Recommended: RDG – Hypnotica (Circle Vision)

“Hypnotica” by RDG is taken from the “Planetary Sound Fiction” album, available now on Circle Vision.

The LP contains a mixture of tempos, moods and grooves drawing on influences ranging from jungle to downtempo and dubstep to drone.

Including contributions from Rider Shafique and London based MC Killa P, known for his collaborations with artists like The Bug and Pinch, “Planetary Sound Fiction” is a sprawling collection of both vocal tracks and instrumental rhythms, providing moments to dance as well as time to pause and reflect.

With over twenty-five releases to his name and a decade of productions behind him, now is a great time to delve into both the LP and RDG’s bass-heavy archive.

“Planetary Sound Fiction” was mastered by Beau Thomas at Ten Eight Seven and is available now on double vinyl and digital, the physical version contains a poster of the futuristic turntable cartridge spaceship designed by Freshcore.


Dubplate Selection: Presha C/O RQ

A few weeks back, over on Dogs On Acid (yes, a few of us still visit/post there) a conversation started around which dubplates we have in our possession.

Not plate rips, actual dubplates. Quite quickly, RQ (jon_blak) posted an image of him cleaning a Marcus Intalex Music House dub in his kitchen sink, followed by a comment about him having around three creates worth.

It turns out that he is looking after them for Presha, Geoff from Samurai Music. Ryan, RQ, has taken images of a handful of these acetates and Presha has very kindly documented their history, getting wistful about the days when cutting a plate was the only way to play music upfront…

All images courtesy of RQ, words by Presha


Living in New Zealand, we were a long way away from where the action was and prior to CDJ’s and reliable internet the idea of having fresh dubplates was a goal we all aspired to but really had very little chance of attaining. I managed to become friends with a few of my favourite producers and label owners from organising tours for them in New Zealand and was being offered / sent tunes, but how was I going to play them without any way to cut them?

Anyways, CDJ’s didn’t exist yet and even though MP3’s were created in the late 90’s, it would take a while for DJ technology to catch up with them. Obviously now I had the tunes, my drive to get these cut sent my organising / begging skills into overdrive and my first plates were 31 Records dubs (including M.I.S.T – How You Make Me Feel) cut very kindly for me at Music House by Kemistry and Storm and brought out to me in New Zealand when they came out on tour.

Occasionally artists would leave me dubs as they left to go home after a tour (thank you Dillinja / Lemon D, Scotty, Total Science, Marcus, Calibre) but after getting these first dubs actually cut for me, I knew I had to get more serious about it.

It wasn’t long before I was standing in line at Music House chatting to Spirit as we were the first ones to arrive for the days cutting. I’d flown myself over to cut dubs, visit people and even play a few gigs, all organised for me by Storm (legend!). Jayne introduced me to Digital and between him and Spirit, old friends Total Science, Marcus Intalex, Doc Scott & Calibre, plus people I met at Music House like Klute, I was getting absolutely loaded with tunes to cut. I played Metalheadz Sunday Sessions at Camden Lock that year and I think Movement as well thanks to Bryan G. The actual cutting had become a total addiction, and as I reluctantly went back home to New Zealand, I knew I had to find a way to keep the dub flow going so I arranged with Leon at Music House to stockpile some dubs and have them collected by a courier every few months.

The vibe of Music House was so infectious, it’s really hard to explain to anyone that wasn’t there. The politics / hierachy of dubs maybe got a little deep but then someone you knew would show up and break through it all and hand you a CD to cut that made it all worthwhile. The absolute hunger floating around that room for new music and the delight on peoples faces when they cut a tune for the first time. It’s really something I am very glad I witnessed and took part in. I visited again, I think the second time was in 2002, but shortly after technology started catching up and the slow shift to CDJ’s / Final Scratch etc began.

There was a dubplate cutter in New Zealand for a short time in the early 2000’s. I even took Dillinja and Lemon D to meet him. He was really getting the cuts just right but unfortunately while this was happening, CDJ’s began taking over and the demand disappeared. A few of these photos are of plates cut in New Zealand during that time.

