Crystl is [active on Bandcamp](https://djcrystl.bandcamp.com/music?ref=djbooga.com), offering sample based production kits and a remix album in the merch section. ## A timeless take from Sam Binga Ten years ago the [producer](https://sambinga.komi.io/?ref=djbooga.com) from Bristol gave In Reach Mag an interview ["Cross-pollination at 160"](https://www.in-reach.co.uk/sam-binga-cross-pollination-160/?ref=djbooga.com) that aged surprisingly well. Come to think of it I should have read it back then! Avoiding too much seriousness while embracing imperfection and realness is the gist of what [Sam Binga](https://www.djbooga.com/150-bpm-club-tracks-playlist/) is all about but there are more levels for fans and creators of all-tempo breakbeat music that still hold weight. Highly recommed read. ## Muzak and artist remuneration Last week I [linked to a preview article](https://www.djbooga.com/notes-from-the-forest-3/#another-black-mirror-spotify-epsiode) of Liz Pelly's new book in which she says that Spotify paid other companies low budget fees to make 'Perfect Fit Content' so they wouldn't have to pay real artists more money. The cost-avoidance revelation was meant to cause solidarity to these musicians who not just make [Muzak](https://thebaffler.com/salvos/the-problem-with-muzak-pelly?ref=djbooga.com). Bristol based bass music producer [Om Unit took his music off Spotify](https://www.instagram.com/p/DDzNd97shgi/?ref=djbooga.com) without much explanation, kudos to him. But there is another perspective: I came recently across the [comment section](https://www.facebook.com/newyorker/posts/pfbid0gHHSUZjNHUWbrDCvvQJhpxy4m6x2T2P5oW1aXGjyXyEAuWDQqAdReRLDaQwK3VFcl) of The New Yorker on Facebook and it's basically void of empathy for artists although the article introduction is taking a side: "Unlike a record label, a tech company doesn’t care whether we’re hooked on the same hit on repeat or lost in a three-hour ambient loop, so long as we’re listening to something." Does that mean people don't like to [demonize Spotify](https://www.nplusonemag.com/online-only/online-only/i-am-here-to-demonize-spotify/?ref=djbooga.com) anymore and are willing to pay for whatever background noise supports their mood even it's not made by artists or humans? Not a good outlook. It is against this depressing backdrop of decontextualisation of music that the [Nintendo Music](https://apps.apple.com/us/app/nintendo-music/id6466376604?ref=djbooga.com) app has now been released. "An app for enjoying music from Nintendo games! Reliving your musical memories from across Nintendo's franchises, from Super Mario to Animal Crossing and beyond." And I get it, if you've played Zelda for hours and lost yourself in another world, listening to the soundtrack again might help you decompress. The app offers mood listening and an extended timer feature which allows you to listen game soundtracks in 15, 30 or 60 minute chunks. I wonder if the non-credited artists who originally composed and produced the music get paid from this new channel of licensed music. ## Laundry TV Can you imagine if Netflix executives were regularly telling screenwriters to “have characters announce what they’re doing so that viewers who have this program on in the background can follow along”? If not, then I recommend you get to know the bosses and how they are *really* seeing their customers in the excellent essay [Casual Viewing](https://www.nplusonemag.com/issue-49/essays/casual-viewing/?ref=djbooga.com) by Will Tavlin for n+1. ## What I'm working on The release schedule for [Defrostatica](https://defrostatica.bandcamp.com/?ref=djbooga.com) is up and I'm also putting together a concept for the website, which should be due in September when the label celebrates its 10th anniversary. What do you expect a label website to offer you? --- *🌱 The title of the weekly notes refers to Erin Kissane's* [*dark forest*](https://www.djbooga.com/notes-from-the-forest/#the-dark-forest) *metaphor for a resilient and non-gamified human network on the web.* ### Notes from the forest #3 URL: https://www.djbooga.com/notes-from-the-forest-3/ Last updated: 2025-11-18T08:46:38.000Z ## A.Fruit Interview + Mix In this [must read interview](https://wearestudio.fr/podcasts/adrenaline-a-fruit/?ref=djbooga.com), the Moscow-born artist delves into the inspirations behind her unique sound, reflects on music’s role during challenging times, talks about her efforts to support women in the industry, and reveals how she stays true to her artistic vision in the ever-evolving world of electronic music. Great questions by Maxime Temam from We Are Studio (France). > I must warn everyone that [this mix](https://soundcloud.com/wearestudio/adrenaline-afruit?ref=djbooga.com) is really heavy. I would recommend using it for a workout or for shaking off stress after work at home. Maybe listen with someone who shares your love of “weird” music and has an extremely cute bass face, or enjoy it alone while admiring your own extremely cute bass face in the mirror. Listen with the state of mind where you want to stop thinking and let your mind dance. – A.Fruit A.Fruit just released a new track called [Hummingbird Moth](https://annafruit.bandcamp.com/track/hummingbird-moth?ref=djbooga.com). ## Another Black Mirror Spotify Epsiode Liz Pelly, is it really necessary to keep going on with [negative views](https://thebaffler.com/salvos/the-problem-with-muzak-pelly?ref=djbooga.com) about music streaming services? [Molly White](https://www.citationneeded.news/about/?ref=djbooga.com) has the perfect reply: > when institutions are ineffective, captured, or corrupt, it's more important to write about them — not less > > — [Molly White (@molly.wiki)](https://bsky.app/profile/did:plc:exrxvyu6bpoym6mbnctke5tn?ref%5Fsrc=embed&ref=djbooga.com) [2024-12-14T13:43:29.589Z](https://bsky.app/profile/did:plc:exrxvyu6bpoym6mbnctke5tn/post/3ldbgkz6at227?ref%5Fsrc=embed&ref=djbooga.com) So what's the deal this time? Faceless LLC's work with ashamed NPC's on PFC content. Say what?! > Spotify conspired to farm out ghost content, often substituting for known artists, to pay out less to artists. If you like a story that turns from conspiracy theory to a script of Black Mirror then go ahead and read the captivating [excerpt](https://harpers.org/archive/2025/01/the-ghosts-in-the-machine-liz-pelly-spotify-musicians/?ref=djbooga.com) of Liz Pelly’s new book *Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist* in Harper's Magazine (via [CDM](https://cdm.link/liz-pelly-spotify-ghost-content/?ref=djbooga.com)). I think I know at least one company that generated 'Perfect Fit Content' for Spotify. The owner and his freelance employees were not critical but satisfied with the arrangement and no one involved “felt unethical, like some kind of money-laundering scheme”. That real music could be devaluated by taking up shelf space on Spotify occured to nobody. Their counterparts at Spotify felt similar: > The managers of the PFC program justified its existence internally in part by claiming that the participating musicians were true artists like any other—they had simply chosen to monetize their creative work in a different way. "What does decontextualization of music mean?" I was asked last week at a one-day workshop organised by the Office for Economic Development to examine Leipzig's music industry and develop strategies for its growth. I brought up the term when we discussed the global threats to music business by streaming platforms. As an example, I pointed out that the names of the music labels that release the music are given, but are not linked, so that you can't discover other artists on that label. The reaction was a nice silence of "Why do you consider that even a problem"? Today I would ask a counter-question: Do you know the artist you're listening to is real? > All this points to a disconcerting context collapse for musicians—to the way in which being an artist and the business of background music are increasingly entwined, and the distinctions of purpose increasingly blurred. [Ted Gioia made a meta point](https://www.honest-broker.com/p/the-ugly-truth-about-spotify-is-finally?ref=djbooga.com) on Spotify's cost-avoidance revelation by Liz Pelly: > Major record labels have empowered and supported Spotify during its long history. Spotify is their adversary, not their partner. **The music media isn’t much better—these new revelations came from a freelancer publishing in Harper’s**, not from Rolling Stone or Billboard or Variety. But I am grateful for independent journalism, which is now my main hope for the future. Bonus read: Why - of all genres - ambient music producers are being bulldozered by royalty-free soundtrack company [Epidemic Sound](https://estevancarlos.substack.com/p/pop-ambient). I wonder what they were thinking when they came up with the name for that service. ## Keychange Open Call There should be a complementary programme for men so that they can experience the necessary change of perspective and learn from it - I would certainly apply. > The Keychange Leaders Talent Leadership Programme (TLP) is a six-month training programme aimed at women and gender-diverse individuals who want to become leaders and agents of change, driving actions towards a more diverse, inclusive, and equitable music industry. Apply [until January 13th on the website](https://www.keychange.eu/apply-to-keychange-2025?ref=djbooga.com). ## Ash teaser trailer You had me at "Director: Flying Lotus" ## What I'm working on One of the best years for my label [Defrostatica](https://mylink.page/defrostatica?ref=djbooga.com) is coming to an end. I've been able to make some big improvements in how we handle sales with the new [Eddy App](https://www.eddy.app/en/?ref=djbooga.com). It's a game-changer for us and the artists we represent, especially in terms of transparency for the past, present and future. The close collaboration with my friend Simon aka [Sun People](https://www.djbooga.com/interview-with-sun-people/) is increasingly bearing fruit and I couldn't be happier with all that we have achieved in the area of A&R and beyond. We have signed the promising producers [wrk.dat](https://wrk-dat.bandcamp.com/?ref=djbooga.com) (Germany), [La Dame](https://ladame.bandcamp.com/?ref=djbooga.com) (Belgium), [Uneven](https://uneven1.bandcamp.com/?ref=djbooga.com) (UK) and [DJ Strawberry](https://djstrawberry.bandcamp.com/?ref=djbooga.com) (Turkey), signed fantastic remix artists such as [Jana Rush](https://jaru.bandcamp.com/?ref=djbooga.com) (USA), [The Untouchables](https://theuntouchables1.bandcamp.com/?ref=djbooga.com) (Belgium), [Pura Pura](https://purapura.bandcamp.com/?ref=djbooga.com) (France), [Alley Cat](https://alleycatuk.bandcamp.com/?ref=djbooga.com) (UK) and [Jermaine Soul](https://jermainesoul.bandcamp.com/music?ref=djbooga.com), and supported Leipzig-based artists such as [Schmeichel](https://schmeichel.bandcamp.com/?ref=djbooga.com), Shane Lizard and [DjBadshape](https://djbadshape.bandcamp.com/music?ref=djbooga.com). The new mini-various-artist series 160 Vol. 1 has picked up speed with [Hone Sound](https://honesound.bandcamp.com/?ref=djbooga.com) (Denmark), [Portway](https://portway2.bandcamp.com/?ref=djbooga.com) & [Slinki](https://slinki.bandcamp.com/?ref=djbooga.com) and [Team GB](https://teamgb.bandcamp.com/music?ref=djbooga.com) (all UK). Not least because we had to cancel a planned event in Leipzig this year, we want to organise another Risky Bass Night in the coming anniversary year - just like we did in autumn 2023 with [Arcane](https://arcaneofficial.bandcamp.com/?ref=djbooga.com) (UK) and [Yorobi](https://yorobi.bandcamp.com/music?ref=djbooga.com) (NL). Big thanks to the professionals I had the pleasure to work with: [LXC](http://www.lxc808.com/?ref=djbooga.com) & [Bob Macc](https://bobmaccsblog.wordpress.com/?ref=djbooga.com) (mastering), [Christian Kroneck](https://kroneck.design/?ref=djbooga.com) & Aiax (artwork), Jelle @ [Clone](https://clone.nl/?ref=djbooga.com) & Addy @ [EPM](https://www.epm-music.com/?ref=djbooga.com) (distribution), Charlie & Jamie @ [Hypefilter](https://hype-filter.com/?ref=djbooga.com) (promotion). Special thanks to the many djs and radio hosts who supported the artists and our music in their shows. I like to thank all fans who actually bought our music - your support is what makes the label work sustainable. If you're not familiar with my label, Defrostatica, and the footwork, jungle, and techno hybrid bass music that we've released this year, I've put together a playlist of all the tracks called [Class of 2024](https://playlist.link/dica2024?ref=djbooga.com): --- *🌱 The title of the weekly notes refers to Erin Kissane's* [*dark forest*](https://www.djbooga.com/notes-from-the-forest/#the-dark-forest) *metaphor for a resilient and non-gamified human network on the web.* ### Notes from the forest #2 URL: https://www.djbooga.com/notes-from-the-forest-2/ Last updated: 2025-11-18T08:47:18.000Z ## Mise en place On my [socials](https://www.djbooga.com/about/) I recently informed my friend bubble about the making of Spaghetti aglio e olio e peperoncino (as I should) and added the words "Mise en place – in the kitchen and behind the decks". I remembered that I first came across the term in Kitchen Confidential by Anthony Bourdain and I immediately thought of the preparations for my DJ gigs. Sandi LoConti looked at the idea of mise en place in [this article](https://www.ordinarylegacy.com/word/2014/08/24/mise-en-place/?ref=djbooga.com), which I'd recommend reading: > The universe is in order when your station is set up the way you like it: you know where to find everything with your eyes closed, everything you need during the course of the shift is at the ready at arm’s reach, your defenses are deployed. – Anthony Bourdain I know some DJs say they're not prepared at all but somehow manage to find the right track at the right time without proper edited metadata and additional preparation in Rekordbox. That's not going to work for me though. I like to be prepared and get my metadata (genres, subgenres, playlists) just right, like you would with ingredients for a meal. As a DJ, I find it's best for me to have a tested system with me so I can focus on delivering what people need, not what they want. I don't want to have to *remember* a track; I'd rather stay in the flow and be able to select, cue and play it intuitively, if you know what I mean. PS: The pasta tasted fine, I miss good garlic from Greece or Bulgaria though. ## We Are I.E. Lennie De Ice - We Are I.E. (1991) On Wednesday I woke up to the sad news that Lennie De Ice died, a foundational figure to jungle drum and bass music. Please read this [context goldmine](https://dnb365.wordpress.com/2018/03/07/lennie-de-ice-we-are-i-e/?ref=djbooga.com) (by Matt Sutton, DnB 365 via [I-Witness](https://www.facebook.com/iwitnessdnb/)) on the creation and influence of his proto jungle track [We Are I.E.](https://www.youtube.com/watch?v=HQGmsQ2%5FFa0&ref=djbooga.com). The 136 bpm tune was created in 1988 and released in 1991, it ingeniously combined house beats with the Amen break and [a message](https://i.discogs.com/41RSXRUHddDRAOYKsEdUnm6IGZg0GPt9BQW-rxh8ttA/rs:fit/g:sm/q:90/h:588/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTEwNTU1/My0xNTE2NDg2NjQx/LTE1NDMuanBlZw.jpeg?ref=djbooga.com) from Lennie: > “We Are IE” means we are an example to everyone, black, white, Indian, Chinese.” – Lennie De Ice Original source of the vocal sample is Chaba Fadela - [N'sel fik](https://www.youtube.com/watch?v=5nvfphUNGog&ref=djbooga.com). ## Rings Around Saturn Photek - Rings Around Saturn (1995) While reading the DnB 365 blog about the We Are IE tune, I came across a [glowing tribute to Rings Around Saturn](https://dnb365.wordpress.com/2024/04/03/photek-rings-around-saturn/?ref=djbooga.com) by Photek. This article is not only the best thing you can read while listening to the tune, but it also tells you a lot more about how Photek worked on the track, why he was so happy with this 12" and why Ni-Ten-Ichi-Ryu didn't make it on his debut album. > Jazz fusion, the Herbie Hancock thing, I think is the closest form of music to jungle. – Photek This article is packed with great insights, knowledge and understanding of music. It even made the connection to Burial and why he tried to capture the Photek style of combining clinical precision and imperfection in his own production. If this don't make you happy, I don't know, I don't know … Just think about it for a moment: There are only four years between the releases of We Are IE and Rings Around Saturn! ## Choice is a privilege Last week I linked to Erin Kissane's [protective dark forests of the internet](https://www.djbooga.com/notes-from-the-forest/) that provide psychological and reputational cover and are usually not public available. Because these private safe spaces exist mostly on tech platforms that pursuit contrary interests to their users I called them 'morning dew' because of their ephemeral character as they will vanish [sooner](https://www.wired.com/story/end-of-the-tumblr-era/?ref=djbooga.com) or [later](https://www.hypebot.com/hypebot/2024/01/is-facebook-dead-is-instagram-replacing-it-what-does-it-mean-for-music.html?ref=djbooga.com). I wrote: 'First step is to [make a choice](https://www.djbooga.com/back-to-blogging/) for open source software and [build on top of it](https://john.onolan.org/democratising-publishing/?ref=djbooga.com).' What I did not say but had in mind is that ideally everyone should get a domain and run a blog so that we are able to *find each other, both beforehand and in the moment, and build human networks resilient enough to withstand every kind of weather*. Then I came across this on Imgur: ![](https://www.djbooga.com/content/images/2024/12/241211-choice-as-a-privilege.jpg) Running a blog on their own domain is not in the slightest as affordable and trivial as setting up a [Bluesky](https://bsky.app/?ref=djbooga.com) account for instance. It requires money (ongoing), setup and maintaining time and also knowledge on how to achieve this. So the idea for that choice came to me when I was caught up in the fog of privilege, I can see that now and will keep in mind to change my perspective. Meanwhile, Erin Kissane [wrote](https://www.wrecka.ge/what-people-in-the-global-majority-need-from-networks/?ref=djbooga.com) about *research that can help us make/build/participate in more accessible, useful, and humane networks: Exploring a transition to alternative social media platforms for social justice organizations in the Majority World.* I recommend this as well. [Erin Kissane's 'dark forest' metaphor](https://www.wrecka.ge/against-the-dark-forest/?ref=djbooga.com) is the reason why I am calling this hopefully ongoing series of posts 'Notes from the forest', because this blog also means 'learning and networking out loud on my terms'. Any meaningful response to it as a member comment or [email to me](https://www.djbooga.com/about/) is very welcome. ## Wolfs in a zoo Two rival fixers played by George Clooney and Brad Pitt cross paths when they’re both called in to help cover up a prominent New York official’s misstep. Over one explosive night, they’ll have to set aside their petty grievances and their egos to finish the job. This is the plot of [Wolfs](https://www.youtube.com/watch?v=%5FxmVZpocDZ8&ref=djbooga.com), an Apple Studios LLC movie. ![](https://www.djbooga.com/content/images/2024/12/butchered.jpeg) The director Jon Watts cancelled a Wolfs sequel because he literally said *I no longer trusted Apple as a creative partner*. What happened? Jon Watts [explained](https://deadline.com/2024/11/wolfs-sequel-demise-jon-watts-george-clooney-brad-pitt-no-longer-trusted-apple-1236186227/?ref=spyglass.org): > Their last minute shift from a promised wide theatrical release to a streaming release was a total surprise and made without any explanation or discussion. I wasn’t even told about it until less than a week before they announced it to the world. I was completely shocked and asked them to please not include the news that I was writing a sequel. They ignored my request and announced it in their press release anyway, seemingly to create a positive spin to their streaming pivot. Or, as MG Siegler [put it](https://spyglass.org/apple-hollywood-seppuku/?ref=djbooga.com): > They just sent the loudest signal possible to Hollywood that you should only work with them if you only care about money. If you care about distribution – or, you know, the art form – best look elsewhere. Every artist working directly with or offering their work indirectly to Apple (music artists) should keep in mind that the Cupertino company hired two of the world's most famous actors to star in a movie that works now as an ad for their subscription service. Yes, you can't rent or buy Wolfs, they are in the zoo now and you need an Apple TV+ subscription to watch them. I think I'll pass on this one. ## What I'm working on On Monday I took part in a one-day workshop organised by the Office for Economic Development to examine Leipzig's music industry and develop strategies for its growth. I am confident that the political decision-makers have received the right signals and will act on them. --- *🌱 The title of the weekly notes refers to Erin Kissane's* [*dark forest*](https://www.djbooga.com/notes-from-the-forest/#the-dark-forest) *metaphor for a resilient and non-gamified human network on the web.* ### Notes from the forest URL: https://www.djbooga.com/notes-from-the-forest/ Last updated: 2025-01-04T09:11:00.000Z ## The Dark Forest Erin Kissane makes a compelling case that [“dark forest” internet spaces](https://www.wrecka.ge/against-the-dark-forest/?ref=djbooga.com) serve as refuges because they’re “non-indexed, non-optimized, and non-gamified.” > These dark forest spaces grow “because they provide psychological and reputational cover. They allow us to be ourselves because we know who else is there.” These protective forests included newsletters and podcasts, but also, “Slack channels, private Instagrams, invite-only message boards, text groups, Snapchat, WeChat, and on and on. I agree with her on *none of this moment’s apparently unstoppable tech platforms will survive for long*. That is why I'd call dark forest internet spaces, which are based on technologies owned by large to mega-sized companies and platforms, as morning dew because of how fleeting they are. > Collective action requires that we find each other, both beforehand and in the moment, and build human networks resilient enough to withstand every kind of weather. The first step is to [make a choice](https://www.djbooga.com/back-to-blogging/) for open source software and [build on top of it](https://john.onolan.org/democratising-publishing/?ref=djbooga.com). ## DEF RADIO Marc Mac (4hero) has released a new Visioneers album called [DEF RADIO](https://visioneers.bandcamp.com/album/def-radio?ref=djbooga.com), and it's the ultimate B-boy soundtrack. [DEF RADIO by Visioneers](https://visioneers.bandcamp.com/album/def-radio?ref=djbooga.com) I had it on repeat for the better part of the week, and "Hurt So Bad" is the standout track. (via [Paweł Grzybek](https://pawelgrzybek.com/top-picks-2024-noveber/?ref=djbooga.com)) ## No Tags Book I bought [*No Tags: Conversations on underground music culture*](https://notagspodcast.myshopify.com/?ref=djbooga.com) *from the podcast and newsletter about underground music culture hosted by Tom Lea and Chal Ravens. Designed by All Purpose Studio, this book collects the best interviews and discussions from the first year of No Tags, along with four new essays by some of our favourite writers and thinkers.* Can't wait to read it. ## How Angry Is America? BIG, a newsletter of the history and politics of monopoly power by Matt Stoller, on [the murder of UnitedHealth Care CEO Brian Thompson](https://www.thebignewsletter.com/p/an-assassin-showed-just-how-angry?ref=djbooga.com): > Elite disdain for the rule of law is leading to a society that is spinning out of control. UnitedHealth Group is one of the most toxic and unaccountable companies in America, a $400 billion behemoth that systematically denies care to millions of Americas, was smack dab in the middle of the opioid crisis, cheats the government, surveils its customers, harms independent doctor’s practices, and has executives who routinely engage in what looks like insider trading. I recommend subscribe to his blog if you like to understand [platform monopoly behavior](https://www.thebignewsletter.com/p/apple-got-caught-censoring-its-own?utm%5Fsource=publication-search) in general. ## What I'm working on This year has been rough for me. I had to made some changes towards a more positive and self-reliant outlook. The [Utopia](https://soundcloud.com/djbooga/utopia?ref=djbooga.com) studio mix features techno from Dollis Hill to Detroit and back. I felt that the selection reflects my attitude towards these changes best. Utopia track list: 4Hero - Humans Posatronix - Condor System 7 - A Cool Dry Place Kenny Larkin - Wondering Los Hermanos Detroit - Two Feet Up Galaxy 2 Galaxy - Transition Inner City - Follow Your Heart (Deep Reese Mix) e-Dancer - Heavenly (Juan Atkins Remix) Los Hermanos Detroit - Olmec My Brother Derrick May - Strings of the Strings of Life Jeff Mills - Outsiders Dexciya - Hightech Nomads Robert Hood - Museum 4hero - Look Inside (Izmabad Dub) Underground Resistance - Hi Tech Jazz ### Interview with Sun People URL: https://www.djbooga.com/interview-with-sun-people/ Last updated: 2025-11-27T10:35:12.000Z The work of Simon Hafner aka Sun People has been widely regarded for its inimitable takes on jungle and footwork, fascinatingly hybridised with a wide variety of styles like juke, techno, electro, minimal and dub. His deft beat programming, boundless energy and remarkable productive spontaneity has sparked a celebrated discography, with noted releases on dBridge’s Exit Records, Rua Sound, Outlines sub-label Guides plus, Steffi’s Candy Mountain imprint, LXC's Alphacut and Modern Ruin among others. His third EP on Defrostatica [After the End](https://album.link/aftertheend?ref=djbooga.com) will be released in November 2024. Operating from his home of Graz in Austria, he contributes actively and regularly to the city and the music community within it. From co-running labels (he is also responsible A&R at Defrostatica), organising events, mentoring new artists and more. He emphasises the often forgotten importance of being active within a local music scene, an integral part of Simon's musical existence. It's a role with the underlying aim of contributing to the development and growth of his local environment with an international perspective. **Booga: You just finished producing your EP, *After the End*, which was your third release with Defrostatica before you went on vacation, how do you feel?** Sun People: I’m trying to give myself quarterly breaks to re-charge, and to experience a bit of a distance from my day-to-day life. This means that I am having as much time as possible offline, to read, to go into a deeper inner reflection process, and to enjoy time with my loved ones. This can simply be spending time at home, or going to the seaside, swimming, walking, eating, enjoying the sun. Simple things. **It seems as if all the EP tracks have titles that fit into a larger picture. What does the title *After the End*, mean to you?** There are multiple layers to *After the End*. First it refers to the personal experience of something that you don’t necessarily want to end, ending, and forcing you to go into unwanted and unknown territory; to deal with change as a life-inherent element. But beyond the personal perspective it also describes the state of the world. Like the opening lines of the movie *Space is the Place* by Sun Ra that says, ‘It’s after the end of the world, don’t you know that yet?’. [After The End EP by Sun People](https://sunpeople.bandcamp.com/album/after-the-end-ep?ref=djbooga.com) We are seeing rising authoritarianism, wars, the ongoing exploitation of human and earth or mineral resources, worldwide inequality and climate catastrophe, which is the result of what Ulrich Brand and Markus Wissen describe as an ‘imperial mode of living’. But as a white person living in Austria, Europe, still one of the richest and safest countries in the world, even if I come from a relatively economically poor background, I have to consider reality on a much wider level. Recently I read an article, [New World Disorder](https://www.artforum.com/columns/hannah-black-on-the-new-world-disorder-233017/?ref=djbooga.com) by Hannah Black (thanks Rose-Anne) were she writes: ‘No one is inherently safe from the violence of capitalism, and whiteness is a violently upheld dream that safety is real. What once appeared as to-come—the fascist dystopia—in fact lies behind and all around us. Some people are smart or hurt enough to have known since forever how nothing has ever stopped happening, that the genocides and exclusions are ongoing and as urgent as when they were first enacted.’ ![Sun People (photo: Clara Wildberger)](https://www.djbooga.com/content/images/2024/10/Sun-People-2-Clara-Wildberger.jpg) Sun People (photo: Clara Wildberger) To me, the idea of *After the End* is a kind of personal reminder to carefully navigate through this world and to constantly find new ways to relate to it. I try to understand contexts and interrelations on an intellectual level and then digest and understand them on an emotional one. For me that’s the base to move *Forward* and *Discover* new ways of relating to myself, to others and to the world. For a long period of my life, I was driven by hope, but I learned that, hope is not necessarily a good advisor. Hope often comes from a place of fear, insecurity and the denial of change, hence the title *No Hope No Fear*. **When I heard Forward the first time, we met in your hometown Graz. We sat at your kitchen table and talked about the future sound of Defrostatica. Is a label sound still possible in this day and age?