These are photos of my dubplates that have been in the care of RQ (thank you Ryan!) in NZ since I moved to Europe. I miss them dearly as they are memory fuel for a time I don’t want to ever let go of. I don’t think most people who were there cutting dubs do (except for the expense). It’s a time / feeling we can never get back with the bristling pace of technology as it is, but it doesn’t stop us trying. For those of you who haven’t ever held a dub, try and get near one to see what they smell like. For me that sweet aroma is like a time machine, man I miss it.

Presha (February 2020)

Dubplate Sleeves
Music House Dubplate Sleeve
Calibre – Untitled (Music House Dubplate)
Unknown – Reborn (Jah Freedom Dub Studio Plate)
Unknown – Mistical Dub (Stonesthrow Mastering Plate)
Calyx – Morphology (31 Records Plate)
Bad Company – Breath/Fixation (Music House Plate)
Total Science – Rated X (JTS Mastering Plate)
Reinforced Dubplate
Metalheadz Dubplate
Nasty Habits – Liquid Fingers (31 Records Plate)
Boymerang – Still VIP (Jah Freedom Dub Studio Plate)
Metalheadz Dubplate
Unknown – Dubplate Remix
Ed Rush And Optical – Watermelon (Virus Dubplate)
Dillinja – All The Things & Trinity – Foxy Lady (Heathmans Dubplate)
Unknown Dubplate
V Recordings Dubplate
Unknown Dubplate
M.I.S.T.I.C.A.L – Swing (Music House Dubplate)
Trace And Nico – Amtrak VIP (Dubplate)
RQ – Cleaning the plates

Favourites: Seba And Paradox

To celebrate the Metalheadz release “Hexagon”, Seba And Paradox gave us a rundown of their favourite productions by each other. Taking these tracks, and adding a few of our own choices from their back catalogue, we have then blended them to create “Favourites”. Think of it as a playlist to showcase their music rather than a full-on DJ set.

From the B-Boy funk of Paradox to the spaced out bliss of Seba, the producers have delivered some of the finest moments in drum and bass history over three decades. Recording for labels like Moving Shadow, Good Looking and Metalheadz, their own labels, Paradox Music and Secret Operations as well as a new joint label, the duo have a vast discography to draw from so putting this list together must have been no small feat.

“Hexagon/Love Or Death” captures the essence of both producers and is the first release on Metalheadz for the duo. Available on both digital and vinyl now, the record comes housed in a full artwork sleeve.

Buy: Bandcamp / Metalheadz Store

Favourites – Seba And Paradox (Tracklist)

Seba And Lo-Tek – Universal Music (Good Looking Records)
Paradox – Orion (Metalheadz)
Seba – 34 Alpha (Secret Operations)
Seba And Paradox – Hexagon (Metalheadz)
Seba And Method One – Eidolon (Commercial Suicide)
Paradox – Crate Logic (Samurai Red Seal)
Seba And Paradox – Love Or Death (Metalheadz)
Nucleus And Paradox – Azha (Metalheadz)
Seba – Can’t Describe (Secret Operations)
Alaska And Paradox – Planet 3 (Good Looking Records)
Seba – Dangerous Days (Warm Communications)
Nucleus And Paradox – Analogue Life (Metalheadz)

Seba’s Top Three By Paradox

Alaska & Paradox – Planet 3 (Good Looking)

Seba: “This track blew my mind when I heard it 22 years ago. The amen has a much lower pitch than most other tracks that came out at the time. It made it really punchy and heavy. The vocal samples with delay also sits perfect on the whole arrangement. I really love the Aphex Twin style chord that comes in half way through too.”

Paradox – Crate Logic (Samurai Red Seal)

Seba: “This track is all about the drums! I like the long intro in this track with cut up breaks in a Paradox style and old-school b-boy samples. It drops so suddenly with a completely different drumbreak that makes the track very intense. I´ve played this track since before it came out in 2013 and I still play it today.”

Paradox – Orion (Metalheadz)

Seba: “Much more steppier than most other of Paradox’s other tracks. I like this one because it fits really well in my sets as a contrast to my own music. It still has that b-boy edge to it with old-school hip-hop samples. It’s also very hypnotizing!”

Paradox’s Top Three By Seba

Seba & Lotek – Universal Music (Good Looking)

Paradox: “This is a bit of an old one with Lotek but it’s a title that reminds me of our first meeting in the UK at Ministry Of Sound at a Good Looking event in the mid 90s. We spoke and were into each others music and I probably mentioned Universal Music at the time. I’m a sucker for long searing pads that let the breaks breath and Universal Music captures the whole Good Looking vibe in a nutshell for me. It was a fruitful era for both of us.”

Seba – Can’t Describe (Secret Operations)

Paradox: “Seba saves his best output for Secret Operations and rightfully so. The Detroit house vibes in this track are great. I would have done the drums differently of course but that’s just me.”

Seba – Dangerous Days (Warm Communications)

Paradox: “Although this is an ode to Vangelis, it’s done really well and Seba can do this type of music blindfolded. The apocalyptic vibe of the track is good and the dark side of the breaks and bass puts this track in my top three.”

“Hexagon/Love Or Death” is available now directly from the Metalheadz Bandcamp and store.

Influences “Wagz” none60

For this edition of Influences, we return to the none60 stable as Wagz provides a rundown of music he finds inspirational. It may surprise you for an artist whose productions wouldn’t sound out of place on Good Looking that he cites Iron Maiden as an influence, such is the joy of these lists.

For those unfamiliar with Wagz we premiered his track “Hyena” with its classic Photek tinged melodies taken from last years none60 compilation “none of the above“, which can be heard here. He has also recently released an EP for the label titled “City Lights” with sweeping pads, warm bass and intricate drums.

That EP can be streamed in full at the bottom of this post.

Buy: Bandcamp

Black Sheep – Similak Child

There’s so much hip-hop I could have chose it was difficult to pin one down but this Black Sheep album brings back so many memories of being a teenager walking round Buxton with headphones on going round to my mates house. The samples and the sheer vulgarity of the lyrics appealed to me on this album, but the guitar hooks on this track always stood out.

U.N.K.L.E. Featuring Ian Brown – Be There

So many to choose from on Endtroducing/Psyence Fiction so went with the vocal version of this one. Again, it’s all about the mood/atmosphere and samples. I can’t listen to this track in the day time, it has to be dark. I feel like I’m cheating nowadays when picking samples with the technology at hand when you compare it to the time and effort that people like DJ Shadow put in on these albums.

Tangerine Dream – Love On A Real Train

Soundtracks are a massive influence for me, especially 80’s stuff. Even the shittest film back then could have an awesome soundtrack and this one is a prime example. I don’t think I will ever get bored listening to this. Proper 3am sofa business.

Wild Nothing – Paradise

One of my current favourite bands and this is the song which got me into them. Can’t think of a better song to get lost in the moment to. The breakdown is pure bliss.

Iron Maiden – Hallowed Be Thy Name

I first heard this on Jamie Thomas – Toy Machine – Welcome to Hell skate video in the 90’s and became a massive Iron Maiden fan much later on through a good friend of mine who sadly passed away. This song got me through some difficult times – crank it up to full volume and run as fast as you can.

Stream/purchase the “City Lights EP” by Wagz below.

Sonar’s Ghosts X Sun People – VIP’s And Unreleased (Charity Release)

After the success of our various artist compilation “Beyond The Physical“, which saw us donating over £200 to the homeless charity Emmaus in Bristol, we are set to unleash our second release “VIP’s And Unreleased” by Sonar’s Ghost and Sun People featuring four cuts of modern jungle on January 6th 2020.

You can read more about the EP and stream it in full below.

Modern yet reflective drum and bass from two of the scenes most interesting producers, merging classic jungle with footwork and techno the EP is brimming with creativity and musicality.