** [After The End EP by Sun People](https://sunpeople.bandcamp.com/album/after-the-end-ep?ref=djbooga.com) I think so. I guess we are talking about an artistic vision in a wider sense of whoever is responsible for selecting the music being released. This means the context you are seeing yourself in, the artists you work with, and the possible directions you want to see being established. And then developing good communication strategies that allow conversations about these ideas to circulate between everyone involved. > As an artist who works on very different projects with different sounds, I want and need to know what a label wants and where they are going, in the sense of their vision. As an artist who works on very different projects with different sounds, I want and need to know what a label wants and where they are going, in the sense of their vision. This can be very inspiring and often leads to great artistic outcomes. **Your Sub FM radio show archive just had a big anniversary. Two hundred shows over the course of 12 years! What do you enjoy most when you prepare new episodes? On what basis do you choose your guests?** To be honest I don’t celebrate these numbers or milestones very much, even though I'm trying to get better in that respect (laughs). Do I enjoy the preparation for a show? Very often I don’t, because it means a lot of work: two to three days of going through thousands of new releases on various platforms as well as lots of promos to discover the bits that resonate with me, is definitely not always fun. In the end it can be extremely satisfying to connect dots between different genres, tempos and moods. It kind of keeps me going and keeps me hungry to always explore further, and is part of an ongoing search for my own artistic coordination system. Regarding my guests, they are people whose music taste I admire, and whose production and/or their DJing I also admire, and who fit into this wider musical world that we are all navigating. On top of that, I try to keep a diverse invitation policy. It's the least effort I can make to make the scene more equal. **You say it is satisfying to connect the dots as it motivates you to discover new music, but at the same time it may help listeners to experience musical context, as they are with you on that journey. Do you keep that in mind and do you keep a back channel open so that listeners can share their view?** I’d say the show is mainly one way to display and share an aspect of my own journey and to contextualize it for myself. But even if it’s often stretching out to more leftfield areas, it still has more or less a club environment in mind. So in that sense, as a DJ I definitely have the listeners in mind. But I’m not sure if specific musical contexts have the same importance to listeners, than, let’s say 15-20 years ago. And even back then, for me personally, it was always about building my own and stretching out beyond genre borders. Regarding feedback and conversations about the show, most of that is happening on the Soundcloud comments, private messages and obviously in the live-chat of Sub.FM. **The style you champion for years in the 160 bpm area works surprisingly well in lower tempo ranges as well. Your recent Emotional Distortions EP on Candy Mountain is a revelation! How did Steffi come to ask for the tempo to change and are you thinking of going even lower?** When Steffi approached me, it was mainly because she and Virginia (who run the label together) heard the *Transitions EP* that was released with Exit Records. Steffi suggested that I might send over some stuff if I ever go into slower tempos with an electro-ish flavour. And as I mentioned above regarding ‘label sounds’, such suggestions from others can spark new creative processes. It was a challenge that I welcomed and that opened my music making process quite a bit. [Emotional Distortions EP by Sun People](https://sunpeople.bandcamp.com/album/emotional-distortions-ep?ref=djbooga.com) It’s very similar to what happened around the making of the *Joyful Discontent* album for Guides/Outlines even though the music sounds totally different. It is about working out appropriate musical ideas that still represent my sound, but stretching out into a different musical universe. I had different monikers in the past that represented different styles or corners but these days I feel a general openness, less restrictions and no need any more to put different aspects into different boxes. **To underscore your passion for lower tempo techno and electro music you recorded two amazing mix sets recently,** [**one for Steffi’s label**](https://soundcloud.com/candymountaincandy/candy-mountain-podcast-004-sun-people?ref=djbooga.com) **Candy Mountain and** [**one for Ben UFO’s show**](https://soundcloud.com/rinsefm/hessle-audio-feat-venus-flytrap-sun-people-07-october-2024?ref=djbooga.com) **on Rinse FM. In the mix for Ben, you connect the dots between 135 bpm techno and 160 bpm footwork so seamlessly. How do you make this work? What do these tracks have in common for you?** I think it's an ongoing evolution of musical taste and mixing styles, and as I said before, building a connection of dots and references. For example, Biome’s *Chosen* might come from a dubstep background and context but still has so much in common with footwork from Skip Club Orchestra. Or take X-Altera’s *Check Out the Bass* \- it has as much Detroit techno as it has jungle and electro. Classic dub techno from Maurizio or footwork from DJ Fulltono have quite a bit in common. A DJ Manny track can work extremely well with a high-pitched Shed tune. If you play a 3+ hours club set, you can build a longer musical journey but with the limitation of a one hour mix it's a different challenge to make it work. Sometimes it's about finding just two or three tunes that glue the whole thing together. My radio show is really the testing ground for this. **One of my favorite tracks of yours is *Never* from the *Serenity* EP on Modern Ruin in 2018\. The track ticks calmly like a clock and affirms ‘I’ll never let you down’. The crowning glory, however, is the air horn sample. It gives the relaxed vibe a jungle context, an important reference to your musical background. Which reference was important to you for your new EP?** [Serenity EP by Sun People](https://modernruinrecords.bandcamp.com/album/serenity-ep?ref=djbooga.com) The tunes are all from different time periods, so there are very different motivations and references behind them. *No Fear No Hope* was in the late phase of trying to find a more soulful sound that has a bit more of a different beat and snare patterns than your usual footwork tune. Think of a broken beat / bruk on a 160 template. It is very similar to what I tried to do on my 2021 Exit release. *After The End* is in a very similar vein to *Tell Me Something* from the Exit 100.1 compilation. [EXIT100 Pt. One - Various Artists by Various Artists](https://exitrecords.co.uk/album/exit100-pt-one-various-artists?ref=djbooga.com) Basically, those two come from the same template and also share some similar sounds. It was probably made in the summer of 2022 when I was looking for more techno orientated tunes at 160 bpm with a bit of a one-chord Shed kinda vibe for my DJ-sets, but couldn't find any and ended up making them myself. If there are no dots to connect, make your own! *Forward* is basically me trying to do a minimal techno tune at 160 bpm - and completely failing (laughs). I always liked stripped down minimal stuff like early Robert Hood, and was experimenting with simple, shifting rhythmic patterns. Some of this early minimal stuff is so radical in its approach, it's still mind-blowing. So obviously the tune became less minimal and while having one of my regular listening sessions with my good friend Timo aka [Toupaz](https://toupaz.bandcamp.com/?ref=djbooga.com) he encouraged me to go a bit rowdier with this one. > I always liked stripped down minimal stuff like early Robert Hood, and was experimenting with simple, shifting rhythmic patterns. But there still exists a VIP version with no drum-breaks, no drops and just an ongoing shifting flow of elements. Finally *Discover*, which was done 2023 in the middle of the process of creating tunes for Candy Mountain. [After The End EP by Sun People](https://sunpeople.bandcamp.com/album/after-the-end-ep?ref=djbooga.com) I was fueled with this freedom that I mentioned above and just wanted to create something that does not sound like anything else but still kind of works in that footwork/jungle/techno world. Is it electro-funk footwork? I have no idea how to name it (laughs). So, all together very different approaches but I think my general driving force behind all of them is to channel a wide spectrum of musical influences and make something that’s not existing yet. Like tunes that kind of create their own genre with still being connected to existing ones. It's an idea that keeps me excited, curious and going. **What kind of phase do you love most when you make new music and which part do you loathe?** Some projects are basically done without any big challenge - like my album *Joyfull Discontent* for Guides/Outlines which was pure flow from the first bit to the finished premaster. Others can take months or even years. [Joyfull Discontent by Sun People](https://sunpeople.bandcamp.com/album/joyfull-discontent?ref=djbooga.com) Maybe the most enjoyable time at the moment is when doing field recordings or doing weird sound experiments with my brothers or alone. Like playing around with some kitchen tools after dinner and then going on the balcony and making them blend into the environmental sounds in the backyard, the city hum, the sounds from the nearby train station and record all of that. It sounds a bit silly, but I do feel complete freedom in these moments. It's lots of fun but by recording all of it in the moment, the fun also keeps a certain tension that somehow makes it into a serious endeavor. **How do these free-spirited moments turn into tracks? Do you try to re-create rhythm patterns you did record?** Some of these recordings end up in tunes as textures, or it's just single sounds that I take out of it and then process them further. But they don’t need to. I think it's not necessarily about finding a way to ‘use’ all of it. It's really about the experience and the freedom that can build through it and then indirectly influences other works. **Tell us about the job you have in Graz and how it helped you to steer your own musical career.** I’m self-employed and do a lot of different things to complement the income from the music projects. E.g. I’m on the board of a regional special interest group for cultural initiatives that helps to better the working conditions. That means political work, counseling, mentoring, funding advice, as well as helping organizations and people within the cultural context to make their life a little bit easier. There were quite some challenges to overcome in regards of the professional aspects of my journey as an artist. So, it just makes sense to me to use those experiences and knowledge to help others getting forward with their own projects. And on top of that, working in that field also keeps me in touch with all types of different artists and groups of activists. I think it's necessary to continue to invest into the field of culture in one or the other way. It’s the glue that can hold a society together and can enforce respect and mutual understanding. **There are rumors that you'll start a new endeavor next year, what can you tell us about it?** It’s still in an early stage but I will start a new label. It will be called [All Things](https://www.instagram.com/allthings%5Frec/?ref=djbooga.com) and will mostly feature my own music, side projects and collaborations. I will not stop working with other labels because of the aforementioned reasons but I need an outlet for certain projects and I want to give it a proper label image. The name and the basic idea is existing for years and it just feels right to do it now and the whole process to set it up motivates and inspires me also artistically. **Thank you for your time. Make sure to follow** [**Sun People**](https://campsite.bio/sunpeople?ref=djbooga.com)**.** ### 150 BPM Club Tracks Playlist URL: https://www.djbooga.com/150-bpm-club-tracks-playlist/ Last updated: 2026-02-20T15:21:37.000Z Here's [Sam Binga](https://www.instagram.com/reel/C8etzShi8a7/?ref=djbooga.com) in 2024 on why he is excited about the 150 bpm range for club tracks: > "Dunno about you but I feel like for a long time there's a bit of a gap between 140 bpm and 160 bpm. At 140 you had grime and garage and dubstep, at 130 you had UK funky and in between you had Bmore and stuff like that. And then at 160 you know we had the footwork explosion which got everyone excited about that again but like round about the 150 bpm range in between those two 140 and 160 it felt like a dead zone for a while but recently I've been really enjoying finding and releasing tunes that fit in that gap. Hard agree. My own 150 bpm tracks folder has playlists called 'electro tech', 'breaks' and 'serotonin' - just naming things like a normal person. I felt compelled to mixing the new with the tried and tested across a wide range of styles but within that tempo range. To help discover the 'unexplored territory' I started a playlist to bridge the breaks-grime-dubstep-bmore-electro zone with the footwork-juke-jungle zone and have some fun at 150 bpm. I maintain the [150 BPM](https://music.apple.com/de/playlist/150-bpm/pl.u-o2bvYu9eK7N?ref=djbooga.com) playlist on Apple Music simply because it's easy to do. If you like to see a track in the 150 playlist [send me an email](mailto:booga@defrostatica.com) and I may add it to the list. --- PS: Beginning 2026 I started a new playlist project, adding a personal crucial track everyday with small bits of context. Take a look, have a listen: [My Crucial Tracks PlaylistDJ Booga’s crucial tracks playlist - adding one tune everyday.![](https://www.djbooga.com/content/images/icon/booga-1-1.jpg)DJ BoogaDJ Booga![](https://www.djbooga.com/content/images/thumbnail/dj-booga-on-decks.jpg)](https://www.djbooga.com/my-crucial-tracks-playlist/) ### Studio mix: Universe Four URL: https://www.djbooga.com/studio-mix-universe-four/ Last updated: 2024-05-31T15:32:38.000Z Part four of my jungle drum and bass mix series, favourite tracks and forthcoming tunes by Uneven on Defrostatica. Tracks: [Seba - Tomorrow (feat. Robert Manos)](https://seba-secretops.bandcamp.com/track/tomorrow-feat-robert-manos?ref=djbooga.com) / Secret Operations [Quartz - Weird Nightmares](https://elliotquartz.bandcamp.com/track/weird-nightmares?ref=djbooga.com) / Metalheadz [Matrix - Sedation](https://www.hhv.de/shop/de/records/artikel/matrix-double-vision-sedation-1016438?ref=djbooga.com) / Metro Rec. [Seba & Paradox - Swirl](https://sebaparadox.bandcamp.com/album/swirl-offchord?ref=djbooga.com) / Paradox Music [Blocks & Escher - Something Borrowed, Something Blue](https://metalheadz.bandcamp.com/album/metalp015-something-blue-album?ref=djbooga.com) / Metalheadz [The Invaderz - Bonesaw](https://commercialsuiciderecords.bandcamp.com/track/bonesaw?ref=djbooga.com) / Commercial Suicide [Inner Terrain & Wreckless - Coded Warehouse (feat. Deviant)](https://metalheadz.bandcamp.com/track/coded-warehouse-ft-deviant?ref=djbooga.com) / Metalheadz [The Insiders - Meltdown (feat. Ayah)](https://intriguemusic.bandcamp.com/album/meltdown-feat-ayah-cold-steel?ref=djbooga.com) / Intrigue Music [Spirit - Request Line](https://ruptureldn.bandcamp.com/album/rupldn010-spirit-provider-request-line?ref=djbooga.com) / Rupture Uneven - Drone Control (feat. The Corpus) / forthcoming [Defrostatica](https://defrostatica.bandcamp.com/?ref=djbooga.com) Uneven - Density / forthcoming [Defrostatica](https://defrostatica.bandcamp.com/?ref=djbooga.com) [Marcus Intalex & Spirit - Crackdown](https://metalheadz.bandcamp.com/track/crackdown?ref=djbooga.com) / Metalheadz [Adam F - Jaxx](https://www.discogs.com/de/release/90423-Adam-F-Colours?ref=djbooga.com) / F Jams [Breakage - Portland Rockers](https://breakage.bandcamp.com/track/portland-rockers?ref=djbooga.com) / Index [Naibu - Just A Dream (feat. Robert Manos)](https://naibu.bandcamp.com/album/sans-soleil?ref=djbooga.com) / Minato Music [Naibu - The Longer It Takes](https://naibu.bandcamp.com/album/sans-soleil?ref=djbooga.com) / Minato Music [Photek - Infinity](https://www.discogs.com/de/release/4174-Photek-Solaris?ref=djbooga.com) / Science [Seba - Forever](https://seba-secretops.bandcamp.com/track/forever-2?ref=djbooga.com) / Secret Operations By all means, support the artists and buy their music on [Bandcamp](https://www.bandcamp.com/?ref=djbooga.com). ### Favourite albums week URL: https://www.djbooga.com/favourite-albums-week/ Last updated: 2025-11-27T10:35:28.000Z *The rule: one album a day, no other music inbetween. But why?* Last week I was talking to a friend about our favourite albums. We agreed that it's just incredible when an album that you haven't listened to for a long time still inspires you as much as it did the first time - or differently for that matter. It's cumbersome how the return to favourite albums can happen by chance and be influenced by external events. Serendipity! We also talked about making a list of favourite albums is also a great way to search the past for the moments of discovery and remember them again. The challenge for listening pleasure though is to find the time and quiet to listen to an album in its entirety. With daily commitments, this can be tough, so I came up with the idea of listening to just the album in question every day when I wanted to listen to music. While it didn't work out every day, it sure gave me a different, new perspective on the works. What great artists, what incredibly good music! PS: To have just 7 favourite albums is impossible, so this is not a complete list. ### Monday, 4hero - Two Pages (Talkin' Loud 1998) 4hero - Escape That In 1997, Sci-Clone appeared on Platinum Breakz II (FFRR) with Melt in a jazz fusion take on jungle drum and bass. The same year, Adam F released his Circle album (Positiva / Universal) with two dedicated funk tunes, Dirty Harry and F-Jam with MC Conrad (rest in peace). Roni Size & Reprazent brought their acclaimed New Forms (Talkin' Loud) to life with lots of vocal and live musician tracks on it. At this time, it was clear that jungle drum and bass could stretch out in every genre and add something fresh to it. In 1998, 4hero presented Two Pages, which was the pinnacle of new technology meets music with all its soul and passion. The message of Escape is still on point today, unfortunately. It is noteworthy that all of these albums were released on major labels. ### Tuesday, Machinedrum - Room(s) (Planet Mu 2011) [Room(s) by Machinedrum](https://machinedrum.bandcamp.com/album/room-s?ref=djbooga.com) The end of the 2010s was a time when my interest in "classic drum and bass" faded. Dbridge's Autonomic podcast paved the way to a new horizon. Marcus Intalex released electro on Martyn's 3024 label under the name Trevino and the whole postdub era protagonists Ikonika, Falty DL and Ital Tek brought me to Planet Mu. Mike Paradina's label as a whole showed me what was out there in terms of stylistic range. It was the Bangs & Works compilations that led me to Footwork. When I stumbled across Machinedrums Many Faces LP on LuckyMe, his "Lemme F\_ck It" was the sensation, but then the big album came out in 2011 and his track "The Statue" was just... the perfect drama tune I would dance my ass off to. A year later I went to his show in my hometown and that nailed it: Footwork Jungle was the way forward. ### Wednesday, Oriol - Night and Day (Planet Mu 2010) [Night And Day by Oriol](https://oriolmu.bandcamp.com/album/night-and-day?ref=djbooga.com) In December last year, I caught Corona for the second time. My eldest son sent me a message saying, "There's a medicine for you that helps," when he attached the cover artwork for Night and Day. It was a lovely gesture, he just knew it would put me in a good mood. Oriol has never produced a follow-up album, which makes it almost a miracle that it exists. From the release page on Planet Mu: "Listening to ‘Night And Day’ is like being given an invite to an off-world utopia, and within time you’ll be grinning from ear to ear, as this is serious fun." ### Thursday, Sonic Youth - Goo (Geffen Records 1990) Sonic Youth - Titanium Expose My best friend played bass in a punk band and when the drummer didn't appear on time for a gig he suggested I should give it a try and join the band. Finally my drumming on all things other than a real kit could have an end, yes! I learned quick the few things that were important in punk rock and boy did we have fun. My friend was a big fan of The Cure and together we went to the record shop to check out what was new. We discovered Goo because this sounded so much different of what we knew before, the noise was simply unheard of. I tried the groove of Titanium Expose and I couldn't do it for some time. When Sonic Youth toured Europe in 1991 they came to the neighbouring town and we wanted to go but had no money. I won two tickets in a prize draw on the radio which ment we were on the guest list and had no real tickets – thats my only gripe about that night. Sonic Youth gave an incredible, heartfelt performance. The show that was nothing short of breathtaking. The opening act was the previously unknown band Nirvana. ![](https://www.djbooga.com/content/images/2024/05/sonic-youth-nirvana-smol.jpg) Sonic Youth tour poster 1991 ### Friday, DJ-Kicks Kemistry & Storm (K7 1999) [DJ-Kicks: Kemistry & Storm by Kemistry & Storm](https://k7records.bandcamp.com/album/dj-kicks-kemistry-storm?ref=djbooga.com) I know it's a mix compilation and not an album in the traditional sense. The impact of the selection of jungle drum and bass tracks both djs mixed together can't be denied though. I remember a lot of my friends who were not interested in the genre before were curious and came to their gig when [Kemistry & Storm played in Leipzig for the first time](https://www.djbooga.com/storm-interview-april-2000/) \- they were all won over at the end of the night. Nick Abadzis said it right: "Possibly one of the greatest and certainly most enjoyable D&B mixes of all time. It just never lets up and covers ground from doombass to feelgood with such incredible verve and dexterity that it always leaves you delighted after every listen. I don’t know how they did that, but its a testament to their talents." ### Saturday, Photek - Modus Operandi (Virgin 1997) Photek - 124 Jungle drum and bass as a genre was only a few years old when Photek made an album in the spirit of Japanese craftsmanship "shokunin kishitsu". On Modus Operandi he underlined his earlier work as an artist with a sense of beauty, care, simplicity and sharpness. He took the liberty of writing three non-dnb tracks for the album to emphasise that his aesthetic was not bound by a particular tempo range, as his first EP "Natural Born Killa" in 1994 on Metalheadz also featured a hip-hop instrumental. What I still admire in his music is the ability to constrain, to build and maintain tension in a track and not let it go. With Photek, there is never a dramatic intensification within a track, a cathartic moment, or on the contrary, a soothing breakdown with, say, a pad sound. Each track on the album is like a different level of a musical game for the listener to discover. Timeless music. ### Sunday, The Future Sound of London - Lifeforms (Astralwerks 1994) The Future Sound of London - Lifeforms (Original Complete Video) I had heard the music of The Future Sound of London before, but it was the first time I had seen them on MTV with their single [Papua New Guinea](https://www.youtube.com/watch?v=wfWMv8Y1V5E&ref=djbooga.com). The long intro, the gated pad (I didn't know it was called that at the time) and the breakbeats on a dub bass really spoke to me. I went straight to the record store the next day and bought one of their 12" records. A year later, I went to Amsterdam with friends and bought their first album, Accelerator. The album was released on Jumpin' & Pumpin', which released Jungle Tekno Volume One some time before. The Papua New Guinea video had shamanism and raves in the countryside written all over it, while Lifeforms was almost completely based in a 3D world with barely club or rave-friendly beats but a tropical sound design. Before the album came out, Future Sound of London released "Cascade," a 37-minute single which made the UK top 30\. It was not ambient music, but a journey into a parallel universe with way richer colours. When asked whether Brian Eno was an influence, [Cobain and Dougans said](https://en.wikipedia.org/wiki/The%5FFuture%5FSound%5Fof%5FLondon?ref=djbooga.com#cite%5Fnote-Clash%5Fmagazine-7) they were looking to the future, not the past. 👻 What is your favourite album? ### Interview with Robin aka RBYN URL: https://www.djbooga.com/interview-with-robin-aka-rbyn/ Last updated: 2024-03-29T22:14:48.000Z [Through These Eyes](https://throughtheseeyesrecords.bandcamp.com/?ref=djbooga.com) was an active record label from 2016 - 2020 based in Berlin, Germany. It was founded and run by DJ and blogger Robin aka RBYN. In his words, Through These Eyes was "a label that encompasses everything around its artists and their quality music repertoire and its up-tempo resonance. It focuses on Halfstep and Jungle sounds within the range of 160-170 BPM, following an independent and DIY approach". On 12 March 2024, all fans of Through These Eyes Records received an email on Bandcamp informing them about the latest [community post:](https://throughtheseeyesrecords.bandcamp.com/community?sid=1404912&st=sm&ref=djbooga.com) > Hello everyone! Please note that I will delete this Bandcamp page until the end of march 2024\. I don't have time to run the label anymore and don't plan to release any new music through TTE. Please download your purchases if you haven't already. Cheers, Robin Although the label had not released any music for four years and unofficially had no plans to continue, this was the first official statement on the end of Through These Eyes. Fans who buy music on Bandcamp can download music in various formats at any time as well as stream it. The closure of the label on Bandcamp not only leaves practical gaps for fans who have bought the music, but also leaves a hole in cultural history. Leipzig-based LXC and Booga, both of whom also run DIY bass music/jungle labels in the broadest sense (Alphacut and Defrostatica), then had the idea of interviewing Robin. The interview was edited and published in German on [Robin's blog](https://robynthinks.tumblr.com/post/746311574819684352/interview-rip-through-these-eyes?ref=djbooga.com) and in English on [Booga's blog.](https://www.djbooga.com/) **Booga: What was the first record you bought for a DJ gig?** Robin: I started out as a dubstep DJ because all my friends were drum & bass DJs and I didn't want to buy "their" records. When dubstep came along, I finally had "mine". As with so many people, I think my first record is quite unspectacular, certainly not a "Midnight Request Line" or similar trend-setting release: [Elemental / Mathhead - Bleep / Stagger Dub](https://www.discogs.com/master/1356713-Elemental-4-Mathhead-Bleep-Stagger-Dub?ref=djbooga.com). This 12" vinyl release still combines everything I like about dubstep. Influences from various other favourite genres and a lot of bass. **Booga: What made you decide to become a DJ?** Robin: As I wrote above, all my friends were DJs and so it was only natural that I would also play when I found "my" sound. At the beginning of Dubstep, nobody in Bielefeld played it except me, so if I wanted to hear it loud on big systems, I had to do it myself ;) **Booga: When you look back on your first DJ gig, what do you remember?** Robin: Haha yeah, I couldn't really beatmatch and was only allowed to play the warm-up from the warm-up, simply because my friends wanted to hear dubstep. I was definitely hooked after that and wanted more. **Booga: What were your most important DJ gigs and why?** Robin: 2008 Mobilat, I was booked for the first time outside of Bielefeld and the journey alone was adventurous, it was definitely super fun and I was *awake for 3 days* ... 2014 Gremlinz Berlin. I had just become the resident DJ at the [H.O.M.E. party series](https://robynthinks.wordpress.com/2014/06/10/14-16-h-o-m-e-ft-gremlinz-raw-99-berlin-2/?ref=djbooga.com) and it felt like all my Berlin friends from different bubbles were at the party. Looking back it was the perfect party. 2018 Fusion, the third time at the festival was the best. The tension to dj toned a bit and I was finally able to play the set I've always wanted to play at a festival. When the stage manager said that there were still so many people there and they weren't closing the hangar for the time being so that people could still dance in front of it, it was the best feeling. **Booga: At the Tieffrequenz festival in Leipzig, I experienced you as a passionate DJ who was fully in the flow. Do you sometimes miss DJing?** Robin: Yes, of course. I think it's the same for everyone who has played in front of a large crowd before. Especially when you've found another really brilliant track and you start imagining in your head what setting you'd like to play it in. That's when your fingers start to itch. **Booga: And what do you think of the Tieffrequenz-Festival in retrospect, can cross-city event concepts contribute to the dissemination of hybrid bass music / footwork jungle in a meaningful way or do the locals have to get it together themselves?