Sonar’s Ghost revisits the unreleased VIP of “Turn It Inside Out”, amending the intro and tightening edits for a magnificent B-Boy influenced take on the track, replacing amens with funky NT chops. “I Got Watcha Need” features a wonderful Domu style harmony and chord progression, soulful jungle for broken heads.

Sun People twists the original arrangement of “Going To” for this exclusive VIP version, chipmunk vocals and perfectly placed snares dominate as the track charges along at 155BPM. “The Great Escape” closes the EP with two glorious melodies morphing into a beautiful, uplifting hook pulsating with energy and emotion.

With all Two Hungry Ghosts releases, the proceeds from this download will go to charities who focus on homelessness, hunger and poverty around the UK.

Artwork: THG
Mastering: R. Peperkamp

Released by: Two Hungry Ghosts

Release date:
6 January 2020

Buy: Bandcamp

Exclusive Stream: Foul Play – Being With You (Army Of Ghosts VIP)

Originally put together for John’s Foul Play appearance at Rupture back in June, this VIP of “Being With You” was crafted by Sonar’s Ghost and myself as an exclusive for his set.

Also known as the Rupture mix this was made using stems from an old track we made for the blog several years ago, a remix of “Understand The Process” by Soza, and samples from different versions of “Being With You” including the Van Kleef mix John sent me on CD.

Essentially a rinse for a DJ set we hope you enjoy this exclusive stream as we celebrate 250,000 plays on SoundCloud and approach 3k followers.

Thank you for all your support.

Soundcloud: Two Hungry Ghosts / John Morrow

Various Artists – Beyond The Physical (Charity Compilation)

Today is the day our first Two Hungry Ghosts compilation is released into the world. 12th December is a special day for us, one we have marked for the last five years through our electronic label Sector 12/12. We use the date to remember the past and help inject some hope into the future.

I’m really proud of what we have achieved with this. I’ve seen pure positivity from all involved, with everyone using their creativity to support others in need. All proceeds from the download will go to homeless charities across the UK.

At times, I feel the need to rant about the exclusivity or expense of the music I love but feel it far more fruitful to instead put something out into the world that’s accessible to all. You can stream the whole thing for free via Bandcamp (all restrictions have been removed) and I’ll add to SoundCloud and YouTube over the next couple of weeks.

The album has been carefully considered and we recommend you play the whole release from start to finish through headphones for the best possible experience.

We hope you enjoy the music and if you can afford to support it by spending £4 on the download it will be very much appreciated.

Many thanks to all those who have already supported this release.

Emotive, experimental and expressive “Beyond The Physical” illustrates the community spirit that flows through the modern jungle scene with contributions from a range of artists based around the world. The producers all share a desire to push the envelope, extending the limits of what is considered drum and bass, returning to the days when each release was a mission statement and had a sense of purpose.

Featuring exclusive tracks from DYL, RQ, Sonar’s Ghost, Thugwidow, Shiken Hanzo, Entire, Paragon and Sicknote & Dissect the album is a balanced journey of breakbeat manipulations and raw techno fusion.

At a time where greed and self-interest appear to reign, “Beyond The Physical” aims to demonstrate the power a collective force of creative people can have on local communities with all proceeds from the download going to homeless, hunger and poverty charities across the UK.

Artwork: GMHA X THG
Mastering: R. Peperkamp

Released by:
Two Hungry Ghosts

Release date:
12 December 2019

Buy: Bandcamp

Recommended: Overlook – Misty [Law And Wheeler Remix] (Repertoire)

10 years is a long time for any label, and throughout the past decade Repertoire has seen distributors come and go, vinyl sales plummet, and interest in the breakbeat-led drum and bass wane. But steadfast in its ideals, the label has never strayed from its roots, and today goes from strength to strength as jungle’s golden age influences a new generation.

To celebrate this landmark we’ve tasked some of the most influential producers on the jungle circuit with re-imagining classic tracks from our back catalogue.

This is Repertoire 10/20.

Featuring remixes from scene trailblazers such as Dead Man’s Chest, Sonar’s Ghost, Double-O, Friske, AU & Jesta, and more. Repertoire 10/20 is a broad look at underground drum and bass as it is in 2019 and beyond.