** Robin: That's a difficult one. I think this "travelling" aspect is great and I think that the different cities as locations have definitely created new connections. But I honestly don't think it's resulted in much more than a handful of follow-up gigs. I think it's the locals who need to get involved, especially with newer sounds and genres. **Booga: Which gig type are you preferring? Club gig or festival and why?** Robin: Club gigs were always my favourite. Dark, good sound for the heads and sleeping in bed afterwards, not in a tent ;) **Booga: I first recognised you as a** [**music blogger**](https://robynthinks.wordpress.com/?ref=djbooga.com)**, who published releases, mix sets and interviews from the broad field of bass music with a lot of love and knowledge. What was your motivation for this?** Robin: Again, there were no music blogs for bass music in German. So I wanted to do it. I'd previously worked for the music magazine Resident, which gave me a bit of practice in writing articles and reviews and I wanted to take it a step further. And as I read a lot of blogs back then, it was a logical step. **Booga: In 2020 you stopped the blog and you publish releases and mix sets on** [**tumblr**](https://robynthinks.tumblr.com/?ref=djbooga.com) **at long intervals, mostly without comment - you can't and don't really want to let go - right? Will you send more signals there?** Robin: Haha yes, well spotted! I've always thought that good music should be shared and I'm always itching to do so. Tumblr is a relatively simple and quick way to share something. So yes: I'm sure there will be irregular recommendations from time to time. **Booga: You like to work thematically in your DJ mix sets. I really appreciate that because I immediately assume that these sets have been preceded by a considerable screening process of tracks so that the theme in this form will last a while for you. Is that how you work, or do you have a different modus operandi?** Robin: Yes, exactly. For a while now, all my sets have had a certain theme that gives them structure and according to which I choose the tracks. It can often be just one track that I really want to include. I really like that and get a lot more out of it than if I were to mix down the latest releases/promos, for example. **Booga: What motivated you to take the step from DJ to label owner and manager?** Robin: At first it was really just down to the first track from DigiD, which I really wanted to release because it hadn't been published anywhere yet. I thought about it for a while and came up with the name/logo and then, with a lot of support from friends, I got started. Again, it was the next logical step for me: I was a DJ, knew that I had good taste in music and could promote the releases well via my blog. [TTE001: Levitation / Levitation (TMSV Remix) by Digid](https://throughtheseeyesrecords.bandcamp.com/album/tte001-levitation-levitation-tmsv-remix?ref=djbooga.com) **Booga: At the beginning of TTE, you focussed strictly on vinyl - no digital offerings, not even on Bandcamp. The releases were stamped by hand, everything was very minimalist and DIY but clearly well done and in style. How did this approach come about and did you have any role models that inspired you?** Robin: At the time of TTE001, digital formats were already on the rise and every release was available as an illegal download from the release date. I asked myself what the fans actually get when they spend €10-15 on a record. It quickly became clear that "vinyl only" offers many advantages. Even if it was an extreme hustle every time, because Bandcamp is not designed for it. In my opinion, the vinyl format made the releases last longer and gave them a different value than digital releases. DIY was already an aspiration of mine, I wanted to have as much as possible in my own hands. On the other hand, of course, there were also cost reasons. I was able to offer the records at a reasonable price. **Booga: The artists on TTE come from the Netherlands, Austria, UK, Italy, Germany and Russia. How did you work as an A&R with the different mentalities of the artists, did you want to be involved in the development of the artists or were you clearly focused on releases? How did you communicate your vision of the label to the artists?** Robin: You forgot the USA ;) Sometimes it was complicated, precisely because of the mentalities and my vision of TTE. But most of them were very happy that their music was being released on vinyl and liked my vision. I was definitely involved in the development of some of them, and after certain releases you could see how successful things were for the artists. I'm still particularly proud of the Yoofee EP for that very reason. **Booga: Four years ago, you released Omega, a compilation that marked the end of the label. Was Through These Eyes a rollercoaster ride for you with highs and lows or a constant, straightforward work?** Robin: The absolute rollercoaster! Several times I thought I'd chuck it all in and made too big a mistake this time. Then there are artists who promise tunes and then ghost you for months, lack of money, lack of time and this constant waiting. Waiting for the tunes, waiting for the masters, waiting for the test press, waiting for 300 records ... then there was the dispute with the designer of the logo and so on. But somehow it worked out and at crucial moments I got a good deal with Unearthed Sounds (RIP since 31 July 2023) so that I didn't have to store and sell 300 records per release myself. With the Omega release, I then had the problem from before the other way round: a vinyl-only label now releasing a purely digital compilation ... I looked at some ideas for a physical release, but nothing really fit. [Omega \[TTE010\] by Various Artists](https://throughtheseeyesrecords.bandcamp.com/album/omega-tte010?ref=djbooga.com) **Booga: When it comes to the international perception of Through These Eyes, what were the highlights for you?** Robin: I think it's definitely the "Sun People - Fight Dem Back" record. Somehow, from the signing to the release and the hype and sales, everything went smoothly and perfectly. When I saw Anna Morgan play it on a sound system in Brooklyn, Ticklish on his US tour and various DJs from England on Rinse and at Outlook, it was THE highlight of TTE. Even Tracy & Ezra from ZamZam Sounds wanted to do a remix of the tune. \[Fight Dem Back is also LXC's favourite track of TTE\] [TTE003 - Sun People - Fight Dem Back / Nu Gun by Sun People](https://throughtheseeyesrecords.bandcamp.com/album/tte003-sun-people-fight-dem-back-nu-gun?ref=djbooga.com) **Booga: In hindsight, how do you rate the collaboration with magazines and the online press as a blogger with your own publishing experience?** Robin: For the first review in Mixmag, I drove halfway across Berlin to buy a copy of the mag. I quickly came to the question: How many people have bought the record after reading this review? But I think that people were/are more likely to be influenced by DJs or selectors on the radio. Especially as I only got the review through paid promotion via an agency. What always works well are premieres of tunes on Soundcloud accounts that stand for a certain sound. I've often made use of that too. **Booga: In 2020, you stopped actively running your blog as well as the Through These Eyes label. What were your reasons for this?** Robin: The reason is actually time. I didn't have such a time-consuming job until a few years ago, and my family has also grown since then. For the label, I realised that I could no longer pursue such a clear line of the style I did before. Vinyl was slowly becoming less relevant as a medium, the prices for production were going up sharply and more presses were closing down, which overburdened the other pressing plants even more. Then there was the bankruptcy of Unearthed... and artists who saw you as a vinyl label and were disappointed when you could only offer a digital release. In addition, the sound that I was pushing with my label was a bit "out", labels were either releasing a lot more straight 174 bpm drum & bass again or specialising in jungle. I no longer felt that my label concept was contemporary and appropriate. **Booga: Would you do anything differently if you were to start a label again?** Robin: I only had 100 copies of TTE001 pressed because I had absolutely no idea how it would sell. It was incredibly expensive, but I couldn't offer the record (especially as the first on my label) for such a high price. I think I made a real loss on the record! So I would definitely do it differently. And of course with the knowledge of today, to offer a release only as a digital download and not as a 12" vinyl. **LXC: Some close peers here have wondered about the closure, especially about the wording that the TTE Bandcamp account will be cancelled completely - how did it come to that, what advantages do you see in it?** Robin: As I haven't released any tracks on TTE myself, I only manage the income from downloads and streaming at the moment. It's incredibly time-consuming to create the individual invoices for the artists. That's why my idea was: All producers get all the rights to their tune back from me and sell it themselves on Bandcamp. Then I no longer have anything to do with managing the income. I don't want to owe anyone any more money. But now I've heard that some people are in favour of leaving the releases there for archival reasons. I also know of artists who don't have a Bandcamp account or who have other jobs. Their tunes would then really no longer be available. So they stay up there. Just so that you can no longer buy them. **LXC: Do you still have backstock of TTE plates in stock and if so, what is your strategy with them?** Robin: Most of it is gone along the bankruptcy of Unearthed, I'll never see these records again. I still have some backstock from TTE005 & TTE007, but they'll stay in the attic for now. So there's not really any strategy. [TTE005 - Noh Vae - The Flow EP by Noh Vae](https://throughtheseeyesrecords.bandcamp.com/album/tte005-noh-vae-the-flow-ep?ref=djbooga.com) **LXC: Your blog was definitely a great collection of current bass music, thanks again for all the recommendations and inspiration - it was almost difficult to keep up with everything at times. Did you receive promos from artists and labels for reviews, or did you really spend half the day looking through Soundcloud?** Robin: It was really an evening-long programme to search for new music. The exceptions were 1-2 promos a month for a review. At some point I stopped promoting parties that I had nothing to do with because I thought it was kind of weird. But apart from that, it was all hand-picked content from me. **LXC: Which labels, artists and comparable blogs do you currently see as the most promising successors in your eyes?** Robin: I don't know any more. If I did, it would be Ronny and his blog [Kraftfuttermischwerk](https://www.kraftfuttermischwerk.de/blogg/?ref=djbooga.com), but he recently wrote himself that his music/mixes aren't clicked on that much anymore. At the risk of sounding very old now: I wish there was a return to forums. That's where the best exchange took place for me. **LXC: Over the last 20 years, a lot of groundbreaking things have happened in the broad field of bass music: Dubstep, Halftime, Jungle Revamps, you name it ... What are your favourite things to look at today, what are some fresh playgrounds for the near future? What would you like to experience, where do you see potential?** Robin: What I find super exciting is when footwork producers leave the traditional paths and expand their sound. Jlin does that really well, and Heavee's new LP is also heading in that direction. So 160 bpm is definitely still a great area for experimentation. **LXC: How do you feel about diversity in the music release landscape? TTE was completely male-dominated as far as I could see, wasn't it? Did you still have the topic on your radar and keep an eye out for Flinta and BIPoc representation opportunities?** Robin: Yes, I've actually only had male producers on the label and I'm one myself. I think the topic is super important and I would definitely have worked on it in the years after "Omega". **Booga & LXC: Thanks Robin for your time and the music you unearthed.** --- *Booga's favorite Through These Eyes tune is Blue by Yoofee / TTE006:* [TTE006 - Yoofee - Visualize EP by Yoofee](https://throughtheseeyesrecords.bandcamp.com/album/tte006-yoofee-visualize-ep?ref=djbooga.com) Follow-up links: - [Through These Eyes Records on Bandcamp](https://throughtheseeyesrecords.bandcamp.com/?ref=djbooga.com) - [ROBYN THINKS](https://robynthinks.wordpress.com/?ref=djbooga.com) blog - [Robyn Thinks](https://robynthinks.tumblr.com/?ref=djbooga.com) lite - [Tieffrequenz-Festival](https://www.facebook.com/TiefFrequenzFestival/) - [Unearthed Sounds distribution closure](https://de.ra.co/news/79243?ref=djbooga.com) - [LXC / Alphacut Rec.](http://www.alphacut.net/?ref=djbooga.com) - [Defrostatica](https://defrostatica.bandcamp.com/?ref=djbooga.com) ### Last Week Despite 001 URL: https://www.djbooga.com/last-week-despite-001/ Last updated: 2026-01-08T09:09:54.000Z Signals from the music industrial complex for people that have to deal with it. I'm trying something new with Last Week Despite mainly to sort my thoughts about music business articles that I read anyway. The links that end up here will therefore deal with current news that affects me, as an [independent label](https://defrostatica.bandcamp.com/?ref=djbooga.com) owner, sometimes more and sometimes less. So basically **despite what happened last week**, I deem these links to articles in this series **relevant to djs, producers, songwriters, singers and remixers** that are actively looking into developing a responsible career in music - or just like to be informed about it or to even have a conversation on these topics. --- ### Protect your likeness at all costs ![Still from movie The Creator "Donate your likeness"](https://www.djbooga.com/content/images/2023/11/2311-lwd-001a.jpg) Still from movie The Creator "Donate your likeness" Context: The US Screen Actors Guild–American Federation of Television and Radio Artists reached an agreement with movie producers after 148 days of strike recently. Actors [wrote in a letter](https://www.harpersbazaar.com/culture/politics/a44506329/sag-aftra-actors-strike-hollywood-explained/?ref=djbooga.com#what-is-sag-aftra) to SAG-AFTRA leadership before they started bargaining with Alliance of Motion Picture and Television Producers (AMPTP): > We think it is absolutely vital that this negotiation protects not just our likenesses, but makes sure we are well compensated when any of our work is used to train AI. Owning and dealing with ‘name and likeness’ rights are an emerging business within the movie industry as well as the music industry thanks to AI scraping / copy mechanisms. The acquirers of name and likeness rights can freely make use of an artist’s / actors brand across various products and media, including film and TV. If the acquirer also owns the music rights to an artist’s catalog they become powerful af. Here comes the news related to music: > The major record companies obviously cannot simply stand by and watch all of this activity play out without taking action. On November 16 the biggest music major of them all has made its own statement announcement in the ‘name and likeness’ space. Universal Music Group has confirmed it is launching a strategic alliance with Authentic Brands Group (ABG) to acquire and actively manage artist brands. "Through this initiative, we will invest in name and likeness rights to create unique opportunities for artists with the goal of greatly expanding their cultural and commercial impact." Source: [MBW "Universal Music Group targets 'name and likeness' aquisitions in partnership with Authentic Brands Group](https://www.musicbusinessworldwide.com/universal-music-group-to-splash-the-cash-on-name-and-likeness-rights-in-new-partnership-with-authentic-brands-group/?ref=djbooga.com). Mashable mentioned [the "donate your likeness" moment](https://mashable.com/article/the-creator-review?ref=djbooga.com) in their review of sci-fi movie The Creator: > Billboards encourage people to "donate their likeness" to simulants in order to support AI. The practice is eerily similar to [film studios making body scans of extras](https://www.npr.org/2023/08/02/1190605685/movie-extras-worry-theyll-be-replaced-by-ai-hollywood-is-already-doing-body-scan?ref=djbooga.com#:~:text=Hollywood%20is%20already%20doing%20body%20scans%20%3A%20NPR&text=Hourly%20News-,Movie%20extras%20worry%20they'll%20be%20replaced%20by%20AI.,the%20ongoing%20strikes%20in%20Hollywood). Yet any concerns about the likeness donations — and corporations *owning* said likeness — fall to the wayside to make way for plot-important simulant doppelgängers. While the actors' union was able to successfully defend itself against AI exploitation, music producers and artists only have the option of defending their interests in individual negotiations with experienced lawyers from the music major when it comes to matters of 'name and likeness'. ![](https://www.djbooga.com/content/images/2023/11/2311-lwd-001c.jpg) Another still from movie The Creator featuring "Donate your likeness" First signs of regulation are emerging though: [No Fakes Act](https://www.theverge.com/2023/10/12/23914915/ai-replicas-likeness-law-no-fakes-copyright?ref=djbooga.com) wants to protect actors and singers from unauthorized AI replicas and create rules around likeness laws and how AI-made replicas can be used. --- ### For Google Spotify is bae Not every platform is the same on Apple and Google, the two meta platforms in the western mobile world. In 2022 I wrote about [the legal fight Epic (then Bandcamp owner) had to put up with Google](https://www.djbooga.com/the-epic-games-bandcamp-deal/) about transaction fees, so they could use Paypal as a payment system rather than Google's Playstore system with a 15% on top of every digital sale tax in favor of Google. Epic won a partial victory in 2022, but the general antitrust implications of Apple and Google charging taxes for every digital music purchase on Bandcamp, regardless of the fact that they are not a functioning part of the Bandcamp ecosystem, remained. Apple and Google just don't like Bandcamp's business model of "let fans pay directly to artists once and let fans stream the purchased music forever and also let them have a direct connection to each other". The ongoing Epic vs Google trial revealed, that: > Spotify paid a 0 percent commission when users chose to buy subscriptions through Spotify’s own system. If the users picked Google as their payment processor, Spotify handed over 4 percent — dramatically less than Google’s more common 15 percent fee. Google fought to keep the Spotify numbers private during its antitrust fight with Epic, saying they could damage negotiations with other app developers who might want more generous rates. (...) "If we don’t have Spotify working properly across Play services and core services, people will not buy Android phones," Google head of global partnerships Don Harrison testified. The Verge: [A secret Google deal let Spotify completely bypass Android’s app store fees](https://www.theverge.com/2023/11/20/23969690/google-spotify-android-billing-commission-secret-deal?ref=djbooga.com) Google and Apple desperately need music to lure people into their ecosystem, and to achieve that, they make the rules as they see fit. While Spotify was able to close a 0 % tax deal with Google, Bandcamp (Epic) had to file a lawsuit for the same treatment. --- *Advertising: JOI is a moody bass music playlist featuring* [*Defrostatica*](https://defrostatica.bandcamp.com/?ref=djbooga.com) *artists Sinistarr, Kator, Sun People, Schmeichel + Shane Lizard, Jermaine Soul + Utelka, Ginkø + BSN Posse, Maltin Worf, Arcane & Jon1st and others. Updated monthly.* --- ### Bandcamp after Songtradr overtake: layoffs, business as usual and feature announcements Great article on Aftermath: [Bandcamp Just Trying To 'Keep The Lights On' Following Epic Sale, Layoffs.](https://aftermath.site/bandcamp-just-trying-to-keep-the-lights-on-following-epic-sale-layoffs/?ref=djbooga.com) It explains the perspective of former employees and union members. Also highlights the bigger battles that Bandcamp is still facing with Apple & Google because they are the lone preventers of mobile digital sales for artists and labels on Bandcamp. The chapter 'Second verse, same as the first' did hit a lot of the business and law related points I'm interested in. My basic gist is simply: **The lone preventer of mobile digital sales for artists on Bandcamp is still Apple and the problem is not talked loud enough about it.** As an artist you can't sell a single digital song / album in the Bandcamp iOS App! Fans can LISTEN to the songs in app though. But to purchase a song or an album you have to leave the app, login to the mobile website and pay there, then you can come back to the app and enjoy the music. There is no hint about it in the app - because that would stir legal problems Bandcamp likes to avoid. It's 2024 and that is not the way to conduct a successful mobile music business. I believe back in 2022 Bandcamp CEO Ethan Diamond looked for a white knight that was able to afford a legal battle with the platform gatekeepers Apple and Google. Bandcamp knew they had a solid business but the problem they and the artists and labels that were on their marketplace had was: as long as the number one purchase lane is a desktop pc/mac with a web browser, they will lose out to a generation that grew up on mobile. Bandcamp was and still is [the best context machine as a music platform](https://www.djbooga.com/the-epic-games-bandcamp-deal/), period. Their business model was split between two worlds though: desktop yay - mobile nay. > "If you’re Epic and you win that fight (against Apple and Google), then you're suddenly making bank on iOS and Android,” said senior software engineer Barringer. He's not wrong. It is also right that ALL artists and their labels would be able to reach a mobile first audience that is willing to support the artists music and BUY it, given the chance to do so. One could only dream if I could run a release campaign with a directlink into the Bandcamp app! It is this perspective that I'm missing strongly in the article by Nathan Grayson because nobody seems to be walking in the shoes of an independent label or artist. I would even argue that Bandcamp would never had the need to sell their business to anyone given the opportunity to sell digital only music on Apple's iOS app store and Google's Playstore without heavy platform taxes in the first place. Meanwhile, [Bandcamp/Songtradr announced](https://blog.bandcamp.com/2023/11/22/bandcamp-bulletin-001-highlights-from-2023-whats-next/?ref=djbooga.com) that public playlists, better discovery and automatic releases are coming in 2024. --- ### The week when Universal was Amiga I just leave this here at the end: It is the first time in the history of the Official German Charts that a major label has managed to take [the entire top 10 albums](https://www.musikwoche.de/charts/universal-music-stellt-einmaligen-chartsrekord-auf-424c973bb96465beb8f43d6caa3cd341?ref=djbooga.com). Just like [Amiga](https://en.wikipedia.org/wiki/Amiga%5F%28record%5Flabel%29?ref=djbooga.com) did so in every week in East-Germany before the wall came down. --- Thank you for your time. Subscribe to my blog via [RSS](https://www.djbooga.com/rss) or consider [singing up](https://www.djbooga.com/#/portal/signup) for a free membership and get notified by email about new posts. ### Connect with music using RSS URL: https://www.djbooga.com/connect-with-music-using-rss/ Last updated: 2025-11-07T12:30:40.000Z Let's start 2024 with an exercise for something new. In the next 15 minutes, you'll see for yourself whether the cockpit perspective of an RSS feed reader is something you might find useful to stay up to date with news on music you're interested in. After that I will get into what RSS is and what the advantages of "nice and quiet reading" means in this context - maybe you agree. Bear with me and trust the simple 4 step process. 😃 ### #1 Download Glocal Bass Music Subscription List I prepared a music news feeds subscription list with the good people of Bass Music Leipzig group in mind. Glocal is a compound word to describe the interconnection of global and local issues - in our case a local cultural scene with a global music genre. The subscription list contains: - Bandcamp bass music labels and genre hashtags - Music mags and blogs - Soundcloud profiles from Bass Music Leipzig The Glocal Bass Music Subscription List does not claim to be exhaustive and is merely intended as a suggestion. It is foremost a starting point and intended to illustrate what cockpit perspective means: a different but nice and quiet view on music news from different sources and platforms. The subscription list is ready to edit and organize to your needs later. To start, download it here: [Subscription ListGLOCAL BASS MUSICGlocalBassListV1.opml14 KBdownload-circle](https://www.djbooga.com/content/files/2023/12/GlocalBassListV1.opml "Download") ### #2 Sign up to a RSS feed reader service / app If you're on an iPhone or Mac I recommend you the free and open source app [NetNewsWire](https://netnewswire.com/?ref=djbooga.com) (download for [Mac](https://netnewswire.com/NetNewsWire.zip?ref=djbooga.com) / [iOS](https://apps.apple.com/us/app/netnewswire-rss-reader/id1480640210?ref=djbooga.com)), there is no signup required. If you're on a Windows or Linux PC or Android device sign up to [Feedly](https://feedly.com/?ref=djbooga.com) (free until 100 feeds) with your *desktop web browser*. This is important otherwise you're not able to import the subscription list in the next step. You can use Feedly's [Android](https://play.google.com/store/apps/details?id=com.devhd.feedly&ref=djbooga.com) or [iOS](https://apps.apple.com/us/app/feedly-smart-news-reader/id396069556?ref=djbooga.com) app later. ### #3 Import Glocal Bass Music Subscription List *NetNewsWire on a Mac* \- You'll notice that the app is already populated with news feeds. You can ignore them for the moment as you can keep or delete them anytime. To import the Glocal Bass Music Subscription List click on **File** in the menu and then **Import Subscriptions** where you select the downloaded **GlocalBassListV1.opml** file and hit **Open**. *NetNewsWire on an iPhone* \- Tap on the lower left gear wheel, in the section Feeds tap Import Subscriptions where you select the downloaded **GlocalBassListV1.opml** file and hit **Open**. *Feedly in a desktop web browser* \- Once you confirmed your email address after sign up, log into Feedly and look for **Import OPML** which should be second line under the big green button **Create A Folder**. Next thing you see is another green big button Choose OPML File, hit that and select the downloaded **GlocalBassListV1.opml** file to import it. ### #4 Enjoy the cockpit view on music news Congrats, you dit it! 🤩 By now you should see three folders on the left pane and the individual sources within after you expanded them. Click on the sources to see the news which can be releases (Bandcamp labels and hashtags), articles (music mags and blogs) and tracks or mix sets (Soundcloud profiles). Screenshots from NetNewsWire after the imported Glocal Bass Music Subscription List: ![](https://www.djbooga.com/content/images/2023/12/CleanShot-2023-12-30-at-13.09.14.png) ![](https://www.djbooga.com/content/images/2023/12/CleanShot-2023-12-30-at-13.09.49.png) ![](https://www.djbooga.com/content/images/2023/12/CleanShot-2023-12-30-at-13.11.14.png) ![](https://www.djbooga.com/content/images/2023/12/CleanShot-2023-12-30-at-13.14.18.png) Take some time to familiarise yourself with some universal principles for processing the music news you have just received: - **Refresh / update** \- everytime you open the RSS feed reader it fetches all the sources at once so you're up to date everyday, both in NetNewsWire as well in Feedly there is a dedicated *today view* so you see what's up. Of course if you use the mobile apps there is the option for notifications and background updates. - **Click on the headline** \- to get to the original source of a news entry, this applies particularly to the Bandcamp and Soundcloud folder but for the Mags and Blogs folder too: sometimes you'll see the whole article to read, some sources only show an excerpt. - **Read / unread status** \- every individual news that you click on is read, if you mark it with a star you keep it, you can mark folders with the status read as well. - **Manage feeds and folders** \- create your own logic: reorganize feeds and folders, delete sources and folders or rename them. - **Add news sources** \- for mags and blogs on the web copy the URL and add them to NetNewsWire or Feedly to see if they find a feed to fetch the news from. Sometimes sources do not offer a native news feed as is the case with Bandcamp and Soundcloud, you can create them regardless with the very useful service [RSS-Bridge](https://rss-bridge.org/bridge01/?ref=djbooga.com). Search for Bandcamp and choose the option if you like to subscribe to a genre hashtag, artist or label account then click on the button *generate feed* \- copy the link from the button that says Atom and paste it into your feed reader, done. ### What is RSS and why is it nice and quiet? Really Simple Syndication is a web standard protocol that enables websites to publish their articles as a subscription news feed which is independent from their public appearance. The content of that feed can be pulled from a feed reader app or service over the internet. If you use a feed reader you subscribe to various sources you would otherwise visit individually one after another. With the imported Glocal Bass Music Subscription List you may get a feel for a different view on music news because it feels at first maybe a bit overwhelming but I hope also it will surprise you what is possible to glance over in a short time. That is why I used the cockpit metapher in the first place. Reading music news this way is **nice**, because all this works without being tracked from first or third parties. This is one reason big platforms don't like it, hence the RSS-Bridge workaround. It is also **nice** because feeds deliver news with a very simple algorithm: latest news is presented first. RSS feeds are **quiet** because the content appears without individual design, ads, cookie banner overlays and other loud marketing stuff - it is usually just text and images in the same style as the next source in your reader. ### Frequently Asked Questions #### How can I read the news on my laptop and my phone? If you want to keep your news in sync - your subscriptions and the read / unread status then you need to setup a sync service. Feedly has this feature incorporated in their service so what you see on the web is the same as in the mobile app. NetNewsWire allows iCloud sync in their preferences which is free to a certain data usage. You might consider a sync service like [Feedbin](https://feedbin.com/?ref=djbooga.com) that works indepently with various reader apps and services. #### Should the RSS reader replace my social media habit? No. Social media platforms are all about engagement, this is true for Bandcamp and Soundcloud where fans and supportes can interact with artists and labels in direct ways. With a RSS feed reader you may **discover* better relevant news, articles and music though. #### Aren't podcasts not just RSS feeds with audio files? True. Real podcasts are distributed via RSS over the open web. Therefor some feed reader services like Feebin allow you to subscribe to podcasts as well. #### Which platforms are offering RSS feeds I don't know of? YouTube channels, Reddit communities, Google News - even Newsletters can be subscribed that way. A plethora of websites like [DJ Mag](https://djmag.com/?ref=djbooga.com), [Mix Mag](https://mixmag.net/?ref=djbooga.com) or [Resident Advisor](https://ra.co/?ref=djbooga.com) offer news feeds as well. Ask your questions in the comments and I will answer / add them in the FAQ. --- You can subscribe to my blog via RSS, copy this link and add it your reader [djbooga.com/rss](https://www.djbooga.com/rss). You can also subscribe only to specifically tagged articles: - Interviews - - Articles - - Music + Culture - - Music + Tech - ### Spectrum 004 URL: https://www.djbooga.com/spectrum-004/ Last updated: 2023-12-20T17:02:05.000Z In the [Spectrum series](https://www.djbooga.com/spectrum/), I recommend bass music that I have [discovered and bought](https://bandcamp.com/djbooga?ref=djbooga.com) on Bandcamp. All featured tracks can be found in the [Spectrum playlist](https://www.djbooga.com/spectrum-playlist/). To receive posts by email and to comment [sign up here](https://www.djbooga.com/#/portal/signup). Your feedback [is welcome](mailto:blog@djbooga.com). ### [Jana Rush - Painful Enlightenment | Planet Mu](https://jaru.bandcamp.com/album/painful-enlightenment?ref=djbooga.com) [Painful Enlightenment by Jana Rush](https://jaru.bandcamp.com/album/painful-enlightenment?ref=djbooga.com) If you're not already familiar with the Chicago producer and DJ, do yourself a favor and read this impressive [three-paragraph bio](https://planet.mu/artists/jana-rush/?ref=djbooga.com) on the established veteran of the world of ghetto house and juke. Her 3rd album on Planet Mu is a document of her own personal growth through struggles with depression and suicidal thoughts, a glimpse into a dark period of her life amid learning the art of letting go. I like the minimalism of 3 a lot as it connects hard hitting drums and sinister vibes in her signature style. ### [VA - 76666 Vol 4 | 76666](https://76666.bandcamp.com/album/76666-no-4?ref=djbooga.com) [76666 No. 4 by 76666](https://76666.bandcamp.com/album/76666-no-4?ref=djbooga.com) 76666 is a non-commercial music label and artist collective from Karlsruhe, Germany. Their principle is to engage with dissimilarities and to stimulate an ongoing process of confrontation with diversity. One of the few homes Alza54 from Leipzig settled in with a track other than his turf called [ModernTrips](https://moderntrips.bandcamp.com/?ref=djbooga.com). Milli Tek is maybe short for militant tech step but for me it felt like the successor to [Session Two by The Accused](https://www.youtube.com/watch?v=AC-N7WTk-0k&ref=djbooga.com) on Reinforced with hints of [Phantom Audio](https://www.discogs.com/label/451-Phantom-Audio?ref=djbooga.com). In other words exciting timeless jungle music. ### [VA - Posse Vol. One | Posse Up!](https://posseup.bandcamp.com/album/posse-vol-one?ref=djbooga.com) [Posse Vol. One by Ghostwhip](https://posseup.bandcamp.com/album/posse-vol-one?ref=djbooga.com) Posse Up from Canada [describes themselves](https://www.instagram.com/posse%5Fup%5Flabel/?ref=djbooga.com) as "a non-social media focused label" and I support that message but more so the detuned cowbell over the Baltimore club groove on Three Eightee by label honcho Ghostwhip. This one is a grower. ### [Patrik Cure - CDMUSIC007 | Club Designs](https://clubdesigns.bandcamp.com/album/cdmusic007?ref=djbooga.com) [CDMUSIC007 by Patrik Cure](https://clubdesigns.bandcamp.com/album/cdmusic007?ref=djbooga.com) The debut EP of Vancouver based DJ and producer Patrik Cure is club-oriented as it gets and includes a terrific remix by Sinistarr. Modify is my favorite track because it combines his influences of ghettotech, electro and jungle most effectively. He's [close with Posse Up](https://www.instagram.com/p/CxRfXbSA85H/?ref=djbooga.com). ### [Garneau - Giza | self release](https://garneau.bandcamp.com/track/giza?ref=djbooga.com) [Giza by Garneau](https://garneau.bandcamp.com/track/giza?ref=djbooga.com) Garneau runs above mentioned Club Designs and released Giza after "seeing how it went off at Basscoast during my [Boiler room set](youtu.be/AZHr3LZ1Tqw?t=1391)". Be my guest if you dig a manic acid line over a proper bongo beat. ### [Dance Maniacs - Built Like That | Juke Bounce Werk](https://jukebouncewerk.bandcamp.com/album/jbw-presents-dance-maniacs-built-like-that?ref=djbooga.com) [JBW presents: DANCE MANIACS - BUILT LIKE THAT by DANCE MANIACS](https://jukebouncewerk.bandcamp.com/album/jbw-presents-dance-maniacs-built-like-that?ref=djbooga.com) Right one year after JBDUBZ X this is the debut post compilation era release featuring Juke Bounce Werk alumni Avi Loud, Liano and Oak City Slums, collectively known as Dance Maniacs. On this 8-track album you will find strictly no frills dj tools. My favorite Drop That Bih runs on a version of Baltimore club, featuring 909 hihats between Think break tambs over agitating drum kicks and a slight distorted bassline with a respectful nod to the mighty [Percolator](https://www.youtube.com/watch?v=3pHOtm%5FeM2M&ref=djbooga.com) \- that's all you really need. ### [A.Fruit - Restless Mind | self release](https://annafruit.bandcamp.com/album/restless-mind?ref=djbooga.com) [Restless Mind by A.Fruit](https://annafruit.bandcamp.com/album/restless-mind?ref=djbooga.com) She released her music on [Teklife](https://teklife.bandcamp.com/?ref=djbooga.com), Om Unit's [Cosmic Bridge](https://cosmicbridge.bandcamp.com/?ref=djbooga.com) label, [Worst Behavior](https://worstbehaviorrecs.bandcamp.com/?ref=djbooga.com) from NYC, Latvian based [Hyperboloid](https://hyperboloid.bandcamp.com/?ref=djbooga.com) and on the [Yuku](https://yukumusic.bandcamp.com/?ref=djbooga.com) universe - the Restless Mind EP though is exclusively on her own Bandcamp. Reading the track titles and the release description I come under the impression, this EP is about a truly emancipative liberation - from tempo ranges, backward authority and insidious barriers of the human mind. And what powerful statement "All In One Person" is! ### [Quartz - Deity Spear EP | R&S](https://elliotquartz.bandcamp.com/album/deity-spear?ref=djbooga.com) [Deity Spear by Quartz](https://elliotquartz.bandcamp.com/album/deity-spear?ref=djbooga.com) I've been a big fan since his [Hall Of Mirrors EP](https://elliotquartz.bandcamp.com/album/methxx020-hall-of-mirrors-ep?ref=djbooga.com), especially because of the slowfast wonder Oblong Druid. On his R&S release, he has refined his sound world in a consistently cinematic way. The halftempo drum and bass tracks feel almost more speedy due to lightweight percussion that pierce through black mirror-esque environments. Lilac Cobwebs feat. Selena Jones is my favorite because it sets the tone of the EP so perfectly. ### [Breakage - Style & Pattern | Index](https://breakage.bandcamp.com/album/style-pattern?ref=djbooga.com) [Style & Pattern by Breakage](https://breakage.bandcamp.com/album/style-pattern?ref=djbooga.com) Breakage has released flawless jungle EPs on his Index label every year since 2017, proving that focusing on one break per song, minimal arrangement and exceptional production can make all the difference. On his latest single he doesn't change the winning formula and thankfully so. The sort of tunes that makes want to go to a drum and bass night again let alone rinse these myself. --- Bonus read: If you have a hard time spotting the genre differences between Baltimore / Philly / Jersey club tracks [Vice has an article](https://www.vice.com/en/article/qkabvb/you-think-you-know-but-you-have-no-idea-the-difference-between-baltimore-philly-and-jersey-club?ref=djbooga.com) about it. ![Spectrum playlist on Buy Music Club, Apple Music, Spotify & Deezer](https://www.djbooga.com/content/images/2023/12/WORK-spectrum-meta-16-9.jpg) Spectrum playlist on [Buy Music Club](https://www.buymusic.club/list/defrostatica-spectrum?ref=djbooga.com), [Apple Music](https://music.apple.com/de/playlist/spectrum/pl.u-WBB37sDXPK0?ref=djbooga.com), [Spotify](https://open.spotify.com/playlist/7ICpO9cLpLlSSfBOIJmhDJ?si=7717234bd2834262&ref=djbooga.com) & [Deezer](https://www.deezer.com/de/playlist/12022333691?ref=djbooga.com) ### Jermaine Soul & Utelka interview URL: https://www.djbooga.com/jermaine-soul-utelka-interview/ Last updated: 2023-12-18T10:05:37.000Z *Seven Sisters is the second single by Jermaine Soul and Utelka on Defrostatica and* [*is out today*](https://song.link/sevensisters?ref=djbooga.com)*. All proceeds of the single will go to* [*Suicide Prevention UK*](https://www.spuk.org.uk/?ref=djbooga.com)*.* **Over four years ago you started collaborating on Asphyxiology EP. The artwork shows Utelka with two hands around her neck, the hands have Betrayal, Anxiety and Fear written all over them. What enabled you both to show this kind of vulnerability in your songs?** Utelka: For me, these were a visual aspect to set the tone for the EP. Dealing with a lot of negative emotions at the time, it seemed like the only way to have a visualisation of the journey the music would take. [Asphyxiology by Utelka](https://jermainesoul.bandcamp.com/album/asphyxiology?ref=djbooga.com) Jermaine Soul: Music has always been the way I am able to express how I’m feeling without words. I struggle a lot with expressing my feelings vocally, even to people close to me. At the time we were recording Asphyxiology, we were sharing our inspirations for making music and our journeys to that point, which exposed our vulnerabilities without us realising. Naturally, that transfers into the music. Utelka: I think being able to make music in a safe space, helps in the creative process. Garth (Jermaine Soul) has always championed me to deliver raw emotions no matter how abrasive they may seem and this is the main reason why I felt comfortable baring all. > Jermaine Soul: For myself, I have to embrace that darkness in order to understand it, so I’m able to pull myself towards the light. **On your single "Signs" from 2022, you reveal that it is hard staying true to who you are. Would you say it was cathartic to talk about the struggle of not letting dreadful thoughts pull you back?** Jermaine Soul: Yeah it is, but it’s not always easy! Sometimes those thoughts can be so dark, it’s hard to pull yourself away from them and it can be debilitating. For myself, I have to embrace that darkness in order to understand it, so I’m able to pull myself towards the light. Then I feel more comfortable talking about it with friends or family. Everyone has their own way of dealing with those difficult situations. I’m lucky to have supportive friends and family to help me through those dark moments. [Signs feat. Utelka by Jermaine Soul](https://jermainesoul.bandcamp.com/album/signs-feat-utelka?ref=djbooga.com) Utelka: That’s correct, Signs was almost like a message to myself. To my younger self even. Signs was written pre-pandemic, and these were very trying times. Writing songs like these helps me personally to shed the emotions that would otherwise build up and create some sort of tensity within myself. These things are extremely hard to verbalise in a normal conversation, topics similar to Signs I have personally struggled to speak on with my close ones and I think being able to musicalise that is only beneficial, if not just to myself but to others too. **What do you remember about the session you had when writing "Seven Sisters"?** Jermaine Soul: I remember Utelka feeling worried about releasing it after we recorded, which is understandable. It’s a personal song and it can be hard to expose yourself to the world like that. As a producer, I can hide behind the ambiguity of a songs vibe. For a songwriter, your heart is laid out for everyone to see. She did so well in the session given the content of the lyrics and feel honoured to have been a part of it. Utelka: I remember hearing the beautiful strings and they struck an emotion within me. It was a surprisingly easy write, despite how dark the content of the song is. It’s always daunting to speak on topics such as these but Garth (Jermaine Soul) as always made it really serene safe space. 0:00 /0:27 1× Jermaine Soul & Utelka - Seven Sisters / DESA006 **Can you tell about the meaning of "Seven Sisters"?** Jermaine Soul: This is a question I feel is best answered by Utelka to give it the justice it deserves. Utelka: Seven Sisters is a beautiful cliffside, near the South – and whilst it has a stunning scenery, it was the highest destination for suicide in the UK at one point. Being extremely honest with myself, lyrically this reflection on my mental state when I’ve suffered with depression and suicidal thoughts in the past. Confronting difficult emotions, and being able to process those is really important. The lyrics tell of suicidal thoughts which I feel is seen as a taboo, whilst being paired with the most beautiful strings and ethereal music it’s a very bitter sweet song. **How important is music in general and the creative process in particular to deal with symptoms of not being well?** Jermaine Soul: As I said earlier, music has always been the way I can truly express myself. It has been an integral part of my life for a long as I can remember. The memories I vividly remember as a child, as a teenager, at university, have a soundtrack to them. For me, it can be a way to understand a traumatic situation more clearly to work towards overcoming. Sometimes, it can just be a quick release of tension and stress. Like banging a drum when I feel tense and want to let it all go or playing piano when I feel overwhelmed and need some calm. Utelka: Music is healing as they say, there are many songs that can evoke an array of emotions, and I think for me music plays a huge part in recognising those in myself. It’s very easy to brush past these spouts as life is really hectic but sometimes a simple lyric can strike a chord within you. **Are you prepared for friends or even fans to come checking for you because of your revelation in the song? Has that happened before and how did that effect you?** Utelka: I suppose, I’m not really expecting anything but I can understand how it can be really confronting and concerning to hear people you care about speak of these. I wouldn’t necessarily say people have checked in but they’ve mentioned how certain things are relatable and that means the most. Again it’s that same feeling of not being alone with these thoughts. **How significant is the sense of being understood during challenging times?** Jermaine Soul: It’s vital. It can be difficult if the way its communicated seems hostile, but it’s important to try look past that and, at the risk of sounding cliché, read between the lines to discover what’s really going on. As I say, it’s not easy and I haven’t always been the best in those situations. It’s all about working on yourself though. Utelka: To feel understood and to feel heard are vital in helping somebody. You may not be able to solve all the problems in the world, but a problem shared is a problem halved as they say. Just being able to listen to someone can be the very thing that goes on to save a life. > Utelka: Speak to anyone as we do not need to carry this burden by ourselves. **Would you say that the description of your feelings in the song can help to recognise the situation someone is in and to take steps to seek help?** Utelka: First and foremost, speak up. Speak to anyone as we do not need to carry this burden by ourselves. Nobody deserves that. Do something kind for yourself, treat yourself with love and care. My final and maybe hardest step would be to seek help, there are an array of services available and it’s completely okay to get help whether it’s the therapy, helplines - we are human and we all need somebody. **Empathy is the key, isn't it. What is a good way to nurture it?** Jermaine Soul: Naturally, empathy is very important. I think the best way to nurture it is to listen and be there. Utelka: Just be kind to yourself, take time that you need. We are our own worst critic, we should treat ourself and each other with much more compassion. **I agree. Thank you both for your time.** ### **Jermaine Soul & Utelka - Seven Sisters / DESA006** Jermaine Soul on [Bandcamp](https://jermainesoul.bandcamp.com/music?ref=djbooga.com) · [Instagram](https://www.instagram.com/jermaine.soul/?ref=djbooga.com) · [Soundcloud](https://soundcloud.com/soulcloud?ref=djbooga.com) Utelka on [Instagram](https://www.instagram.com/utelkajohnson/?ref=djbooga.com) · [Twitter ](https://twitter.com/utelkajohnson?ref=djbooga.com)Defrostatica on [Bandcamp](https://defrostatica.bandcamp.com/?ref=djbooga.com) · [Instagram](https://instagram.com/defrostatica?ref=djbooga.com) · [Soundcloud](https://soundcloud.com/defrostatica?ref=djbooga.com) · [Twitter](https://twitter.com/defrostatica?ref=djbooga.com)[ ](https://twitter.com/utelkajohnson?ref=djbooga.com) ### Spectrum 003 URL: https://www.djbooga.com/spectrum-003/ Last updated: 2023-12-20T17:03:53.000Z In the [Spectrum series](https://www.djbooga.com/spectrum/), I recommend bass music that I have [discovered and bought](https://bandcamp.com/djbooga?ref=djbooga.com) on Bandcamp. All featured tracks can be found in the [Spectrum playlist](https://www.djbooga.com/spectrum-playlist/). To receive posts by email and to comment [sign up here](https://www.djbooga.com/#/portal/signup). Your feedback [is welcome](mailto:blog@djbooga.com). ### [Protect Ryan - Party Tracks For Horse Girls EP | Gutterfunk](https://gutterfunkuk.bandcamp.com/album/protect-ryan-party-tracks-for-horse-girls-ep?ref=djbooga.com) [Protect Ryan- Party Tracks For Horse Girls (EP) by GutterFunk](https://gutterfunkuk.bandcamp.com/album/protect-ryan-party-tracks-for-horse-girls-ep?ref=djbooga.com) I first came across the three-people project from Bristol with this EP, which has since two more releases on Gutterfunk, DJ Die's label. Contact is my favorite of the four breakbeat tracks because it's not only a fantastic opening tune, but also has a epic, dreamy ending. ### [Ilk - All Tied Up | self release](https://ilkbeats.bandcamp.com/track/ilk-all-tied-up?ref=djbooga.com) [Ilk - All Tied Up by ilk](https://ilkbeats.bandcamp.com/track/ilk-all-tied-up?ref=djbooga.com) The Brightonian is favorited by a lot of friends in the jungle community. All Tied Up from 2020 is a massive 130 bpm breakbeat tune on which he lays out mysterious trails and traps in a never-boring way. The minimal but effective stomper takes its time and that's a very good thing. ### [Fracture & Sam Binga - Omura LP | Astrophonica](https://fracture.bandcamp.com/album/omura?ref=djbooga.com) [Omura by Fracture & Sam Binga](https://fracture.bandcamp.com/album/omura?ref=djbooga.com) It's no surprise that two of the UK's finest bass music producers, always keen to flip the script of what's possible on the dancefloor, have come up with an electro album eventually. Cold Edge is my favorite tune because everything falls into place so perfectly: from the sound design to songwriting to the impeccable mixdown. ### [Arcane - Above and Beyond EP | Defrostatica](https://arcaneofficial.bandcamp.com/album/above-and-beyond-ep?ref=djbooga.com) [Above and Beyond EP by Arcane](https://arcaneofficial.bandcamp.com/album/above-and-beyond-ep?ref=djbooga.com) 140 bpm is a magic tempo point for many British bass music genres, from oldschool hardcore to dubstep to grime. Arcane choose this b-boy-ish but atmospheric opener before his all out rave tracks on his second EP for Defrostatica - and I can't get enough of it. ### [Mantra - Damaged EP | Sneaker Social Club](https://sneakersocialclub.bandcamp.com/album/damaged-ep?ref=djbooga.com) [Damaged EP by Mantra](https://sneakersocialclub.bandcamp.com/album/damaged-ep?ref=djbooga.com) Rupture nights co-founder Mantra debuts with her first solo EP on the modernist hardcore imprint Sneaker Social Club. Damaged is a dark UKG track with ice-cold drums laid confidently over heavy subs and harrowing samples and pads. Weapon! ### [Special Request - Belief System LP | Houndstooth](https://special-request.bandcamp.com/album/belief-system?ref=djbooga.com) [Belief System by Special Request](https://special-request.bandcamp.com/album/belief-system?ref=djbooga.com) This album "runs the gamut of nighttime electronic music, sharply murky" as [Bill DeBlase](https://bandcamp.com/billydeez?ref=djbooga.com) so aptly put it in the comments on the release. Make It Real summarizes the history of club culture, which is characterized by warehouse raves on the one hand and repressive laws and the police on the other, like a fable - a very well-made fable. ### [Veill - Echo Chamber / Shadow Self / Verge Of | Futurepast Zine](https://futurepastzine.bandcamp.com/album/echo-chamber-shadow-self-verge-of?ref=djbooga.com) [Echo Chamber // Shadow Self // Verge Of... by Veill](https://futurepastzine.bandcamp.com/album/echo-chamber-shadow-self-verge-of?ref=djbooga.com) The Birmingham based [Futurepast Zine](https://futurepastzine.com/?ref=djbooga.com) publishes fanzines, releases and promotes label nights with so much heart and soul that it's well worth checking out. On this three-tracker, London based Veill shows the jazz-heavy side of various strains of UK Bass music. Favorite tune is Shadow Self because it contains [Dollis Hill DNA](https://en.wikipedia.org/wiki/4hero?ref=djbooga.com), and I really like that. ### [DRS - I Don't Usually Like MC's but … | Soul:r](https://soulr.bandcamp.com/album/i-dont-usually-like-mcs-but?ref=djbooga.com) [I Don't Usually Like MC's But... by DRS](https://soulr.com/album/i-dont-usually-like-mcs-but?ref=djbooga.com) DRS is one half of Manchester hip hop duo Broke ‘n’ English. The first time I heard him was alongside Calibre in a Breezeblock mix in 2005 and I loved it right away. His first solo album on the label of Marcus Intalex and ST Files is nothing less than a cornerstone of the finest drum and bass music and MC culture. My favorite song is Habitual feat. Calibre because the narrated vulnerable side of addiction fits so well with the low tempo and mood. ### [Maltin Worf - 4AM EP | Defrostatica](https://maltinworf.bandcamp.com/album/4am-ep?ref=djbooga.com) [4AM EP by Maltin Worf](https://maltinworf.bandcamp.com/album/4am-ep?ref=djbooga.com) Four very different but distinct Maltin Worf tracks are on this wonderful EP. My favorite is the opener and title track 4AM, a time-melting piece that flips from 160 to 120 and back again all the while retaining a powerful balance of euphoria and extraordinary weight. ### Spectrum 003 - all tracks in the mix [DJ Booga](https://soundcloud.com/djbooga?ref=djbooga.com "DJ Booga") · [Spectrum 003 Mix](https://soundcloud.com/djbooga/spectrum-003-mix/s-BRShV9LwXEz?ref=djbooga.com "Spectrum 003 Mix") --- Bonus read: [Nearly a third of professional UK musicians report poor mental wellbeing (The Guardian)](https://www.theguardian.com/music/2023/nov/23/nearly-a-third-of-professional-uk-musicians-report-poor-mental-wellbeing?CMP=twt%5Fa-culture%5Fb-gdnculture&ref=djbooga.com) ![Spectrum playlist on Buy Music Club, Apple Music, Spotify & Deezer](https://www.djbooga.com/content/images/2023/12/WORK-spectrum-meta-16-9.jpg) Spectrum playlist on [Buy Music Club](https://www.buymusic.club/list/defrostatica-spectrum?ref=djbooga.com), [Apple Music](https://music.apple.com/de/playlist/spectrum/pl.u-WBB37sDXPK0?ref=djbooga.com), [Spotify](https://open.spotify.com/playlist/7ICpO9cLpLlSSfBOIJmhDJ?si=7717234bd2834262&ref=djbooga.com) & [Deezer](https://www.deezer.com/de/playlist/12022333691?ref=djbooga.com) ### Spectrum 002 URL: https://www.djbooga.com/spectrum-002/ Last updated: 2023-12-20T17:03:03.000Z In the [Spectrum series](https://www.djbooga.com/spectrum/), I recommend bass music that I have [discovered and bought](https://bandcamp.com/djbooga?ref=djbooga.com) on Bandcamp. All featured tracks can be found in the [Spectrum playlist](https://www.djbooga.com/spectrum-playlist/). To receive posts by email and to comment [sign up here](https://www.djbooga.com/#/portal/signup). Your feedback [is welcome](mailto:blog@djbooga.com). ### [Kessler - Lunar EP | Elicit](https://elicitrecords.bandcamp.com/album/lunar?ref=djbooga.com) [Lunar by Kessler](https://elicitrecords.bandcamp.com/album/lunar?ref=djbooga.com) This is an interesting jungle recommendation by [Schnesen](https://bandcamp.com/schnesen?ref=djbooga.com), he's from my hometown Leipzig as well. The drum edits are crazy good and always support the overall atmospheric vibe of the tunes. Favorite tune is Black Sky because the breaks on 150 bpm are working so so well. Bonus kudos for the track title "F\*\*k Off With Your Horoscopes". ### [Generate - Engines EP | Antilounge](https://antilounge.bandcamp.com/album/engines-ep?ref=djbooga.com) [Engines EP by Generate](https://antilounge.bandcamp.com/album/engines-ep?ref=djbooga.com) Listening to Kessler brought me back to Generate on Antilounge, another label from the Netherlands. Engines EP presents slowfast, wonky and jungle in a vortex that defies first floor mentality without being aimless. Imagination and the Missingsense remix are my favorites because they are pure drama. ### [Yorobi - Projection Palace EP | OMOTT](https://yorobi.bandcamp.com/album/projection-palace?ref=djbooga.com) [Projection Palace by Yorobi](https://yorobi.bandcamp.com/album/projection-palace?ref=djbooga.com) Amsterdam's Yorobi released the EP On My Own Terms / Time, an impressing jungle breakbeat self release that is also available on 12" vinyl. Favorite tune is Projection Palace (Night Terrors Mix) because, and I quote her own words "is more aggressive, ravey and a true walk down memory lane at it’s darkest". I appreciate the written context to each track a lot, worth checking out. ### [Ginkø x BSN Posse - Nobody EP | Defrostatica](https://bsnposse.bandcamp.com/album/nobody-ep?ref=djbooga.com) [Nobody EP by Ginkø x BSN Posse](https://bsnposse.bandcamp.com/album/nobody-ep?ref=djbooga.com) Disclaimer: I released this on my label but as I see myself listening to it for the better part of this year I figured why not recommend it as well? Another good question is if passionate autonomic music isn't a contradiction in itself but it feels so damn right. Of course it's hard to pick a favorite tune here, I'm going with Nobody not least because of the Pablo Dread remix that is coming out next Friday. ### [Noroi - Adrastea EP | Spheres / Rua Sound](https://ruasound.bandcamp.com/album/adrastea?ref=djbooga.com) [Adrastea by Noroi](https://ruasound.bandcamp.com/album/adrastea?ref=djbooga.com) Absolutely love the risk that Rob from Rua Sound is taking to add another sidelabel to his main jungle outlet and this EP by Rome-based producer Noroi. Favorite tune is the absolute banger that is Transoceanic because of the intriguing combination of a perfectly cold 145 bpm beat and lush pads and a relaxed sub bass. ### [VA - Worst Behavior, Vol. 4 | Worst Behavior](https://worstbehaviorrecs.bandcamp.com/album/worst-behavior-vol-4?ref=djbooga.com) [Worst Behavior, Vol. 4 by Worst Behavior Recs](https://worstbehaviorrecs.bandcamp.com/album/worst-behavior-vol-4?ref=djbooga.com) Founded by Anna Morgan and Bell Curve from New York, the label and event series are releasing their fourth edition of the 160 bpm heaters they're known for. Favorite tune is Diggity by Nikes & Sharawi because of the perfect blend of jungle (cold sweat break ftw!) and minimal yet upfront footwork aesthetic. ### [Okzsharp - Outside The Ride | Hyperdub](https://okzharp.bandcamp.com/album/outside-the-ride?ref=djbooga.com) [Outside The Ride by Okzharp](https://okzharp.bandcamp.com/album/outside-the-ride?ref=djbooga.com) Born in South Africa and now based in South East London, Okzharp presents seven tracks that explore a chimera of turn of the century gqom, techstep and footwork. Favorite track is Fen's Touch because the hook repetition is designed to truly get lost in the dance. Expect flashback experiences while you're standing in the queue at the supermarket. ### [Rochelle Jordan - Play With The Changes Remixed | Young Art Records](https://rochellejordan.bandcamp.com/album/play-with-the-changes-remixed?ref=djbooga.com) [Play With The Changes Remixed by Rochelle Jordan](https://rochellejordan.bandcamp.com/album/play-with-the-changes-remixed?ref=djbooga.com) Another album I find myself turning to from time to time is the remix-fest of who-is-who producer line up that forms a reimagination of Rochelle's acclaimed 2021 album Play With The Changes. Favorite remix is Next 2 You (Sinistarr Remix) because at 150 bpm it stirs a 'rowdy clap vs filtered breakbeats vs nasty bassline vs ethereal voice' frenzy. ### [Airstrike & Lyndon Jarr - Sunrise Selection | Static and Strange](https://staticandstrange.bandcamp.com/album/sunrise-selection-little-peas?ref=djbooga.com) [Sunrise Selection // Little Peas by Airstrike, Lyndon Jarr](https://staticandstrange.bandcamp.com/album/sunrise-selection-little-peas?ref=djbooga.com) Offshot of drum and bass label Unchained Asia which focuses on non-linear explorations in bass music across a wide variety of soundscapes. Favorite tune is the 130 bpm breakbeat workout Sunrise Selection that has Underworld vs Djrum DNA all over it. --- Bonus read: [Shawn Reynaldo - Meet Dance Music's Busiest Bandcamp Commenter](https://firstfloor.substack.com/p/meet-dance-musics-busiest-bandcamp) ![Spectrum playlist on Buy Music Club, Apple Music, Spotify & Deezer](https://www.djbooga.com/content/images/2023/12/WORK-spectrum-meta-16-9.jpg) Spectrum playlist on [Buy Music Club](https://www.buymusic.club/list/defrostatica-spectrum?ref=djbooga.com), [Apple Music](https://music.apple.com/de/playlist/spectrum/pl.u-WBB37sDXPK0?ref=djbooga.com), [Spotify](https://open.spotify.com/playlist/7ICpO9cLpLlSSfBOIJmhDJ?si=7717234bd2834262&ref=djbooga.com) & [Deezer](https://www.deezer.com/de/playlist/12022333691?ref=djbooga.com) ### Spectrum 001 URL: https://www.djbooga.com/spectrum-001/ Last updated: 2023-12-20T17:03:31.000Z In the [Spectrum series](https://www.djbooga.com/spectrum/), I recommend bass music that I have [discovered and bought](https://bandcamp.com/djbooga?ref=djbooga.com) on Bandcamp. All featured tracks can be found in the [Spectrum playlist](https://www.djbooga.com/spectrum-playlist/). To receive posts by email and to comment [sign up here](https://www.djbooga.com/#/portal/signup). Your feedback [is welcome](mailto:blog@djbooga.com). ### [Sun People - Joyfull Discontent | Outlines / Guides ](https://sunpeople.bandcamp.com/album/joyfull-discontent?ref=djbooga.com) [Joyfull Discontent by Sun People](https://sunpeople.bandcamp.com/album/joyfull-discontent?ref=djbooga.com) A tribute to minimalism by Graz' finest. Structurally and sonically, the spirit of clicks & cuts can be heard, as well as influences from dub, ambient and minimalist drum & bass and footwork. Favorite track: Danger Of Ambition. I love the titles of the tracks. ### [Seba & Paradox - Volt | Ilian Tape](https://iliantape.bandcamp.com/album/it058-volt?ref=djbooga.com) [IT058 - Volt by Seba & Paradox](https://iliantape.bandcamp.com/album/it058-volt?ref=djbooga.com) Munich's Zenker Brothers welcome Paradox back again to the label, this time in collaboration with Seba. 140 bpm breakbeats to widen the horizon of their techno audience is the way of Volt - my favorite track. ### [Wrk.dat - w.d 03 | wrk.dat](https://wrk-dat.bandcamp.com/album/w-d-o3-2?ref=djbooga.com) [w.d o3 by wrk.dat](https://wrk-dat.bandcamp.com/album/w-d-o3-2?ref=djbooga.com) Wrk.dat - also from Munich - lures the 160 bpm juke crowd into ever-shimmering techno. Favorite track is Chit Chat because the opening groove dissolves seamingly into the eerie vibe of never ending dopamine shots. ### [The Era Footwork Crew (feat. Litebuld and Steelo) - 160 | The Era](https://theerafootworkcrew.bandcamp.com/track/160-feat-litebulb-steelo?ref=djbooga.com) [160 (feat. Litebulb & Steelo) by The Era Footwork Crew](https://theerafootworkcrew.bandcamp.com/track/160-feat-litebulb-steelo?ref=djbooga.com) Bulb wrote the lyrics capturing the most influential moments in his early upbringing into the Footwork summarizing nearly 15 years of work and community building into two verses and a chorus over a beat by DJ Spinn - see the lyrics on the release page and [watch the making of](https://www.youtube.com/watch?v=st3uW08Po8s&ref=djbooga.com). So good. ### [Broken Lip & mailor soon - postcapitalist desire | BSN Posse](https://bsnposse.bandcamp.com/album/postcapitalist-desire?ref=djbooga.com) [postcapitalist desire by Broken Lip & mailor soon](https://bsnposse.bandcamp.com/album/postcapitalist-desire?ref=djbooga.com) More producers should read Mark Fisher's "Postcapitalist desire" if only they make music as captivating as one half of BSN Posse and mailor soon does. The original is bittersweet but the Ginkø remix and his bass line stirs my 90s downbeat memory like no one else. ### [Special Request - Compassion | !K7](https://specialrequest187.bandcamp.com/album/compassion?ref=djbooga.com) [Compassion by 96 Back x Special Request](https://specialrequest187.bandcamp.com/album/compassion?ref=djbooga.com) The lavish sonics by Paul Woolford aka Special Request are destined to show compassion and evoke empathy because they blur the grim currents rather denying them. Favorite track is Petrichor. ### [Broken lip & mailor soon - missinu (Broken Lip remix) | BSN Posse](https://bsnposse.bandcamp.com/track/missinu-broken-lip-rmx?ref=djbooga.com) [missinu (Broken Lip RMX) by mailor soon , Broken Lip](https://bsnposse.bandcamp.com/track/missinu-broken-lip-rmx?ref=djbooga.com) Another atmospheric footworkjungle track from the Iberian Juke camp, nice to see that they still put their heart and soul into their music. ### [EQ Why - w.d 01 | wrk.dat](https://wrk-dat.bandcamp.com/album/w-d-o1?ref=djbooga.com) [w.d o1 by EQ Why](https://wrk-dat.bandcamp.com/album/w-d-o1?ref=djbooga.com) One of Chicago's footwork originators blessed wrk.dat's label with three tunes that go hard under the silk melodies. Got Dropped Off is my favorite. ### [Russ Brooker - 97-98 EP | Rua Sound](https://ruasound.bandcamp.com/album/97-98-ep?ref=djbooga.com) [97-98 EP by Russ Brooker](https://ruasound.bandcamp.com/album/97-98-ep?ref=djbooga.com) Irish jungle label Rua Sound introduces Russ Brooker and his fierce breakbeat reminiscence. My favorite track is the 140 bpm Breathe because of the sharp yet soulful minimalism. I like the artwork by DJ Egg a lot. --- Bonus read: [Haruki Murakami - Always On The Side of the Egg | Haaretz](https://www.haaretz.com/israel-news/culture/2009-02-17/ty-article/always-on-the-side-of-the-egg/0000017f-db26-d3ff-a7ff-fba694020000?ref=djbooga.com) ![Spectrum playlist on Buy Music Club, Apple Music, Spotify & Deezer](https://www.djbooga.com/content/images/2023/12/WORK-spectrum-meta-16-9.jpg) Spectrum playlist on [Buy Music Club](https://www.buymusic.club/list/defrostatica-spectrum?ref=djbooga.com), [Apple Music](https://music.apple.com/de/playlist/spectrum/pl.u-WBB37sDXPK0?ref=djbooga.com), [Spotify](https://open.spotify.com/playlist/7ICpO9cLpLlSSfBOIJmhDJ?si=7717234bd2834262&ref=djbooga.com) & [Deezer](https://www.deezer.com/de/playlist/12022333691?ref=djbooga.com) ### Guest mix for Vykhod Sily URL: https://www.djbooga.com/ambient-guest-mix-for-vykhod-sily/ Last updated: 2024-01-18T14:03:36.000Z Rustee from Vykhod Sily, a community-supported recording label and a 85/170BPM podcast since 2013, invited me to contribute to the esteemed collection of dj culture around autonomic / jungle music. This mix contains my favourite beatless tracks mainly by jungle and drum & bass producers. [Vykhod Sily/Выход Силы](https://soundcloud.com/vykhod%5Fsily?ref=djbooga.com "Vykhod Sily/Выход Силы") · [Vykhod Sily Podcast - Dj Booga Guest Mix](https://soundcloud.com/vykhod%5Fsily/vykhod-sily-podcast-dj-booga-guest-mix?ref=djbooga.com "Vykhod Sily Podcast - Dj Booga Guest Mix") Tracklist: 1. [Elite Gymnastics - Intro 2](https://www.youtube.com/watch?v=2eA9dlUx9WE&ref=djbooga.com) 2. [dBridge - Gen 19](https://dbridge.bandcamp.com/track/gen-19?ref=djbooga.com) 3. [Ital Tek - After](https://italtek.bandcamp.com/track/after?ref=djbooga.com) 4. [Lucid Dreams - Intuition](https://thestonetapesuk.bandcamp.com/track/intuition?ref=djbooga.com) 5. [The Future Sound Of London - Cerebral](https://www.youtube.com/watch?v=1l9QJSy63T8&ref=djbooga.com) 6. [Digital & Kiat - Nightingale](https://kiat.bandcamp.com/album/nightingale-ep?ref=djbooga.com) (Special Binaural Video Version) 7. [Consequence - Before I Go](https://exitrecordsuk.bandcamp.com/track/before-i-go?ref=djbooga.com) 8. [Triad - Ghost Town](https://www.youtube.com/watch?v=RIUQrEXBHQY&ref=djbooga.com) 9. [Nmesh - Terminal Interface](https://geometriclullaby.bandcamp.com/track/terminal-interface-shortform?ref=djbooga.com) 10. [Darkpyramid - The Neon Bleed](https://noproblematapes.bandcamp.com/track/the-neon-bleed?ref=djbooga.com) 11. [Bwana - Kiyoko's Vision](https://www.youtube.com/watch?v=bOe0tQR5Kvg&ref=djbooga.com) 12. [Kenji Kawai - Access](https://www.youtube.com/watch?v=8VsFMOLa0TY&ref=djbooga.com) 13. [Jermaine Soul - Coda](https://jermainesoul.bandcamp.com/album/oneirism?ref=djbooga.com) 14. [Lewis James - The Sorrow In Ronan](https://exitrecordsuk.bandcamp.com/track/the-sorrow-in-ronan?ref=djbooga.com) 15. [Femme En Fourrure - You Only Believe in Sex Equality When It's Convenient](https://soundcloud.com/fef-corp/you-only-believe-in-sex?in=fef-corp/sets/body-positive&ref=djbooga.com) 16. [Sam Binga & Om Unit - Planetary Reboot](https://bunit.bandcamp.com/album/transpacific-ep-bunit002?ref=djbooga.com) 17. [Hellcomm - Forgiven](https://hellcom.bandcamp.com/track/forgiven?ref=djbooga.com) 18. [Photek - Aura](https://www.youtube.com/watch?v=Tkg9lBOVPV8&ref=djbooga.com) 19. [BSN Posse - Rituals (Jermaine Soul Remix)](https://defrostatica.bandcamp.com/track/rituals-jermainesoul-remix?ref=djbooga.com) 20. [Lynx & Kemo - Glass Jaw](https://soulr.bandcamp.com/track/glass-jaw?ref=djbooga.com) 21. [Irrelevant - Self Harm, Pt. 1](https://iheartkokeshi.bandcamp.com/album/ill-be-ok?ref=djbooga.com) 22. [Kuedo - As We Lie Promising](https://kuedo.bandcamp.com/album/severant-original-release?ref=djbooga.com) 23. [Arcon 2 - Inter 90](https://arcon2020.bandcamp.com/album/arcon-2?ref=djbooga.com) 24. [Burial - Untitled Start](https://burial.bandcamp.com/track/untitled?ref=djbooga.com) 25. [Photek - Under The Palms](https://www.youtube.com/watch?v=59xwPY0ZZlg&ref=djbooga.com) 26. [Hellcomm - Taking Over](https://businesscasual87.bandcamp.com/track/taking-over?ref=djbooga.com) 27. [Elite Gymnastics - Intro](https://www.youtube.com/watch?v=2eA9dlUx9WE&ref=djbooga.com) 28. [dBridge - Seven Year Glitch](https://dbridge.bandcamp.com/album/exitlp002-dbridge-the-gemini-principle?ref=djbooga.com) 29. [Klute - Sober Light Of Day](https://commercialsuiciderecords.bandcamp.com/album/the-draft-lp?ref=djbooga.com) 30. [Survival - Ascendancy](https://exitrecordsuk.bandcamp.com/album/exitlp003-survival-survival-lp?ref=djbooga.com) 31. [Photek - 124](https://www.youtube.com/watch?v=jFiK2kpCLT0&ref=djbooga.com) 32. [Matrix - Undersea Flight](https://metalheadz.bandcamp.com/track/undersea-flight-2017-re-master?ref=djbooga.com) Vykhod Sily [website](https://vykhodsily.net/?ref=djbooga.com) | [soundcloud](https://soundcloud.com/vykhod%5Fsily?ref=djbooga.com) | [facebook community](https://www.facebook.com/groups/vykhosily/) ### Square7 set at 30 years Haujobb URL: https://www.djbooga.com/square7-opening-set-at-30-years-haujobb-leipzig/ Last updated: 2023-12-15T14:22:50.000Z [Daniel Myer](https://linktr.ee/danielmyer?ref=djbooga.com) invited me to play the opening set as [Square7](https://square7.bandcamp.com/?ref=djbooga.com) at the 30 years [HAUJOBB](https://www.instagram.com/haujobb%5F/?ref=djbooga.com) anniversary show on Whitsun 2023 "Wave & Gotik Treffen" festival weekend in Leipzig. Nice to meet [Statiqbloom](https://linktr.ee/statiqbloom?ref=djbooga.com) by the way! Daniel requested me to record the set so I did and split the recording in one hour autonomic and one hour electro. It was a pleasure to deviate from what I usually play. If you're interested [contact me directly](mailto:blog@djbooga.com) and I'll share the download link. **Square7 Whitsun 23 pt 1 autonomic** [DJ Booga](https://soundcloud.com/djbooga?ref=djbooga.com "DJ Booga") · [S7W231](https://soundcloud.com/djbooga/s7w231?ref=djbooga.com "S7W231") 1. Dyl - We 2. Om Unit & Synkro - Reflections 3. Instra:mental - Deep Night 4. dBridge - They Loved ft They Live & Poison Arrow 5. Heart Drive - Aut0mated Love 6. Kid Drama - Azure, Pt. 2 7. Heart Drive - Vent 8. Module Eight - Ok With That 9. Subwave - Reflection 10. Gescom - Sciew Spoc 11. Amit - My Own Way Home (feat. Rani) 12. Laurel Halo - Constant Index 13. Fever Ray - If I Had A Heart 14. Kiat & Digital - Nightingale 15. Ital Tek - Time Out 16. Lucid Dreams - Totemism 17. Prayer - First Light **Square7 Whitsun 23 pt 2 electro** [DJ Booga](https://soundcloud.com/djbooga?ref=djbooga.com "DJ Booga") · [S7W232](https://soundcloud.com/djbooga/s7w232?ref=djbooga.com "S7W232") 1. Prayer - First Light 2. AUX88 - You Don't Want None Of This 3. Data Theft - C.C. Controlled 4. Armec - Dissassociate 5. Glaskin - You Are Simply A Machine 6. LA4A - Unfaced 7. XXXY - You Gotta Do You 8. Special Request - Redrum (Thrash Mix) 9. Client\_03 - Love Or Hate Trigger 10. Andy Toth - Temporal Distortion 11. Client\_03 - Prosperity Stream Divider 12. Square7 - Grossstolpen 13. Armec - Dystopian Reality 14. RNBWS - Crush It 15. Fracture & Sam Binga - Cold Edge 16. Special Request - Adel Crag Microdot 17. Instra:mental - User 18. Square7 - Cosmic Chaos (Friedrich Ernst 660 Electro Mix) 19. B-12 - Hall of Mirrors 20. DJ Unisex - Desire 21. Underground Resistance - Final Frontier ### Feline Crew interview: Storm, Flight, Alley Cat (2012) URL: https://www.djbooga.com/feline-crew-interview-storm-flight-alley-cat-2012/ Last updated: 2023-12-15T14:22:22.000Z Disclaimer: The following interview conducted by Tina was originally published on [IT'S YOURS](https://www.itsyours.info/main/2012/04/interview-mit-dj-storm-alley-cat-dj-flight.html?ref=djbooga.com) in April 2012\. The website is currently offline and the republication with kind permission of Tina serves the purpose of documentation. Both Tina and I have written articles and conducted interviews for IT'S YOURS, and since the founding in 2015 we have been working together on Defrostatica Records. 🗓️ Feline Crew Night @ Werk 2, Leipzig (März 2012): Storm, Flight, Alley Cat (all UK). Local support by CFM, Porpoise, Schana & MC Amon *(Tina) Here comes the interview with DJ Storm (Metalheadz), Alley Cat (Kokeshi) and DJ Flight (Play:Musik) that I did with the three of them after the Feline Night in March at Werk 2, Leipzig (Germany). As they said themselves, the interview situation was probably not exactly everyday: the opportunity to talk to three about being female players in a male-dominated scene was obviously also something special for the Feline crew. That will certainly be one of the reasons why the interview turned out to be very extensive.* **Tina: There was an article on Kmag.co.uk for International Women’s Day highlighting the Top 20 Women in Drum’n’Bass and the article said that in an industry that is predominantly male female DJs have had to push themselves twice as hard in order to achieve the same recognition as their male counterparts. Do you agree with that?** DJ Storm: I think, yes, to a certain extent. I mean for my kind of history Kemistry started to see Goldie and so Goldie wanted to get into this scene and by meeting Goldie I suppose we met our first Drum’n’Bass family which was the Reinforced crew. And I suppose for us we found guys that respected us for our ability and by not what sex we were and we were very lucky for that and I suppose they took us on the road very early in our career. I also think that getting a radio show, getting a pirate radio show was very good. It was the kind of thing you needed in London at that time. But on the whole, I’ve always realised that things have always gone from when time started, that men were always the dominant kind of race of the two of us. And I think that women are happy to kind of – if they want to achieve something – they’re happy to go that extra mile and I think, yes, you do have to think about your steps in your career a little bit more carefully. I always say that men only have to go to the comma in a sentence, where a woman needs to go to the full stop. > Storm: I always say that men only have to go to the comma in a sentence, where a woman needs to go to the full stop. So you have to think about all the angles and I think you have to have a plan before you make your moves. But on the whole I have to say most of the guys do respect us for what we do, but I think over the last few years things have changed even more to make it even more difficult because not many women produce music and I think that’s the way it kind of has become now – that you’re more a product than just being allowed to be a DJ which I think is a little bit of a shame because some of the art of DJing personally for me has been lost. But I still believe in what I’m doing and I think if you believe in that you’ve got something to offer you’ve got to try as hard as you can to stay out there. Alley Cat: I agree with what Storm said. When I was starting in San Francisco there was a lot of female DJs. There was just loads and there was a couple different collectives doing things. So me being a DJ and being a girl was no big deal. It was just because there was lots going on there with women so that wasn’t really an issue at all for me. And then coming to London, I feel like I worked hard. I don’t know if the guys work as hard as we do, cause I only know of my own experiences. But yeah, I think nowadays it’s more about you have to have the whole package: The branding and all the stuff you need to have going on. I think that’s whether you’re male or female. Whereas in the early days it was just like “Oh yeah, I DJ Drum’n’Bass and I’ll throw a little party and I’ve got some gigs going on ...”. ![Alley Cat, MC Amon @ Feline Crew Night, Werk 2, Leipzig 2012](https://www.djbooga.com/content/images/2023/01/alley-cat---mc-amon.jpg) Alley Cat, MC Amon @ Feline Crew Night, Werk 2, Leipzig 2012 Alley Cat: But I’m sure some people just did book me and some of the other girls probably because we were women and they thought that was quite cool. But you know you have to just sort of go with it and see what happens and hopefully people get past that eventually. And I think it’s good for us women to support each other, but I would like to see like the press talking about us more in general not just like – I know they mean well, their intentions are good to do the Women’s Day thing – but you know, we’re still here the rest of the year doing stuff as well. So, I just think that sometimes they forget about us because for whatever reason. Or there’s some new guy who’s got some hot tune out, so they’re gonna talk about that person, but at the end of the day we just have to push ourselves and as artists really and if we keep doing that it should hopefully be ok. DJ Flight: I agree with what Storm and Alley Cat have just been speaking about. I mean when I was first started learning how to mix, I just used to go out with a group of guys all the time, like it was good friends and I went to school with some of them. The girls that I had been friends with at school and college I kind of lost touch with them because they weren’t really going, they went straight into work and I was all about raving and records. I mean I guess in that respect I’ve kind of always used to be around guys and it never really struck me that I was doing anything different because I was female. I just started learning how to mix because I thought it looked like fun. I wanted to just give it a go really, I never said out “OK, I’m gonna be a DJ, I want to be a female DJ” It was just something that happened and I just happened to have a pair of breasts. So I never really used to think about it, but as I got more involved in the scene and as my career kind of started to build, that’s when started noticing little things just about – I guess it’s probably been more in the last few years, just when I’ve got older as well. You know it’s kind of what you’re booked for, what you’re not booked for. You might have the same kind of credentials as man but the man will always be offered a lot more work than you as a woman. Just in terms of what you’re paid as well. It all differs. > DJ Flight: You might have the same kind of credentials as man but the man will always be offered a lot more work than you as a woman. Just in terms of what you’re paid as well. It all differs. Alley Cat: I think that is probably in any field in business or whatever like this probably … DJ Flight: Yeah, but I mean women just seem to be more accepted in other subgenres of dance music, like House. There are more women, probably because it’s slower. The scene is also a lot more glamorous, there’s a lot more money around than in Drum’n’Bass. But I don’t know with Drum’n’Bass, it’s just we still seem to be a novelty. And it really does my head in sometimes, but I try not to think about it too much. But you can’t help it, I mean … DJ Storm: I think the thing is: It’s there, it exists. But in order to kind of become successful, I think you have to almost push that to the sidelines, because if you let it get you down you maybe would never get on. DJ Flight: Yeah, you just end up bitter and twisted. And that’s why these articles – I mean if I can say the one that was on Drum and Bass Arena – myself and Alley Cat actually refused to participate in that. Not in a bad way, but it just kind of felt patronising and condescending. Because they don’t really support any of us throughout the rest of the year as Alley Cat just mentioned. So, for them to do an article just because International Women’s Day is coming up in a few days, I just thought, well I’d rather not be lumped with the other women just because it’s this day coming up and I said that to the guy, I was like “Look, I wouldn’t mind being featured for stuff that I’m doing on my own like of my own merit, but I don’t really like the angle you’re coming from.” ![Flight, MC Amon @ Feline Crew Night, Werk 2, Leipzig 2012](https://www.djbooga.com/content/images/2023/01/flight---mc-amon.jpg) Flight, MC Amon @ Feline Crew Night, Werk 2, Leipzig 2012 Alley Cat: I was talking to Flight about it and I was just saying like I really could use the promotion and stuff, but on the other hand something just feels weird to me. And so I just said I didn’t wanna do it and I said but I’m gonna be doing this and this and this in the next coming months, so it would be great if we could do something separately and just talk about that or leave it. DJ Storm: I mean I did that interview, I didn’t even think about it like that, do you know what I mean?! But at the end of the day for whatever people want to go on about the Drum & Bass Awards that have just happened, in one respect they do support women, in one respect they don’t. The Drum & Bass Arena don’t even feel there should be a female DJ kind of award. So I mean some of the things I said to the guy, I was a little bit maybe harsher with my opinions than I would normally doing a thing about a female DJ. Because I feel a lot of the time when I’m asked about being a female DJ – I think the people that want to talk to us like yourself are interested – but there are some people as Natalie (DJ Flight) said, it’s like the novelty value and it’s almost like we should be grateful to get this kind of exposure. DJ Flight: And that’s the vibe I got from the Drum & Bass Arena thing. It just wasn’t sitting right with me, so I thought I don’t really wanna do it. And I kind of I appreciated the Kmag one a little more because she’s done that on her own accord. And I know that she is really interested in the women involved in the scene. It just felt a bit more authentic. It’s like it’s 2012 for God’s sake it’s like, just get over it! DJ Storm and Alley Cat: Yeah! (laugh) DJ Flight: We’re women DJing what is the big problem? I don’t understand it. DJ Storm: If we were really – I mean we would be totally hated for doing something like this – but if we were really, really canny and did what most other industries have done and talked to the Sexual Equality Board about what are the rules and regulations of how many males and females you should have in a club. They would most probably have to make most of the clubs give us more work. But of course we would be hated for it. But you wonder, if it was the other way around, would the guys would do something like that? DJ Flight: Of course they would. (Flight and Alley Cat laughing) DJ Storm: And I think they would. Because we don’t have – and I think that’s sometimes difficult for women – we don’t always have that forthright push that a man seems to have. You know that “in your face”. DJ Flight: Well, we just get on with things. ![crowd @ Feline Crew Night, Werk 2, Leipzig 2012](https://www.djbooga.com/content/images/2023/01/feline-crew-night-crowd-3.jpg) crowd @ Feline Crew Night, Werk 2, Leipzig 2012 DJ Storm: Yeah, we get on with things and that’s the other difference between men and women: That men are always brought up to put their energies into things and women are more supposed to … Alley Cat: … nurture … DJ Storm: … to nurture and to put their energies into people. Because our stereotypical role is to be the mother who has the kids, who runs the household, who organises and the man gets out and gets his … I do think sometimes, because of the big male capacity that’s out there, sometimes you can get a little bit nervous to where you’re supposed to say things and what you’re supposed to do and how you’re supposed to approach things and I think that’s slightly where women go wrong. But if we are forthright they look at us like … DJ Flight: „You bitch!“ (laughs) DJ Storm: „Who on earth do you think you are?!“ I mean, that’s exactly true: If women shout, well, we’re bitches. But actually‚ I find the men quite a lot bitchier than us. (giggles) Cause we’re a little bit over it. And the other thing I have to say is that obviously as a woman I can never get into the mindset of a man, never. I can be their friends; I’ve got some friends I truly, truly love, who are my best friends, who are men in the scene. But if push came to the shove, they would most probably choose a guy over me. There’s not many in this scene that would choose me first – there are some – but it’s that whole massive clique that we’re fighting against, you know what I mean? And it’s a very tricky, precarious road that you step sometimes. DJ Flight: Yeah, it’s still very much of a boy’s club. There’s no getting away from that. But you just keep your head down, I mean we’re all still passionate about music, we love playing out music, so that’s what keeps you going. > DJ Flight: It’s still very much of a boy’s club. There’s no getting away from that. DJ Storm: That’s the other thing about us. Because we’re – and I’m not saying that to big up any of us or to say that we’re fantastic or anything – but we are good at what we do. DJ Flight: I think where these articles kind of go wrong and just popping up like once a year or maybe twice a year, is that they think that it’s bigging us up. But it’s actually more important and beneficial for other women just to see us going out there and doing our thing. Alley Cat: They’re segregating us, that’s the thing. DJ Flight: Yeah, exactly. It kind of almost turns us against each other in a way. Alley Cat: Because there it’s like “Oh, there’s only five or ten of us, so …” DJ Flight: And there are always names missed out … ![Flight, Alley Cat, Storm (Feline Crew) interviewed by Tina](https://www.djbooga.com/content/images/2023/01/flight---alley-cat---storm---tina-interview-2.jpg) Flight, Alley Cat, Storm (Feline Crew) interviewed by Tina DJ Storm: I think that’s it: You take a club, say a big club, and they will always have a full male line up, but there will never be – if there gonna choose a DJ they’ll choose one of us – they won’t have like two or three of us. I think the only time with Feline we obviously get to play together. But the only kind of thing in the industry where we get to play is Metalheadz and me and Natalie (DJ Flight). It’s the only place that has two female DJs and that’s kind of sad. That it’s come that far and that’s the only organisation that does that. DJ Flight: Well I guess, Hardware have got Nyx and Adi-J now. DJ Storm: Oh yeah, that also. **Tina: What was the idea behind the Feline night then? Did you establish it, because you felt it was necessary?** DJ Storm: Well, over the years I’ve been asked to be in quite a few female collectives and I suppose there was never the right situation I felt comfortable in. And I think it was something that Kemi and I always wanted to do and then I just felt that the timing was right and I had a situation to be able to go into a club that would support it. And to be able to kind of pick. I mean, I always hope that every gig I’ve got, I’ve been picked on my ability. When we first started, obviously you need to get that foot in the door, but you knew as a woman you couldn’t be dropping one beat or you couldn’t do a bad mix or … And I felt that I was trying to find people like that who were conscious about their work, who would turn up on time and who would do a really good job. And I stand by every single DJ and MC that is at Feline. ![Feline Crew Flyer 2009](https://www.djbooga.com/content/images/2023/01/feline-crew-flyer-2009.jpg) Feline Crew Flyer 2009 DJ Storm: I honestly, I mean deeply in my heart and I know it’s true and other people might not say it: Anyone of the girls at Feline could go out there and test any man. They’re all good at what they do. It’s just that we’re never gonna be able to be given that possibility… without I suppose someone like myself who’s at the top of the game. Being able to anchor something like that. I don’t think it would have worked any other way, another set of females. You know, I felt responsible to have to do it and I shouldn’t have to feel like that in this day and age like Flight is saying, but I felt it was a responsibility to do it and to bring us all together. We’ve had have some lovely times on the road together and I do feel – you know, I love travelling with the guys, don’t get me wrong, it’s not that we hate men – but travelling with the ladies is a real joy and I don’t know, we kind of unconsciously understand each other. Do you know what I mean? There’s that yeah, there’s that female bond between us, that I suppose the guys feel all the time. And we only very rarely get to feel that. I’m not saying we don’t party or enjoy ourselves or having difficulties getting up the next day and you know we had a really good night. So Feline was a really nice thing to do and I think we’ve done some good events and well, not so good at times. (laughs) But that’s the way it goes and yeah, I’ve enjoyed it. And I would like to kind of bring it back a little bit more. But life is not being able to afford me that recently. Hopefully we can get a little bit more on the road in the next year. Alley Cat: I think what Storm does is really sweet. Whenever an up-and-coming female DJ would give her a demo-CD or whatever, she’s just really supportive. She feels like she has to nurture them and big them up and really wants to try and include people. And I think it’s really nice because there’s a lot of people who wouldn’t do that – male or female – for a male or female DJ. But she really does care about trying to support up-and-coming people which I think is really nice. ![Alley Cat, Flight, MC Amon @ Feline Crew Night, Werk 2, Leipzig 2012](https://www.djbooga.com/content/images/2023/01/alley-cat---flight---mc-amon.jpg) Alley Cat, Flight, MC Amon @ Feline Crew Night, Werk 2, Leipzig 2012 **Tina: What do you think what else can be done to support women?** DJ Storm: I don’t think things are gonna change… DJ Flight: …not any time soon, no. Obviously men still hold the reins. They still got more of the power in terms of putting on events. But there are girls coming through doing their thing obviously. You’ve got Mantra running the Rupture nights and she’s making some good tunes, she’s a wicked DJ. You’ve got Tasha who’s got Neighbourhood. It’s going really well for her at Plastic People. She’s a good DJ … DJ Storm: … and you have Kokeshi … DJ Flight: … yeah, obviously, Alley Cat and Kokeshi is doing well. There are a lot more women coming through, just getting on with things doing their thing. So I guess as long as we keep plugging away, things may eventually change. But I can’t see it in the next couple of years to be honest. I mean the whole world needs to change. It’s not gonna happen overnight in the Drum’n’Bass scene. (laughs) It’s just yeah, things in general … > DJ Flight: It’s actually more important and beneficial for other women just to see us going out there and doing our thing. DJ Storm: I think when I came to Drum’n’Bass, I had my blinkers on. Because I met so many fantastic people who were prepared to help me. I mean Reinforced could have had anybody they wanted but they chose us. I suppose then I naively, I always felt that all the men would gonna be like that. And they’d heard us a couple of times and they felt, well they actually saw our talent, which was quite magical for us really to be part of Reinforced so early in our career. And I think that did a lot of good for that. So I suppose, when we first came into it, we thought all the guys are gonna be like that. (laughs) And as time went on you got a little bit more disillusioned. But because then obviously Goldie gave us the reins of Metalheadz to run that. Again I suppose, we felt we were appreciated. But really that was a pretty clever move because Kemi and I had already had careers, so we were that little bit older and women are good at organisation. Yeah I felt one of the kind of little patronising things that the guy said from Drum’n’Bass Arena the other day. That women seem to want to have to do this organisation thing, that women want behind the scenes and they made the scene work and I don’t agree. I think women are forced to do things to actually give themselves another string to their bow. Just to the fact that we are good at organising things: The first kind of agencies were run by women and they did a really good job. But then I think the guys always thought “Yeah, the girls should be behind the scene, sortin’ my shit out and I’m out there doin’ tha …” So it’s still the woman stays at home and the guy goes out. To break that mode is a very hard thing to do and I think we feel we have to do this kind of things in order to get on. I mean there are certain people like Alley Cat who’s doing her label for the passion and the love. And I think that’s one thing we really can show: That we do have a passion and a love. And I think we’re to a certain extent, we’re a lot stronger than the guys, because we get knocked down a lot more, but we’re still able to get back up again. Whereas things for the guys tend to be a lot smoother – not for everybody – there are some guys who don’t, who are really underrated. ![](https://www.djbooga.com/content/images/2023/01/feline-crew-night-crowd-1.jpg) crowd @ Feline Crew Night, Werk 2, Leipzig 2012 **Tina: You already mentioned the labels. All three of you were involved in founding a label or founded a label herself and I wonder if having an own imprint is taking away some of the difficulties because you’re more independent or is it actually an even bigger challenge because people meet you with even more skepticism?** Alley Cat: I think for me with the whole Kokeshi thing it’s just nice to finally do something for myself because I’ve been doing this for like 15 years now. I used to do a label with a few other guys, called Skunkrock which was cool and it gave me a leg-up and stuff, but it was always like their kind of thing that they started and then I got involved later on. And then I was like “Who could I get involved with?” I remember I dreamt of being like a Metalheadz DJ. And I just had all the stuff that I wanted to try and get in with other groups and stuff. When I finally got this whole Kokeshi thing organised it was like “Ok, I really know what I wanna do now.” So I’m just gonna go forward and it’s just my thing and nobody’s kind of challenging me. I can just do what I wanna do assuming that you know, that the records sell … DJ Storm: It’s just nice to make your own rules, right? Alley Cat: Yeah, basically. And I do the artwork and I kind of do everything myself. So it’s fun, it’s a lot of work and I don’t have a lot of time. You know, I’d like to put more time into it. But for me it’s also just in terms of DJing – because I have my own sort of brand and things going on. I guess that does help me get more work now. Or I’m doing more Kokeshi events at venues and therefore I’ll get booked to play on my own nights, so that’s cool. Hopefully I get my friends on soon too. But yeah, for me it’s really, I haven’t had any negativity at all really. And the guys that I’m releasing music from they’re all really nice and if there was like a bad vibe I just don’t even go there. Like I’ve had some amazing music that I wanted to sign and as soon as I got like a weird vibe I was just like “I’m not gonna work with this guy” because you know, it has to be fun and pleasant or I just don’t wanna do it basically. > Alley Cat: When I finally got this whole Kokeshi thing organised it was like “Ok, I really know what I wanna do now.” DJ Flight: Yeah, with play:musik that was kind of something I always had in the back of my mind. Once I became like quite busy as a DJ I thought “Well, if I ever get to the stage where I feel like I’m in a position where I’m able to push artists that I believe in then I would set it up.” And then I did and that was the time that I was on 1Xtra, I just felt like I had a stable enough standing in the scene where I felt it was the right time to do a label. And I knew what the artwork was gonna look like, I kind of had it all in my head, I just needed to find the right designer to kind of get it out. Yeah and it was just another way of me being creative really – to go along with the DJing and producing that I was doing with Breakage at the time. ![crowd @ Feline Crew Night, Werk 2, Leipzig 2012](https://www.djbooga.com/content/images/2023/01/feline-crew-night-crowd-2.jpg) crowd @ Feline Crew Night, Werk 2, Leipzig 2012 DJ Flight: I don’t think anyone that starts a label comes on against any negativity really. But yeah, I’ve had a really great response, I mean I love all the music that I’ve put out so far and need to get back on it actually. It’s been a long time since I released anything. It’s just another part of me. There are like people sending new music and you just get really excited about it and you’re like “God, everybody needs to hear this!” And that was another thing: I could see that there were a lot of people, obviously mostly, all guys – I haven‘t released any music by women yet – they were kind of plugging away but not necessarily getting as far as I thought they should. So it goes back to what Storm said about people being underrated. I’m just not very good at the business side of things. I was lucky enough to have someone else who dealt with that. **Tina: Now we talked a lot about being a female DJ and producers and so on, I sometimes wonder if all this is necessary though and if it’s actually important to have female players? Or if it just doesn’t matter because it’s about the music? And if this topic has to be gender-related?** DJ Flight: It does and it doesn’t. DJ Storm: Yeah! You took the words right out of my mouth. The fact is that it exists. And most of the time you’re hearing the guys talking about themselves, what they’re doing, what they’re dedededede… And you’re not always given that chance. So I do believe that people like yourself, it’s nice that you take the time and come and talk to us, because we respect that and we feel happy, because we have something to say too or else we wouldn’t be functioning people in this scene. But sometimes our voices are not heard and I think that’s most probably why I do the Drum and Bass Arena thing. At the end of the day they are not really supporting me – okay we’ve had a couple of Feline times there – but it’s almost like I have to work around whatever else is going on and of course they promised us one of their nights at East Village. It’s never happened yet, there was always an excuse and an excuse. And I could get really a bit tough about it and start laying down the law but you kind of know it’s not gonna do you any favours. I’d rather not put Feline in that position where an organisation might not even ever do anything for us again. I think I’m older and wiser now. You know, you learned to play the game a little bit better I think. But I do think it’s an issue, because I think us even speaking encourages other people. I mean you have to ask yourself why so many girls don’t get into this scene. You know like guys: They all get together and they’ll buy some CD jays or back in the days they’d get some Technics and it was their thing. Whereas for women to do it was really quite rare. Women were maybe to busy going out at that time, enjoying themselves, buying makeup. And you know, we never bought clothes for two years when we started buying vinyl. But I do think it’s nice to be given the chance to talk because – it’s not like we’re desperate to talk, guys out there – it’s just nice to be given recognition. > DJ Storm: I think us even speaking encourages other people. I mean you have to ask yourself why so many girls don’t get into this scene. Alley Cat: It’s nice that someone’s interested in us and what we have to say and also doing the nights and stuff. Like I know Booga, who organised the night last night, he’s always supported all of us and he generally really wanted to have us come play. And I think for all of us now it’s kind of like we’re gonna go where we’re wanted and we’re not just gonna go out there and try battling people to prove ourselves. We’re all getting older. You know, if people want us, great, let’s go out and do it! But I’m not gonna like force myself on someone. I mean that’s kind of my vibe with my DJing in general: I wanna go where people wanna have me. It should be sort of natural and fun and mutual, I guess. ![](https://www.djbooga.com/content/images/2023/01/booga---storm.jpg) Booga, Storm backstage @ Feline Crew Night, Werk 2, Leipzig 2012 DJ Flight: Yeah, exactly. Obviously it’s still an issue because we’re still talking about it in 2012\. It’s like what Storm and Alley Cat have just said, that it’s nice when people like yourself show a real interest and actually know a little bit of our history, know where we’ve been rather then just kind of – not to diss the articles again – but it’s just kind of the Drum’n’Bass press or media in general in the UK anyway. You could tell that he didn’t really know much about any of us, there were a lot of names missed out, so I’m quite glad I didn’t do it to be honest. Yeah, it’s just nice to feel general support from people. **Tina: Thank you very very much for the interview, it was a pleasure.** DJ Storm, Alley Cat & DJ Flight: Thank you, too. --- - [DJ Storm](https://www.instagram.com/djstormdnb/?ref=djbooga.com) instagram / [Metalheadz](https://www.metalheadz.co.uk/home?ref=djbooga.com) website - [Flight](https://djflight.co.uk/about?ref=djbooga.com) website / [Play:Musik](https://www.discogs.com/label/49064-Playmusik?ref=djbooga.com) discogs - [Alley Cat](https://www.discogs.com/artist/44772-Alley-Cat?ref=djbooga.com) discogs / [Kokeshi](https://iheartkokeshi.bandcamp.com/?ref=djbooga.com) bandcamp ### DJ Storm interview (April 2000) URL: https://www.djbooga.com/storm-interview-april-2000/ Last updated: 2025-11-27T10:35:46.000Z *Storm is celebrating the 30th anniversary of her DJ career in 2022\. To mark the occasion, I decided to translate into English an interview I did with her in Leipzig in April 2000, which was* [*originally published in German*](http://breaks.org/interview%5Fdj%5Fstorm%5F01.html?ref=djbooga.com)*. She talked about the pro and cons of dubplate culture, gave advice for DJ beginners, explained that Kemistry & Storm were not the only women that ran Metalheadz label at a time and finally if you love drum and bass, you better make it yourself and don't get UK producers to make it for you.* First of all, a short chronology of how the interview with DJ Storm finally came about: Kemistry and Storm played at the Conne Island for the first time on 29.11.1997 with Bass Dee (from Berlin) and the Leipzig support Malcolm and me. ![Kemistry & Storm at Conne Island, Leipzig 29.11.1997 / Photo: Robert Handrow](https://www.djbooga.com/content/images/2022/12/00a-Storm-2000-04-Robert-Handrow.jpg) Kemistry & Storm at Conne Island, Leipzig 29.11.1997 / Photo: Robert Handrow The Conne Island news magazine announced the evening [somewhat obliquely](https://conne-island.de/nf/38/9.html?ref=djbooga.com) from today's perspective, but it was clear that no one from the Leipzig drum and bass bubble wanted to miss the event. And rightly so, because Kemistry & Storm tested the club PA to the max and gave the ravers, who here consisted of a wild mixture of trainees, students, punks, indies and techno heads - an unforgettable experience. They wrote tracks they played on the night on an old news flyer during their set. They added their phone numbers "in case you need to reach us". I couldn't believe it! They were both so full of infectious enthusiasm: for the music, for the moments they were creating here, but also how they represented the UK sound as ambassadors. Of course, I never called. ![Conne Island Newsflyer, Dezember 1997 / Photo: Robert Handrow](https://www.djbooga.com/content/images/2022/12/00b-Storm-2000-04-Robert-Handrow.jpg) Conne Island Newsflyer, Dezember 1997 / Photo: Robert Handrow Kemistry and Storm crowned their pioneering work in Jungle / Drum and Bass history with the [DJ Kicks Mix in January 1999](https://k7records.bandcamp.com/album/dj-kicks-kemistry-storm?ref=djbooga.com), which became a hit internationally and thus also in Leipzig. Both returned to [Conne Island on 20 March 1999](https://conne-island.de/nf/53/6.html?ref=djbooga.com), this time with Alley Cat as part of the posse and me again as local support. There was no more ice to break, we were familiar with each other and I had a long chat with both of them on and off stage. ![Kemistry & Storm tour 1999 poster / Photo: Alley Cat](https://www.djbooga.com/content/images/2023/01/storm-kemistry-alleycat-booga.jpg) Kemistry & Storm tour 1999 poster / Photo: Alley Cat A good month later, Conne Island booker Roli called me, he had heard from ESP, their booking agency, that Kemistry had been killed in a car accident on 25 April 1999\. It hit me like a punch. ![Conne Island poster, April 2000 / Photo: Robert Handrow](https://www.djbooga.com/content/images/2022/12/00c-Storm-2000-04-Robert-Handrow.jpg) Conne Island poster, April 2000 / Photo: Robert Handrow In spring 2000, I learned that Storm would be returning to the Conne Island on April 1st. At that time I had started working on the [breaks.org](http://breaks.org/?ref=djbooga.com) project: a website about Leipzig crews, DJs, artists and their music and parties. I felt that Jungle / Drum and Bass was underrepresented in the local city magazines and press despite there was a lot going on at that time. I decided not only to publish dates and profiles of friends, but also to interview esteemed guests from the Drum and Bass motherland. Storm seemed like the perfect opportunity to start with, so after her set I quickly converted my headphones into a microphone as we sat in the Rumsei backstage/studio, keeping my initial nervousness in check to record the first interview of a drum and bass DJ from the UK. --- **Booga: In** [**ATM #48**](https://www.ptplondon.com/atm-magazine/?ref=djbooga.com#thumbgallery) **they wrote about you: "She carries a knowledge of the history that defies any random trainspotters belief." Can you comment on that?** Storm: Well, I've been around since 1991, when drum and bass was slowly forming. I don't mean the deejaying - that didn't start until 1992 - but rather the knowledge about the music that has accumulated since then. From then until 1996, Kemistry and I wrote down every record we bought in a book. So I can assign every tune its time and say what was going on. We were the "original trainspotters", so to speak. "Trainspotting" is what you do before you DJ, you know? Pay attention to the records the DJ is playing, listen to the tune. In itself, "Trainspotting" is a nerdy thing, it comes from counting train carriages, how long is a train. We were trying to track down the clue, the key of a tune - what's really behind it? That's "trainspotting". So you stand in front of the DJ at night and look at the records he's playing and you get what's going on. **Booga: How did you develop a common thread in the selection of your tracks?** Storm: I don't play all the top ten tunes. I play a little bit of everything. The main reason is: "I was born on drum and bass". In the early days, the influences came from different directions of music. The tracks from Belgium, America and England were not really drum and bass at the beginning, they were completely different things: Hardcore and House and so on. When Fabio and Grooverider played the stuff that stood out in the different genres, those were the "mad tracks" all over the world. People in the clubs in London were giving this stuff a space and it evolved into Jungle. So from the beginning we listened to different styles and that's how we always designed our sets. I'm a big believer in bringing a little bit of everything: whether it's reggea vibe, jazzy vibe, hard vibe, twostep, an amen track or a vocal piece. I mean, that's the beauty of drum and bass for me. I want to keep that, but of course I have some big hits in my set - not necessarily everyone's big hit, but my big hit. I think every DJ has his big hits in his set. For example, ["All aboard" (by Dillinja)](https://www.youtube.com/watch?v=jVaGwqJ0p3U&ref=djbooga.com) is such a tune, it's so huge. ["Nitrous" (by Bad Company)](https://www.youtube.com/watch?v=E8PpdNrt6KQ&ref=djbooga.com) is a real big hit. Every DJ has different ones and that's just your DJ identity. Part of it is: you should never underestimate the crowd. I think when you come here as an English DJ, people want to hear "the next big thing", what do you have on your dubplates, who do you have in your suitcase. They don't want to hear what the DJs here already have - and they do a great job, you know what I mean - they want "the latest thing": What is Storm going to do today? And that's why I try to reach every one of them, with every single tune I played today, the different styles from Photek to Source Direct and back. **Booga: The drum & bass scene wouldn't be nearly as full of vitality if the dubplates business didn't exist. What is the wonderful thing about it for you and where does the fun end?** Storm: The wonderful thing about it is that you can play tunes that nobody has. The shame is that you can't do it without. If you don't have dubplates, you're nothing. Of course you start mixing without dubplates. Kemi and I started with some B-sides and mixed everything together. But it was also fortunate circumstances that led us to where we are now. Kemi went out with Goldie and we had the dream and Goldie started producing for Reinforced and that's how we got Reinforced dubplates. We were very happy DJ's with that. I mean, five months after our debut behind the decks we were on our first radio show and we had Reinforced dubplates! Two completely unknown girls! Everyone was like, who are these two?! They thought we were crazy. At our gigs we mixed them all up with this sound: just not girlie-cute stuff, but the bad tracks on dubplate by Goldie - "so fucking hardcore". The fact that we had these dubplates was wonderful. The shame is that in the dubplate business today, things are a bit out of control. If you don't have a connection to any, it's almost hopeless for you. It's very hard to get some first hand. I'm lucky because I have a very good network of producers: I get stuff all the time from Photek, Dillinja, Lemon D, J Majik, Jim from Demonic Records - whoever you name, I get their stuff. Digital and Spirit, they're "my boys at Metalheadz". There's a very good relationship formed: I support their music and they respect that I represent it for them. If you look at this circle of producers - and Peshay is one of them - you will see that their music is very innovative and far away from anything that has been done before, which means that not everyone would want to play something like that. But we have always done that. We believed in the power of these producers. Whether it was someone new like John B or someone we knew from the beginning like Die, Krust and Roni. We'd play their dubplates in Bristol at their club without them knowing we had them and they'd go "Wow, they're playing our stuff". And we were like, "Jumpin Jack Frost (V Rec.) gave them to us" and that's how we were able to make the back connections. So you have to build your network over the years. It's hard when you're new. Especially if you don't produce yourself, like I do, you can't trade, meaning you can't give anything back, you have nothing to offer if you want a dubplate. It is different for Optical, he goes to Doc Scott and they exchange DAT's, it's as simple as that. But what I can give back to the producers is feedback and support. I support their tunes and promote them, but I can also tell them if a track doesn't work or the sound isn't good. That's ultimately what the dubplate was made for, to test your track. For me it's like Lemon D and his guys ask me "how did it go, which track was the best?" and I give them feedback and not always my favourites are theirs and vice versa. They respect me and they know I'm not sucking up, like "I love your tracks, I play them all!". Nobody wants to hear that kind of bullshit from the producers. When I say to [Dillinja "What's the deal"](https://www.youtube.com/watch?v=uB%5Fh%5FCUj5fE&ref=djbooga.com) is my favourite, he believes me. **Booga: Then there is the problem of the tracks that never appear. People freak out about the dubplates and at the same time suspect: they'll never hear that again.** Storm: That's how it works: As a DJ and producer, sometimes you do an extra set for one night. You cut ten dubplates of tracks that initially only outline an idea, a break. You want to know how and what works at which point and what of these ideas should flow into the real track. Tonight I started with a VIP track that was later split for the release. One track turned into two independent ideas. So I started with the VIP version, which will never come out, went in with the first real track and later brought the second tune - that's how it can go. That's how I do it with Dillinja: he gives me the tracks and I tell him which one works. **Booga: So the bottom line is that producers depend on feedback from DJs?** Storm: Well, professional producers do it like that. Some producers don't care, they make their track and put it out. But take someone like Andy C: He plays himself and knows best what works and what doesn't. He bases his tracks on that. Other producers just get it and make the tracks good straight away, without feedback. And not every producer wants your feedback as a DJ. Of course, there are also producers who never give me their music, but that's okay, I have enough of them. **Booga: You must have heard this next question a thousand times, but I don't know your answer yet. Therefore, with all your experience, surely you would have a good hand in producing, do you ever plan to tackle that?** Storm: Well, first of all, no. I've been very busy lately. Last year I did the promotion for Valve Records, Lemon D and Dillinja's label, so I've been busy. Coming out soon is [Valve number three](https://www.discogs.com/de/master/322957-Dillinja-Lemon-D-Double-Pack?ref=djbooga.com), a really rad 12" double pack of both. The tracks "D-Type", "That Amen Trak", "Organic Funk" and so on - I played them all today and every one of them brought a rewind! **Booga: ... and not only this one! I've been wondering all along who was behind the track with the almost percussive-metallic bassline. It sounded very hard and cut the beats so uniquely syncopated ...** Storm: Ah, you mean Jim's first release on Demonic. [Yo Bitch](https://www.youtube.com/watch?v=h4LIisPE4ww&ref=djbooga.com) is a really dark tune. Should be out soon. An excellent new start for him \[after the split with Phil Aslett, with whom he formed Source Direct\]. **Booga: You also played new music by Goldie?** Storm: Oh yeah! I played [Stormtrooper](https://www.youtube.com/watch?v=ejvFwUxliaA&ref=djbooga.com) quite early today, it has such a sound - singing "doo doo" - and [Beachdrifter](https://www.youtube.com/watch?v=oXivNYTCtL8&ref=djbooga.com), I played that at the end. Both tracks are by Rufige Kru \[changing producer team around Goldie, here with Danny J., previously with Optical and later with Heist, among others\] and are currently being mastered. This will be the next release on Metalheadz. You see, Demonic, Metalheadz and Valve are coming! ![](https://www.djbooga.com/content/images/2022/12/02-Storm-2000-04-Martin-Handrow.jpg) ![](https://www.djbooga.com/content/images/2022/12/03-Storm-2000-04-Martin-Handrow.jpg) ![](https://www.djbooga.com/content/images/2022/12/04-Storm-2000-04-Martin-Handrow.jpg) ![](https://www.djbooga.com/content/images/2022/12/05-Storm-2000-04-Martin-Handrow.jpg) ![](https://www.djbooga.com/content/images/2022/12/06-Storm-2000-04-Martin-Handrow.jpg) ![](https://www.djbooga.com/content/images/2022/12/07-Storm-2000-04-Martin-Handrow.jpg) MC Mace, MC Maui, MC Amon, Windy, Alley Cat, Storm at Conne Island / Photos: Martin Handrow **Booga: What are the three most important recommendations you would give to a new DJ?** Storm: Well, I couldn't decide on three right now. If you feel you have something to give to the scene and you want to be part of it, whether it's hosting, producing or deejaying, then just do it. That's all I can say. Believe in what you do. Whatever you want to sacrifice yourself for, do it. It's hard work but you have to believe in the music. If it hits you in the soul, there's nothing you can do about it, you know? > If you feel you have something to give to the scene and you want to be part of it, whether it's hosting, producing or deejaying, then just do it. Then when you turn professional and get gigs: always be on time. Look neat and tidy - yes, I know it sounds trite. Show respect to the promoter because they believed in you when they booked you. Stand up, do your job - regardless of the local conditions, whether it's too hot or too cold - and, as Kemi and I have always said, give 110 per cent behind the decks! No matter where you are or what the monitor situation is, the turntables are tuned - it doesn't matter: always give your best! If you don't, then you shouldn't be DJing. Because this is about the people on the dancefloor and it's about the music - they want to get it correct and in the right way. Mix well and mix professionally. That's what professionalism is about: for the DJ who gets the opportunity for a gig, that's his "rent" he has to pay to get a home in the scene. So my home became my career, I live off it. > That's what professionalism is about: for the DJ who gets the opportunity for a gig, that's his "rent" he has to pay to get a home in the scene. So if you have something to offer the scene: Go for it! Make mixtapes, send them by the hundreds to promoters - one day you'll get THE gig, you know?! That's how we did it. We sent out fifty mixtapes every week for a whole year! You know what I mean, every fucking week! So we got maybe one gig in three months. But that was enough for us, because that's how you get your foot in the door, that one chance to bust your ass for it - completely, you know?! Keep in touch with the crowd, be friendly to them, talk to them when they come to you, because this is about music and not about your big DJ ego detached from the people! Don't play what anyone thinks is the latest hype or anything like that. Bring the tracks from your heart that you feel. I learned these skills growing up in drum and bass through Fabio and Grooverider. Fabio taught me this journey: a DJ set has a beginning, a middle and an end. The whole set tells a story and you write it down. There are hard moments, enlightening moments and plateaus. Everything happens in an undulating "up and down" to the point of the absolute track and then - "You kick ass!". Grooverider taught me the art of track selection - when to take which track and why. Randall showed me how to mix. these are the three key people for me. Of course I've also experienced Andy C, Peshay, LTJ Bukem, Hype, Kenny Ken - and they can all really mix very well, but Randall sometimes took my breath away. A whole club would go "aaahh!" and at the end of his mix you could have heard a needle pop. He completely took people with him. That inspired us, Kemi and me a lot. But you can ultimately learn something from any DJ, even now (hear my friend Windy is doing a rewind) I'm possibly learning something. I look at the great DJs to learn something else from them, for example DJ Frost. I'm obsessed with it because the mix is the heart of music for me. **Booga: You always keep your eyes open.** Storm: Yes, even if I have it closed and "smoke". Then I see it from the inside. Yeah! (laughs heartily) **Booga: With Sci Clone, Total Science and soon Markus Intalex and the Rufige Kru, Metalheadz seems to be back in business. \[From 1995-1998 there have been more than 10 releases every year, in 1999 and 2000 combined there were only 7 releases.\]** Storm: Looks strong like that. **Booga: What is the force behind this?** Storm: Two women, Jo and Sarah, and I help from a bit outside. They keep the club and the label running and I keep an eye on it, just do what I usually do ... **Booga: Do you still have a hand in it?** Storm: Yeah, I'm still a resident at the club and I recently came back from Miami where we had a big Metalheadz night. So I'm still a big and important part of Metalheadz. I have a right to be, too, because I started it with Kemi and Goldie. I could never ... it's just in my heart. In the time when I left and Jo and Sarah joined, I was just too busy with Valve, Phantom Audio and Demonic. There were just too many labels. But nothing ever actually came between me and Metalheadz. **Booga: What is your current role in Metalheadz?** Storm: I run it in a certain way from outside. I help and I don't have to run to the office every day. The girls and I talk everything through and we make the decisions together. The right decisions! **Booga: As far as the last two releases of Sci-Clone and Total Science are concerned, I can only congratulate you! For my part, I find it very good that Metalheadz is back again, especially with such, how shall I put it, not exactly "demolition material". Although Metalheadz wasn't necessarily known for that either, but rather for expanding the Drum & Bass horizon in the earlier times.** Storm: Yes, exactly! Well, we had problems for some time, but we are back! And you say it, Metalheadz is still strong. I say it's still the strongest symbol in the scene. Metalheadz was always about innovation, even in our club: nobody knew who would play that week. We didn't tell anyone. You just had to go there to find out. We had six big residents and five MCs all in heavy rotation. Whether a guest was coming or whoever was going to do the night, nobody knew beforehand. And the club has been godless since we moved to Dingwalls \[if I understood correctly\]. And anyway, we've already done a tour with Goldie this year in Italy and been to Miami and -zig gigs in Europe, there's a lot going on this year. > Metalheadz was always about innovation, even in our club: nobody knew who would play that week. We didn't tell anyone. **Booga: ... and now that Goldie strikes back again with a release, just after the insane track (**[**Shining Down**](https://www.youtube.com/watch?v=w%5FfY4CHVkLA&ref=djbooga.com)**) on the Reinforced sampler (Deadly Chambers Of Sound): these absolutely not clean loops and how they ...** Storm: ... yes he takes these textures. His tracks are like landscapes. It's a tremendous visionary view of an artist taking that power out of his graffiti. I think Goldie paints pictures rather than writing tunes. He paints landscapes. Like with "Stormtrooper": if you really listen, it's like ... like the kind of thing Dillinja does. That's disappeared a bit in the last couple of years in Two Step. Dillinja can hit you on the knee with a bassline, on the ankle or on the hair - it's all about textures, about depth! Goldie's tracks come from here, from here \[probably shows me on which part of the body right now, but I definitely have no memory of it\], you know what I mean?! The first time I heard [Timeless](https://www.youtube.com/watch?v=Usqwy2-E4SE&ref=djbooga.com) I was like "Wow, shit! This is an event!" - it drained me. And I've always said, if a track by Goldie makes me all, then it's a very good track! It's not just about listening. Drum and bass is about so much more. You feel it! You know, in the beginning we were the first to have the big bass, you felt it. And think about the samples! Look at how Dillinja spreads the samples around the room. They're here, here and here \[pointing in all directions and heights\], he's moving the sounds all over the place. Check out "Stormtrooper" - the bass drum goes sooo down on the dance floor. That's what I want to hear - I don't want to hear the "dah dah - ehhhhhh! dah dah!" Noise, you know, I don't want to hear that anymore. We've moved on from that now. You know we had Jungle, we had Darkness, Two Step and now it's moving on. **Booga: I'll just say** [**Phantom Force**](https://www.youtube.com/watch?v=oVWkH252tWg&ref=djbooga.com) **\[Digital and Spirit's debut on their label Phantom Audio\].** Storm: ... and I say [Bambaata](https://www.youtube.com/watch?v=wvZikX76qBc&ref=djbooga.com). The original by Shy FX, that changed a lot. You have to mention "Bambaata" and you have to mention "Phantom Force" and you can never forget Dillinja. But "Phantom Force" really made a difference! **Booga: The last time you were there and we talked, you kept mentioning Digital as the man to come. He's also constantly featured in interviews or in your magazine charts. How did he earn that?** Digital: Well, I support a lot of producers! (laughs) But you're right, I've always respected him and stood by him, even if others didn't, definitely. I think he was always underestimated. Not that he didn't have the possibilities to realise his sound ideas, but people weren't ready for his sounds. He has his own vibe and I've always appreciated that. That dub vibe. I love the jungle thing. Some of his tracks I played today and they got rewinds - he's bringing back the real jungle! Proper jungle, "real fucking jungle basslines"! he's a reggea man. **Booga: Especially the basslines on Phantom Audio don't have that morphed rave feeling anymore, but more like "bham bham bham" \[now I'm also starting to imitate basses, good thing no one hears the interview\].** Storm: Yes, enough of the party basslines now. But his! Real sub basses! That goes deep. He has now also really "opened up" the equipment for his sound ideas. It's always been there, but now he's found the key and I've always played it, no matter what, even today. You know, it's a ride for everybody here, I played Pascal today - all different people, DJ Die ... just everybody. **Booga: Once again to** [**Phantom Audio**](https://www.discogs.com/de/label/451-Phantom-Audio?ref=djbooga.com)**. I was completely freaked out by the loops, which Goldie had also used several times, and then later by the** [**Mission-Accomplished**](https://www.youtube.com/watch?v=rx8x9u4HC8c&ref=djbooga.com) **breaks (a track by Digital & Spirit on Metalheadz). What a mix and a nod to drum and bass history!** Storm: Yeah yeah and then Goldie's "Jah Jah Jah" samples!!!! When Goldie heard the track while cutting it, he was absolutely surprised and just said "Oh my, thats fucking me!". He immediately called him up and said "Digital, you fuckin' ..." \[laughs out loud\] so for "Stormtrooper" he then sampled from "Phantom" to get back at him. We laughed our heads off! But this exchange of breaks and basses is absolutely common in this community: when Photek gives Digital breaks or Digital releases these "lickin' sub basses", it's normal and great at the same time. **Booga: But I guess, to sample someone like Digital did with Goldie, without him knowing beforehand, surely not everyone can take the liberty?** Storm: No, but when you're part of the Headz crew, the samples are up for grabs for everybody. I mean nobody knew that Rupert \[Photek\] was going to do this "Manslaughter" thing while Goldie was working on [Still Life](https://www.youtube.com/watch?v=u2C2j-o1Os4&ref=djbooga.com). \[Photek remixed [Still Life](https://www.youtube.com/watch?v=TNI%5FyRQ420U&ref=djbooga.com) which was the first release on the remix label Razors Edge in 1996\]. He killed Goldie with it and Goldie said to him "I can't believe you ...". I mean, when you sample stuff and you make something amazing out of it, people show you respect too. But if you do it to make money, for a commercial thing, it doesn't work. This copying is wrong. > I mean, when you sample stuff and you make something amazing out of it, people show you respect too. But if you do it to make money, for a commercial thing, it doesn't work. Take the Two Step thing, haven't we heard it too often? I mean it's an ungodly thing, but it needs to be developed, to the next level. Bad Company took it to another level and now it needs to be taken to another level again and even that makes BC because they have new stuff. But other than that? That's behind us, let's forget about it. We don't want twenty tunes that sound the same, where's the soul? **Booga: That's how I see it now with RAM tracks, because these tracks have a very concise bass line that pushes the rest of the sound back. I think that leads to fatigue on the floor and this pressure has nothing musical left. With the tracks you play, one can very well recognise the different ways of using the bass. Often it's just an accentuation of the bass drum and the percussive character of the tune comes to the fore again, while the bass just keeps your ass moving.** Storm: Yes! You can hear basslines today that really create a track. ![](https://www.djbooga.com/content/images/2022/12/08-Storm-2000-04-Martin-Handrow.jpg) ![](https://www.djbooga.com/content/images/2022/12/09-Storm-2000-04-Martin-Handrow.jpg) ![](https://www.djbooga.com/content/images/2022/12/10-Storm-2000-04-Martin-Handrow.jpg) ![](https://www.djbooga.com/content/images/2022/12/11-Storm-2000-04-Martin-Handrow.jpg) ![](https://www.djbooga.com/content/images/2022/12/12-Storm-2000-04-Martin-Handrow.jpg) ![](https://www.djbooga.com/content/images/2022/12/13-Storm-2000-04-Martin-Handrow.jpg) MC Mace, Storm and the crowd at Conne Island / Photos: Martin Handrow *\[There are about five minutes of interview missing from the recording on mini disc. There is only a humming loop on the right, later on the left and nothing else can be heard. No idea how that could happen. I don't remember where we were in terms of content, I'll start with Storm's first acoustically intelligible sentence.\]* Storm: ... because we are dangerous, you know? This scene is changing all the time and faster than any other. It's the most forward thinking music and there's always new people coming in with all their input. I'm telling you, pay attention to Dillinja's Cybotron album, it's incredible! Lemon D's album as well. It's all very dark and insane. And after that, it's going to really crack, because then comes Dillinja's actual album. So first Cybotron and then his. Ten tracks that sweep you away: "All aboard", [Nasty Ways](https://www.youtube.com/watch?v=qCS1A-VXoes&ref=djbooga.com), just to name a few. Ten "just boom fuck off" tracks. And then the much more varied Dillinja album. There's going to be so much in there, hip hop for example. This hip hop track I heard was just horrendous! Imagine his deep sounds in other genres of music, it's insane what the man can do. It takes it to a whole new level again. **Booga: I think this expansion towards downbeat by drum and bass producers is also an absolutely hot thing, because ...** Storm: ... it's all about the breaks! They come from hip hop. That's the definitive connection. It's not necessarily difficult for drum and bass producers to make this step. In fact, I would almost say that drum and bass producers could do anything. **Booga: One of the greatest tracks in this respect for me is the** [**Hidden Agenda remix of Bel Air's "Dark Jazzor"**](https://www.youtube.com/watch?v=wcUpL89e0nU&ref=djbooga.com)**.** Storm: Yes, I know him. He's really big and wicked. But check out the track of theirs that they did on the Metalheadz box: [Big Lamp](https://www.youtube.com/watch?v=A8q30%5FW24x4&ref=djbooga.com). Evil, evil! **Booga: On the website breaks.org we want to feature everything that has to do with breaks. My friend Windy, who is currently DJing, has a very special favourite who is not only at home in drum and bass: Seiji. He releases on Reinforced, Archive and so on. What do you think about producers going down these paths?** Storm: I think drum and bass producers know how to fill spaces with their music. And when they go downtempo it becomes easy for them. **Booga: Is that so?** Storm: Yes, I think so, because they know how to create an atmosphere, especially in the downtempo area. I personally like it a bit faster, of course ... (laughs). But take [Modus Operandi](https://youtu.be/hHXLX5%5FnRHg?ref=djbooga.com) by Photek. There were times when I had to have it every day! It was the last tune before going to bed. Smoking a joint and "Modus Operandi" - there's nothing better. I like to mix that track at the end of a set. In Europe I've done it in the middle of a set a few times, it's crazy! I would never do that in the UK, but off it I would. They would get upset and say I'm crazy in England. **Booga: So it's not so easy to accommodate these tracks?** Storm: Of course it doesn't always work with the downtempo tracks on albums by drum and bass artists, for example. It's sometimes as far-fetched as saying I need a vocal track on it and then I need a downtempo track on it. Jim from Source Direct, on the other hand, just does these things and I'm telling you, they're mad! How many times have I said to Rupert, "you need to make a drum and bass piece out of Modus Operandi, that theme won't let me go". It's so great. Rupert is a minimalist, he can entertain you so much with his minimalist stakes... how many people can do that? Rupert and Krust? Krust can. But it's a feeling thing, a vibe thing. When [True Stories](https://www.youtube.com/watch?v=uTWUG-Q1sAg&ref=djbooga.com) came out, ah... you could have cried. Everybody couldn't help but cry. "True Stories" is like a light at the end of the tunnel. I think "Beachdrifter", the track that Goldie did, that's a track you have to feel. A landscape that you see and feel. **Booga: Now that you mention him again. It has become very fashionable in the last year to constantly give Goldie side blows. Whether in English or German magazines, in their eyes he was just the "film star" with all his attitudes.** Storm: That's the press. Of course, we have brought Metalheadz very far forward. We had a very nice club with the Blue Note. There was a v.i.p. lounge upstairs. It became trendy, okay. But Goldie had finally made a million-dollar album and that was the big thing at the time, so models and pop stars came to the club. One person who believed in us a lot and liked us a lot was David Bowie. And he still does today. If you could see him raving in the Leisure Lounge, which is a club like this \[Conne Island\], you wouldn't believe it. But the models and those kind of people that came to us then, where are they now? I mean the Spice Girls used to come to us and we used to make them pay. They had money after all and they made a guest list! "Nah nah, this is real. Get the money out girls!". That's girl power! \[laughs heartily\] So what I was saying, Goldie was the thing back then and blablablah.... everybody wanted to discover this crazy and aggressive guy for themselves and were horrified about his horrible childhood and stuff and now they're holding him down. That's what they want to do now: "Goldie is over". **Booga: For me, he was something of an initial spark with Timeless.** Storm: So don't give a damn about the talk. At the end of the day, what matters is that he has tremendous talent. He taught me so much. He taught me to achieve unattainable things. Especially in drum and bass. Take some people in England, some of the "old" DJs - they might be in jail or dealing drugs or whatnot. I mean, drum and bass came from the streets. You know what I mean? Some of them might have said, "I found the music and it's wonderful" and music changed these people. They had something to work for. They could maybe make money, start a career, buy a house. And because they came from the streets, they turn to drugs or guns and get into trouble again. Sure, some have been out of it for a long time, but there was a time when music came into their lives and changed a few things fundamentally. Look, Goldie came from Miami and was a graffiti sprayer and didn't know shit about the rave scene in England. But he was so into it, he said "I can do this music" and we said "then we can DJ". So that was the dream: "you are the DJs, I produce and you play my tracks". And we are still living that dream. **Booga: Because you just mentioned the older generation, on one of my first "Jungle Tekkno" samplers on Jumpin' & Pumpin' there was a track called "Music Takes You". A rave hardcore tune at its best! That was in 1992 and Blame, who made that track, is still around. But with others, I wonder where they've gone, like DJ Crystl (who made THE uber tune with** [**Warp Drive**](https://youtu.be/-5JJr4BvhzM?ref=djbooga.com)**)?** Storm: Well you know, some of the producers from back then didn't like that change when it got harder. A lot of them are doing Garage now. This Speed Garage thing. I personally don't like it very much. But take Timmy Magic for example, who was part of the Dream Team, he's become a drum and bass DJ now. \[I missed asking who that was, so I missed the punchline\]. **Booga: And what do you think of people like Todd Terry \[with "**[**Can You Party**](https://www.youtube.com/watch?v=Qd70M3qkm28&ref=djbooga.com)**" in the UK charts for a total of 14 weeks in 1988\], who did** [**drum and bass**](https://www.youtube.com/watch?v=GhTHryBdcSo&ref=djbooga.com) **in his last releases?** Storm: Did he? **Booga: What do you mean?** Storm: Did he really do that? **Booga: So the way I heard it, Grooverider was playing his tracks and that's how he suddenly became known in drum and bass... and I have to say everyone was wondering.** Storm: Where is he now? "C'mon Todd, shell yourself!" \[laughs\]. I'll tell you what: I tried to mix his track and you know what - it was the "most-untight" track I've mixed in a long time. So Todd, you still have to learn! \[laughs\] No no, it's great that he was so influenced by Drum and Bass, that's really wicked! Really. But it's funny that it should go like that. It doesn't matter who you are at all, but you can't just slide in and be there, not after we've been here for years. You know David Bowie once had a track with something like drum and bass going in the background but "Come on"! He sampled "[Renegade Snares](https://www.youtube.com/watch?v=wKPlj4PkQZw&ref=djbooga.com)" which came out on Rob Playford's label Moving Shadow! I mean, A Guy Called Gerald might have some kind of right to do that. I was doing an interview on TV the other day and I said about Everything But The Girl: "You love drum and bass, but why don't you make some? Why do you always get our producers to remix your stuff?" I don't get it. If you like drum and bass and love it, well then MAKE IT. Don't get J Majik, Grooverider, Fabio to do the remixes. Do it yourself! And I'll tell you what else, if you turn this thing off. \[At this point the interview officially ended and I certainly don't remember exactly how it continued after this hour of conversation\]. ![Storm at Conne Island (Leipzig, Germany) on April 1st 2000 / Photo: Martin Handrow](https://www.djbooga.com/content/images/2022/12/14-Storm-2000-04-Martin-Handrow.jpg) Storm at Conne Island (Leipzig, Germany) on April 1st 2000 / Photo: Martin Handrow ### Defrostatica showcase on Callshop Radio URL: https://www.djbooga.com/defrostatica-showcase-on-callshop-radio/ Last updated: 2023-12-15T14:21:03.000Z [Self Learning System](https://selflearningsystem.bandcamp.com/?ref=djbooga.com) and Defrostatica [recently teamed](https://www.djbooga.com/square7-cosmic-chaos/) up for Cosmic Chaos night on September 23rd at Distillery which went down rather well. Some time before the event Friedrich Ernst and DJ Unisex from [Self Learning System](https://selflearningsystem.bandcamp.com/?ref=djbooga.com) invited me to play live on their Intergalactic Rhythms show at [Callshop Radio](https://soundcloud.com/callshopradio?ref=djbooga.com) \- an online radio based in Düsseldorf, with a dependence in Leipzig & Paris. The Leipzig station is located in the same building as [IFZ](https://ifz.me/?ref=djbooga.com) club so it felt right at home. I decided to showcase some risky footwork jungle, juke and hybrid bass music of [Defrostatica](https://defrostatica.bandcamp.com/?ref=djbooga.com) to the audience of Intergalactic Rhythms and pulled some label classics as well as forthcoming tunes by Sun People, Arcane & Jon1st. [Callshop Radio](https://soundcloud.com/callshopradio?ref=djbooga.com "Callshop Radio") · [Intergalactic Rhythms w/ DJ Booga 01.09.22](https://soundcloud.com/callshopradio/intergalactic-rhythms-w-dj-booga-010922?ref=djbooga.com "Intergalactic Rhythms w/ DJ Booga 01.09.22") Tracklist [Sun People](https://sunpeople.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com) \- Into The New / Into The New EP DEFR009 [Arcane](https://arcaneofficial.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com) \- Rapture / Rapture EP DICA020 [Dispondant](https://dispondant.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com) \- Jazz Solo / Acid Jazz EP DICA009 [BSN Posse](https://bsnposse.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com) \- Rituals / Rituals EP DICA014 [Sinistarr](https://sinistarr.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com) \- Torpor / Everything On Time EP DICA011 Dispondant - Warehouse Acid / Acid Jazz EP DICA009 Arcane & Jon1st - Arpe Diem / Bloodstone EP DICA022 BSN Posse - Southern Comfort / Rituals EP DICA014 [Detroit's Filthiest](https://mcec.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com) \- Motor City Blues / Fight To The Finish EP DICA018 Kator - Synthwork / Getstacked EP DICA002 Detroit's Filthiest - Secure The Bag / Fight To The Finish EP DICA018 [Greazus](https://greazus.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com) \- WTF / Phantasia EP DICA019 Sun People - Overtoom / Into The New EP DEFR009 [DjBadshape](https://djbadshape.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com) \- I See Red / Hybrid Hooks DICC002 [Square7](https://square7.bandcamp.com/releases?ref=djbooga.com) \- Cosmic Chaos (Sun People Remix) / Bandcamp exclusive Greazus - Retro Active / Phantasia EP DICA019 [HomeSick ](https://homesick89.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com)\- Carbob (Sam Binga Remix) / Hybrid Hooks DICC002 Sun People - State Of Flux / Into The New EP DEFR009 Kator - Basics / Getstacked EP DICA002 HomeSick - Yes Track / Bolt EP DEFR007 [Maltin Worf ](https://maltinworf.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com)\- Recognize (feat. Rider Shafique) / 4AM EP DICA016 HomeSick - Get Back Up / Burnout 2099 EP DICA010 Arcane & Jon1st - Bloodstone / Bloodstone EP DICA022 [Kator](https://kator.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com) \- Getstacked / Getstacked EP DICA002 Arcane - Won't Deny / Hybrid Hooks DICC002 [Kiat](https://kiat.bandcamp.com/?label=2943806234&tab=artists&ref=djbooga.com) \- Brooklyn (Booga Remix) / Future Sound of Leipzig DICC001 BSN Posse - Burnin Shoes (feat. Jon1st) / Rituals EP DICA014 [Philo & dreadmaul](https://philoxdreadmaul.bandcamp.com/releases?ref=djbooga.com) \- Do It Right / Do Ut Right DICA021 Philo & dreadmaul - Shame Bats/ Do Ut Right DICA021 Arcane & Jon1st - Honey Dew / Bloodstone EP DICA022 Detroit's Filthiest - Funky Sperm / Honor Among Thieves EP DICA008 Arcane - So Nice / Rapture EP DICA020 [Alec](https://defrostatica.bandcamp.com/album/future-sound-of-leipzig?ref=djbooga.com) \- Ucandoit / Future Sound of Leipzig DICC001 Detroit's Filthiest - Failure 2 Launch / Fight To The Finish EP DICA018 Sun People - Like You Do / The Walls EP DICA015 Kiat - More Than One (Digital Remix) / Nightingale EP DICA017 ### Square7 - Cosmic Chaos URL: https://www.djbooga.com/square7-cosmic-chaos/ Last updated: 2023-12-15T14:20:34.000Z The news is I made a new track under my alias Square7, which is to say I had to revive it. The photo shows the cover artwork from my one and only 12“ record from 2000 on [Frost Music 001](http://www.discogs.com/Square7-Defrostatica/release/371544?ref=djbooga.com), it‘s a rather chill electronica track, listen below. [Defrostatica by Square7](https://square7.bandcamp.com/track/defrostatica?ref=djbooga.com) So the name [Defrostatica](https://defrostatica.bandcamp.com/?ref=djbooga.com) was out there for a while already before I founded the label in 2015. I got in contact with [Friedrich Ernst](https://www.instagram.com/electro.ernst?ref=djbooga.com) and [DJ Unisex](https://www.instagram.com/criminalsuspect%5F?ref=djbooga.com) from [Self Learning System](https://linktr.ee/self.learning.system?ref=djbooga.com) Records exactly one year ago to introduce them to the [Frohfroh](https://www.frohfroh.de/36707/track-premiere-dj-unisex-ice-101-nach-koeln-self?ref=djbooga.com) magazine readers and ever since I was interested what these young electro label founders where up to. This summer we decided to team up for a joint venture at [Distillery](https://www.distillery.de/ex/dates/2022/09/23?ref=djbooga.com), Leipzig on September 23rd as **Cosmic Chaos**. Self Learning System / Electro + Breaks Floor Acidfinky (BLVSH, THF Radio) DJ Unisex (Self Learning System) Alice in Flames (Disposable Time) Friedrich Ernst (Self Learning System) Defrostatica / Jungle Tekno + Drum and Bass Floor Sun People (Defrostatica, Exit) Philo (Defrostatica, Précey) Dreadmaul (Defrostatica) Bunny Tsukino (Hotshot, none/such) Booga (Defrostatica) Friedrich Ernst, Sun People and I agreed to release a title track with remixes that share the common spirit of electro, breakbeats and jungle tekno - it's out now as a Bandcamp exclusive with the same title as the event. Also available is the [download + stickers + ticket bundle](https://defrostatica.bandcamp.com/merch/cosmic-chaos-ticket-september-23rd-distillery-leipzig?ref=djbooga.com). [Cosmic Chaos by Defrostatica + Self Learning System](https://defrostatica.bandcamp.com/album/cosmic-chaos?ref=djbooga.com) Making myself at home in Reason Studios again was a nice break from label office work for sure. I have no intentions on making music in the future a priority though, so this is a rare one off. If you're in Leipzig on Friday 23rd, [come around at Distillery](https://song.link/cosmicchaos?ref=djbooga.com) and have a dance with us. It's the 7th anniversary of Defrostatica Records and also the release day of a new 12" jungle record from Philp & Dreadmaul called Do It Right - don't miss that! [Do It Right / Shame Bats by Philo & dreadmaul](https://philoxdreadmaul.bandcamp.com/album/do-it-right-shame-bats?ref=djbooga.com) ### The Epic Games Bandcamp Deal URL: https://www.djbooga.com/the-epic-games-bandcamp-deal/ Last updated: 2025-11-27T10:35:56.000Z *This article was originally published in German print magazine* [*Low Budget High Spirit #2*](https://lowbudgethighspirit.com/products/das-magazin-ausgabe-2022?ref=djbooga.com) *in September 2022\. The newsletter of the same name* [*"Musikbusiness neu denken"*](https://mailchi.mp/ff822ad59a81/lowbudgethighspirit?ref=djbooga.com) *by Leipzig-based* [*Fabian Schütze*](https://de.linkedin.com/in/fabian-schuetze-99aaa6169?ref=djbooga.com) *offers news about helpful tools for the daily work in the music business, deep dives, critical perspectives and background knowledge for musicians, bands and agencies.* Robert Handrow is a DJ, author, producer, promoter, platform and label founder who has been active in the Leipzig Jungle / Drum and Bass scene since 1995\. He is involved in many ways, founded important genre platforms like breaks.org and itsyours.info, always with the urge for exchange and a deeper understanding of the music. Handrow is interested in the shoals of the Bandcamp Epic deal not only because he follows music law issues in his professional life, but also because his own label, [Defrostatica](https://defrostatica.bandcamp.com/?ref=djbooga.com), generates much of its revenue and new fans there. He looked at the spectacular takeover of independent music platform Bandcamp by international games company Epic Games from just these two perspectives. ### Founder Time Web 2.0 In 2008, Ethan Diamond founded the Bandcamp platform, which was four years after Tim O'Reilly introduced the term Web 2.0 to describe the new online paradigm of "user-generated content." [Legend has it](https://blog.bandcamp.com/2008/09/16/hello-cleveland/?ref=djbooga.com) that Ethan Diamond's impetus for founding Bandcamp was frustration at not being able to buy a band's self-released album on the Internet. Apple's iTunes Store had existed since 2003, but only granted access to the marketplace to established bands and artists. A band without a label and distribution deal simply couldn't make a meaningful paid download offer to fans willing to pay. [Ethan Diamond](https://blog.bandcamp.com/2018/02/12/the-bandcamp-2017-year-in-review/?ref=djbooga.com): > "We want a music platform to exist where the playing field is level, where artists are compensated fairly and transparently, and where fans can both stream and own their music collections." Since the beginning of Bandcamp, the CEO authentically [documented](https://blog.bandcamp.com/author/artiefufkin/?ref=djbooga.com) the successful economic development in the in-house blog, in which he defended his [business model](https://blog.bandcamp.com/2010/07/14/its-a-business-model/?ref=djbooga.com) and [passionately criticized](https://blog.bandcamp.com/2018/02/12/the-bandcamp-2017-year-in-review/?ref=djbooga.com) the apparent lack of alternatives of the flat rate streaming model. ### Turn of the tide: Epic Games acquires Bandcamp after 14 profitable years On March 2, 2022, Ethan Diamond [announced the news](https://blog.bandcamp.com/2022/03/02/bandcamp-is-joining-epic/?ref=djbooga.com) of Epic's acquisition in a blog post that had the comments section turned off for the first time. He must have sensed that the affirmation "everything stays, only better" was a hard sell to fans, artists and labels. So how can the shared eye level of David and Goliath be credibly conveyed? With promises of advantages for the platform: > "We're working with Epic to expand internationally and push development forward across Bandcamp, from basics like our album pages, mobile apps, merch tools, payment system, and search and discovery features, to newer initiatives like our vinyl pressing and live streaming services." Low Budget High Spirit maker Fab estimates the statement in [his newsletter](https://us19.campaign-archive.com/?u=430eef86d6ec63e2b60dc76be&id=849f0daa73&ref=djbooga.com): > "Knowing that our own resources are never enough (and never have been) to set up a competitive platform including an app, one of the main motivations for the cooperation will have been to benefit from the IT power of the partner. This motivation is completely understandable for me and I very much hope that new features will come and the user experience - both desktop and in the app - will improve noticeably. In the end, the deal is simply a kind of guarantee of survival: Bandcamp has completely slept through the streaming and app age, and the parties involved know it." In my eyes it leaves one crucial thing out of the picture and that is to name Apple as the cause of the economic-technological bottleneck for Bandcamp. I assert: Apple and Google are administratively and technologically impeding the growth opportunities of the Bandcamp business model, and Epic can't change that (yet). This is not good, because: The Bandcamp business model and the "context is king" platform concept closes the value creation gap, especially for newcomers, that the flat rate streaming model of the digital streaming platforms of this world has irrevocably torn open. ### Bandcamp - context machine as a music platform The unique combination of business model and feature mix, which is a particularly good fit for artist newcomers, wins especially by providing context about releases, artists, labels and fan music collections. [Fans](https://bandcamp.com/fans?ref=djbooga.com), [artists](https://bandcamp.com/artists?ref=djbooga.com), [labels](https://bandcamp.com/labels?ref=djbooga.com) \- these are the account types of Bandcamp that intertwine so effectively at all points of the platform that they provide at least 40% of the revenue on Bandcamp for me as a label owner. A context machine effect that simply cannot be created with a singular Shopify presence. Fans follow artists, labels, and other fans. After purchasing releases once, you can stream them for free on your desktop or with the Bandcamp app. After purchase, the downloads are offered in various formats without copy protection - from MP3 to original master formats such as AIFF or WAV to Lossless Audio FLAC. Fans have [public pages](https://bandcamp.com/djbooga?ref=djbooga.com) where purchases are listed chronologically. They can discover new music via release hashtags - for example, via [regional city assignment](https://bandcamp.com/tag/leipzig?ref=djbooga.com) or genre designations. Artists can freely assign [hashtags](https://bandcamp.com/tag/hybridhooks?ref=djbooga.com), which can also be used to create release collections. Artists can sell music and merchandise with the free account, Bandcamp keeps 10% of physical sales and 15% of digital sales, which is reduced to 10% when annual sales reach $5,000\. An artist's investment to sell music on Bandcamp is thus exactly zero euros. For artists, the platform provides [a guide to the music business](https://bandcamp.com/guide?ref=djbooga.com) that is easy to understand. Labels get with the label account the great good of a [landing page](https://defrostatica.bandcamp.com/?ref=djbooga.com) that shows the complete label catalog - another huge context advance. The releases can also be home to the artists and from where they are [linking back](https://philoxdreadmaul.bandcamp.com/album/do-it-right-shame-bats?ref=djbooga.com) to the label page. This creates a comprehensible connection between the label and the artists in the first place. None of this exists on Spotify and co. This simple presentation of a label catalog on major streaming platforms underscores their efforts to recontextualize music: user behavior is steered toward playlists and author credits are omitted. Without hacks or relationships, a label's musical context cannot be shown: On Spotify, [labels have to tag themselves as artist](https://open.spotify.com/album/6nNWkAwlHC0yIoKzzl7rnQ?si=aTqKxgPAQQWaggHQFe5xJg&ref=djbooga.com) (!) in songs so that the catalog can be shown in summary via an artist account. On Apple Music, there is no option by design - unless you have good relationships with Apple, as only [a few labels](https://music.apple.com/de/label/ninja-tune/1543990853?ref=djbooga.com) do. Apple does not treat artists equally on Apple Music, as it does for developers in the App Store. This kind of intransparency and inequality has never been an issue for me on Bandcamp after six years of label history. As an independent company, Bandcamp does not have to deal with conflicting interests like Spotify, where on the one hand major labels are stakeholders and thus receive special treatment and payouts, but on the other hand Spotify wants to expand with "[podcasts](https://9to5mac.com/2022/02/01/spotify-has-a-podcast-problem/?ref=djbooga.com)" in order to minimize payout share. If I, as a independent label newcomer, compare the digital sales revenue of DJ platforms like Beatport and Juno with the flat rate streaming services (Spotify, Apple Music, etc.) and Bandcamp, it becomes clear that Bandcamp beats all other providers in comparison, several times. Is Bandcamp a competitive platform as a contextual engine? Hell yes! Is release recoupment possible without Bandcamp? Absolutely not. Would I want to continue investing in label artists' music if I could only offer it on major DSPs? Absolutely not. And isn't this chain of thought slightly creepy when you consider that Bandcamp is virtually unrivaled as a platform for up-and-coming independent artists? That said, there's always room for improvement, even on Bandcamp: for example, I wish there was an official pitch option to Bandcamp Daily, the top-notch editorial blog that can sustainably send new fans in the direction of the artist. A hashtag consolidation is overdue that lets double-entendres be history (drum & bass vs. drum and bass) and of course, like every other fan on Bandcamp, I long for better search. However, my biggest wish is to sell digital releases directly to fans using the Bandcamp iOS app. After all, how am I supposed to market a release on mobile for Bandcamp if it can't result in a purchase? And here I come to Apple as an administrative and technological bottleneck. ### Antitrust Law instead of Apple & Google Rules Apple exercises a monopoly for in-app payment methods on the mobile iOS platform - payments can only be made via the payment service providers deposited with Apple. This is not a problem for providers of store apps with physical goods, but for the arbitrarily defined category of so-called ["reader apps"](https://developer.apple.com/support/reader-apps/?ref=djbooga.com). > "Reader apps are apps that provide one or more of the following digital content types - magazines, newspapers, books, audio, music, or video - as the primary functionality of the app." In contrast to paying for physical goods, Apple levies a 30% tax on the sale of digital goods. With the [Bandcamp iOS app](https://apps.apple.com/de/app/bandcamp/id706408639?ref=djbooga.com), one can easily purchase a record, CD or tape - even or especially if they are coupled with a digital release. However, if a release is only offered digitally, that release cannot be purchased with the Bandcamp iOS app. There is simply no 'buy button' for it. What Bandcamp is forbidden from doing in Apple's place: telling the inclined fan why that is and how the fan can buy the release instead. Feel free to try this out for yourself with the app. Imagine this for a second: if Bandcamp enabled digital sales in the iOS app - who should pay for the extra 30% they think Apple is entitled to? The fan by paying a higher amount than through the Bandcamp website? Should artists or labels pay for the amount? What does Apple actually do for the 30% tax? Remember that Apple believes it is entitled to earn a share that is double that of Bandcamp - the actual service provider. But: > The app store platform effect doesn't work here, because it's not Apple that's responsible for the fan discovery of artists and labels, but Bandcamp as a platform. What Apple has effectively created with its reader app regulation and in-app payment monopoly: Blocking a successful music business model in a mobile app. Instead, fans, artists, and labels must conduct their Bandcamp business in a browser - if they just want to buy digital music. This circumstance is a nightmare in a mobile app world: the release campaign on Instagram for instance should deeplink to the Bandcamp app release page ([not possible](https://hisaac.net/2016/10/09/deep-linking-in-the-bandcamp-ios-app.html?ref=djbooga.com)) where a fan is already registered, logged in and ready to purchase. Instead you need to log in to Bandcamp on iOS Safari, make the purchase and after that you're able to stream it in the iOS Bandcamp app. And you won't like to listen to the purchased music on Bandcamp with iOS Safari, [Apple made sure](https://www.djbooga.com/state-of-apple-mobile-audio-2019/) it is not a pleasant user experience. Until now, the in-app payment monopoly did not exist on Android devices. Fans could buy digital releases on the go in the Android Bandcamp app. With the mandatory introduction of Google Play Billing on June 1st 2022, Google is thus imitating Apple's set of rules to the detriment of indie artists and labels. Possible consequences: Elimination of revenue on one of the two relevant mobile platforms in the western world, later payouts, substantial share increase by Bandcamp per digital sale. From now on, the Bandcamp purchase by Epic will be really interesting, because the upcoming legal showdown will simply be, well, epic: [Epic Games filed an application for a court order](https://blog.bandcamp.com/2022/04/29/supporting-artists-on-android/?ref=djbooga.com) on 28th of April 2022 to be able to keep the exemption rule for Bandcamp in the Play Store. Reasoning: Google was anti-competitively using its monopoly power in the Android app distribution market and illegally linking Google Play Billing to Google Play. And Epic's first fight for Bandcamp was temporarily successful! On May 20th Ethan Diamond [announces](https://blog.bandcamp.com/2022/04/29/supporting-artists-on-android/?ref=djbooga.com): > "Under a court-sponsored agreement, Bandcamp will continue to use our existing payment system for Android devices. Fans will be able to support artists on Android devices as they have in the past, and we will continue to pay artists the same percentage of sales (typically within 24-48 hours, as we do today). Bandcamp will place 10% of revenue from digital sales on Android devices in escrow until the ongoing lawsuit between Epic and Google is resolved - a fee we will bear. We will continue to fight for artist-first business models like ours to be possible on Android devices." What must become unmistakably clear to every observer here: Epic Games fights legally against the arbitrary regulations on both Apple and Google mobile platforms - with intentions that do not contradict those of the independent artists and labels and takes enormous financial risks in the process. This interim success is also perceived with [astonishment in the legal world](http://www.fosspatents.com/2022/05/breaking-google-blinks-in-in-app.html?ref=djbooga.com), because neither the behavior of Google nor the court was predictable in the decision. It is questionable whether Epic Games as the new owner of Bandcamp can win this battle against Apple and Google. Because Epic had already challenged the very restrictions on apps by Apple in an [antitrust complaint](http://www.fosspatents.com/2022/05/epic-games-to-appeals-court-government.html?ref=djbooga.com) in 2020, which offered other in-app purchase methods than those in the App Store. When Epic implemented an alternative payment method in its iOS Fortnite app, Apple blocked the app. Epic then sued Apple - and lost the first battle. The documents in their late-May [appeal](http://www.fosspatents.com/2022/05/epic-games-to-appeals-court-government.html?ref=djbooga.com) are also now known, highlighting Epic Games' ambitions to have Apple's platform behavior clearly categorized under U.S. antitrust law, namely where the line is to be drawn between "concerted actions, cartels" and "unilateral conduct, abuse of market power." For Epic Games, Bandcamp becomes another antitrust argument after Fortnite, which helps them to continue their fights against Google and Apple. From the perspective of an indie label owner, I wish Epic Games much success and staying power. In the meantime, fans, artists and labels on Bandcamp are anxiously following whether the Bandcamp founder's statement can come true: > "We share a vision of building the most open, artist-friendly ecosystem in the world, and together we'll be able to create even more opportunities for artists to be compensated fairly for their work." ### Klute interview (November 2000) URL: https://www.djbooga.com/klute-interview-november-2000/ Last updated: 2023-12-15T14:19:14.000Z *The interview took place in November 2000 as part of the* [*Skunkrock Records*](https://skunkrock.bandcamp.com/music?ref=djbooga.com) *tour, which also led to the* [*Conne Island*](https://conne-island.de/?ref=djbooga.com)*, Leipzig. During an exclusive session for the netradio contour.net I interviewed a friendly but somewhat tired* [*Klute*](https://www.discogs.com/artist/317-Klute?ref=djbooga.com)*.* **Booga: Paradox chose the title ‘Musician as an Outsider‘ for its recently released album. Would you say that it's a statement that applies to you in a certain way?** Klute: Mmmh, I would say that's not so far off. But I like this title that he chose. I think that I am also an outsider, I don't mean that primarily in relation to drum & bass, but in general, in everything I do. **What is the background to this?** You know, just my life, what I've done so far. How I grew up, the music I made and make, all that. When I was still doing punk rock, I was always a bit outside the usual clichés and rules. That's just because I try to do my own thing. **So ‘Musician as an Outsider‘ can also be understood as a stance against the popular zeitgeist in drum & bass?** Probably, I think that's what Paradox was trying to say. Maybe he wanted to express in this way that he is separated from this established drum & bass thing. I have a similar opinion. **The label that puts out your records is called Certificate 18, is that supposed to suggest that you are the adults in the scene?** The guy who runs the label (Paul Arnold) has been doing it since 1991 now, and when he started it was more of a bad boy thing for him. In England, films are usually labelled with a note like this to indicate that the film is not allowed under 18. **Does this bad boy image still holds for Certificate 18 today?** I just think it's a good name. I've been associated with the label for so many years now and never thought about the meaning behind the name. But somehow it can be explained. Imagine a 12-year-old who sees a "Certificate 18" film standing around somewhere. It's something exclusive and desirable for him, well, I've also seen films like that when I was 12 and 13 ... **So Certificate 18 stands for a higher level?** I don't think so. Other people might think so. But I don't know. Take Paradox with "Musician as an Outsider". It's like, if you do something that pursues new directions, it's usually called intellectual or too intelligent. For me that's total nonsense, but most people always try to generalise. If it's not so simple and obvious for them, then it's immediately said that it's made for intelligent people, which of course I don't agree with, because for example the guy who runs the label is quite dim ... **What?** I'm joking. **Maybe that's already the answer to my next question, about what separates the producers and artists at Certificate 18 from the rest.** I can only speak for myself. And I'm a bit peculiar, but that's just me. I'm always suspicious of crews or antics that make a statement like: Yes, we are this. Yes, we are that. In the end, I prefer to rely on myself. And my friends. But not on any crews. Do you understand what I'm saying? **I see, of course. But let's move on to your new album. How would you describe the development from "Casual Bodies" to your new LP "Fear of People"? For example, did the production style change?** I didn't change the production style much. I produced both albums on almost the same equipment. But the second album is more relaxed from the point of view that it's the music I really want to make and I personally got more involved in the music. The production style has improved over time anyway, I have acquired more knowledge in handling the equipment. **Your track "Phone Call" is so refreshing especially at this time, because it's so different. Do you think lowering tempo is an alternative approach to think about breakbeats again?** I don't really know ... **I think of people like Photek and Hidden Agenda, for example, who don't follow the beaten track. I think that is important because that way they're reinvigorating the sound.** I think it is just realising what it's all about. It's all about your own life. And it's about realising that there is a life far away from constructed schemes, even in drum & bass. It helps you immensely to try other styles, to experiment with downtempo or to do other things. That way you experience things outside your previous field of vision and the usual routine. That's how I see it for me. I think music is music. And drum & bass is music and I think it hurts the music when people get stuck on certain things, because at the end of the day it's all about expressing yourself personally. **So you're showing us some different colours?** I just call it music. That's what I do. And I wanted to do more of that on my album. And the tracks that you can't classify as drum & bass, I wouldn't put them in any other categories because of that. Other people do that, but so what? I'm way too busy producing drum & bass to be looking to follow other scenes or genres. **And do you think that we will hear more material from you or other producers in the near future that goes more in this more musical direction?** Yes, I think more and more people are going in that direction. Either they are tired of it or maybe there are people who just produce what they like without worrying about whether it sounds "different" now. And I think that's how Photek produced his album. He just made the record he wanted to make instead of releasing a pure drum & bass album. **What experiences have you made with regard to the expectations of the audience during your DJ tour?** If you look at it this way, almost everyone who plays Drum & Bass plays the same way. That's a strong fucking generalisation, but in the end everybody mixes one record into another. And I'd say if you ask the crowd what they want, 99 times out of 100 they'll tell you they want you to play hard records. **Well, then I'll ask differently: Are there any special expectations of the audience that you wouldn't fulfil within that framework?** I don't mind playing hard. I like louder stuff, you know I have a punk background. I just like to present a wide range. Variety can often create special moods. Playing a hard smasher after a soft tune or the other way around can have quite an effect. For some people it's still not obvious enough and you can tell they don't know what to do. I think that's exactly the thing that happens with most productions nowadays. It's just all too obviously produced for the dance floor. The producers just know that people are going to freak out when they hear some killer basslines. I would prefer it if the music for the dancefloor would gain more depth again. **As a DJ, would you take the risk of trying to take people on a journey with your set?** Yes, I play the things I want to. But, as I said, I play everything. Just as much the hits to get people going. That's also fun for me. **When we have a UK DJ as a guest here in Leipzig, we usually already have a certain expectation based on the label, so whether it will be more experimental and tricky. We know the artists and DJs from their productions, but when they are playing out, they stick to the hits. Sometimes I wonder if they never listen to other things, or what's the reason for that?** I think a lot of people in the drum & bass scene today really don't. I'm also very surprised at all these old school remixes and the reaction when people hear them. I wouldn't let people remember all those tracks. But who knows. I'm not in a position to judge. *The following exchange of words was made in a very relaxed mood and explicitly does not refer to a quote in which Skunkrock say that they have already left their mark in Drum & Bass history. It was rather a joking allusion in the direction of Alley Cat and was not meant to be a disrespect to Skunkrock.* **Skunkrock Productions say about themselves that they have left their mark on drum & bass history.** Skunkrock? Yes, they say that. *Alley Cat steps in: "Watch your mouth!" (big laughter)* Oh, crap!!! (face puckers "caught") **What do you think about Skunkrock and its development, with what intention did you approach your collaboration?** I already like Skunkrock a lot. I've known Mark, who runs the label, for a few years. I even think that I met Mark for the first time here at the Conne Island in Leipzig, about four years ago. He has always been a very honest and thorough person and I like his kind. When he started his label, I was always interested to see how it was going. And they have already put out some very good stuff, definitely. **So is it even a friendly relationship beyond business?** Yes, I think it's both. **And what will the future bring for Skunkrock? Will this 'track remixed by a bigger artist' that was needed to enter the UK market fade into the background?** I don't know. I think their own tracks have enough substance that these remixes are no longer superficially needed. Of course it was helpful to draw attention to the label with these remixes, but it's time to take the next step. **I liked your remix a lot, it was very light and uplifting. I thought it was very good fit.** Thank you, I like to hear that. **What are your next plans in relation to Certificate 18?** I'm still in the process of promoting my album ‘Fear of People‘. I'm going on tour, next I'll be in America for example. After that in Austria. Next year I hope to find a few days to go to Australia. Then we're still negotiating the next releases from the album, possible collaborations, remixes and things like that. After that I'm not sure yet. I'll probably start my own label, but I'll still release on Certificate 18\. And I want to emphasise the musical aspects in my productions even more, not just do drum & bass. *The interview originally appeared in German on the Leipzig drum and bass website* [*breaks.org*](http://www.breaks.org/interview%5Fklute.html?ref=djbooga.com) *in November 2000.* ### Back to blogging URL: https://www.djbooga.com/back-to-blogging/ Last updated: 2025-11-07T12:33:57.000Z Ownership of online platforms can change and it's content may disappear but a personal blog remains and the content of it will be backed up by the [Internet Archive](https://web.archive.org/). After several years on Tumblr and experiments with Wordpress I'm going to settle with Ghost, because it is an [open source](https://ghost.org/about/?ref=djbooga.com) application, funded by a premium platform as a service. That means all data created over here is not locked-in to the service and I can [migrate from the service](https://ghost.org/docs/migration/ghost/?ref=djbooga.com) to a self hosted solution every time if I wanted to. What is important to me is not just the service and its features itself but the context of the business and the attitude of the founder to make it happen. From an [interview with Ghost CEO John O’Nolan](https://stratechery.com/2019/ghost-3-0-an-interview-with-ghost-ceo-john-onolan/?ref=djbooga.com) (paywalled though): > Ghost is a not-for-profit organization: there are no shareholders, the entity is entirely independent, it can never be bought or sold. If at any point I want to step down, I can hand over my trusteeship to someone else but I can’t “cash out”, as it were. So we have a company constitution which defines what the organization can spend money on and how all of those bylaws fit together, but there are no shareholders and there is no share capital, so even if someone offered to invest, there is no mechanism by which to take any money or to give any ownership stake. > > So my long term goal is for this to be a company and a product which is around for fifty, a hundred years. I’ve deliberately structured it at every juncture in a way to try and prevent myself from becoming enormously wealthy from it because I feel like the more my interests align with the customer’s interests, the more likely the business is to serve the interests of its users and not just focus on whatever is necessary to raise the next largest round or get the biggest acquisition number. My personal interest is deeply in publishing, it’s deeply in journalism, it’s deeply in seeing independent voices be able to have something meaningful to say in the world and to be able to sustain themselves doing it, and that’s what we optimize most of our product and business decisions around. > > The big takeaway and strength that you have is in the open source license and the fact that you own the data and everything going on. So if I’m hit by a bus, if my whole team was hit by a bus, and we go out of business, what you have to do is go out and find a Javascript developer of which there are more in the world than any other language that exists, and they can then work with the code which is all MIT license and you have every part of it — you not only own it but you also have the license to it. So, the long game is that you can have anyone maintain this if you want to. That sort of **responsible ownership** is rare to find. The [Ghost](https://ghost.org/?ref=djbooga.com) business model for independent publishers is thoughtful. Perhaps it can prove useful for other projects in the future. In the meantime, I may republish some [older blog posts](https://web.archive.org/web/20200925135753/https://handrow.de/) with their original timestamps for better context.