Buy: Bandcamp


Recommended: DYL – Words (Detach Recordings)

“Words” is taken from the forthcoming “Uniformity of Nature” EP on Prague based Detach Recordings. The release is a collaboration between Romanian producer DYL and Germany’s Senking.

Pulsating with wild creative energy, the EP features abstract excursions into 170 and a mixture of slower, murky electronica. Highlights include the savage opening track “Phrases”, an uncompromising and unrestrained adventure into dark industrial territory by DYL and “Destroyed City Lights” co-produced by Senking. This track features a strange brew of multi-layered synths, steadily building a futuristic soundtrack for a long-forgotten, dystopian location.

Our featured track, “Words”, treads the line between drum and bass, techno and electro. Thick atmospherics create an air of tension while tightly programmed drums balance funk with aggression. A sonic whirlwind of dark textures and deep bass complete the outing resulting in an energetic, yet overall, unsettling experience.

To complement the rich creativity of music on this release, the artwork has been affectionately created by Romanian artist Teodora Gavrila. Supplied in a screen-printed transparent sleeve, the 12” also contains a limited edition insert reflecting the many layers of musicality and production. A beautiful package of visual and aural artistry.

The “Uniformity of Nature” EP is available to pre-order now via Juno Records.

Buy: Juno / Redeye


Daniel Maunick Chats Jungle, Speed And “Macumba Quebrada”

With connections to labels ranging from Ibiza Records to Talkin Loud, Daniel was heavily involved in the 90s drum and bass scene producing his own music and teaching artists how to use samplers and recording equipment.

Obsessed by jungle in his teens, he turned his attentions to a fresh and emerging sound from West London at the turn of the millennium. Much like the jungle scene this new style was based on dirty bass, broken beats, warm Rhodes and scattered snares.

Fuelled by artists like IG Culture, Afronaught, Phil Asher and a wealth of drum and bass pioneers at the helm, this new culture fused jungle, house, soul, boogie, latin and jazz resulting in some of the most exciting and futuristic music to come out of London.

Daniel’s debut LP has just been released on Far Out Recordings, containing deep house, techno and broken beat.

We caught up with him to discuss the album and his involvement in the early jungle scene.

Buy “Macumba Quebrada”: Bandcamp


Musically, we share similar tastes. From drum and bass to jazz, hip hop and house we appreciate a variety of styles and sounds. Can you tell us a bit about what you listened to growing up? I guess your dad was a massive influence in those early years?

I grew up listening to a lot of jazz, funk and soul as my dad (Jean-Paul ‘Bluey’ Maunick of the band Incognito) was one of the pioneers of the British Jazz Funk movement, he would also go to America and bring back early hip hop and house in the 80s so I was lucky to be introduced to electronic and sample-based music through him too.

Inner City, Run DMC, Public Enemy were huge for me as a kid… As were Roy Ayers, George Duke, Weather Report and all the jazz-funk legends.

So when did you make the transition from avid listener to musician/producer/DJ?

It wasn’t until the early hardcore/jungle tunes started coming around in ’91 that I found a type of music that really resonated with me to the point where I wanted to be a DJ and maybe make music myself. It was new and invented by people from my background and city, not New York or Detroit, but here on my doorstep in London.

I always loved music, I was raised in studios, but growing up around amazing musicians kind of put me off playing an instrument. I just didn’t have the gift to play at a high level and kinda knew it… but then decks, and later samplers changed everything for me. I felt like these were things that I could use to be creative that suited me, I got my first set of decks in late ’92 when I was 14 then in ’94 moved up to messing around with the first instrument that really allowed me to make music… an Akai Sampler!

I slowly became part of the Incognito production team while at the same time learning and making jungle/DnB stuff. At first doing a little programming, eventually co-producing and co-writing on many of the albums and productions my dad was doing, from the mid-’90s until the mid-2000s, working with some of the very best artists and musicians.

What was it like growing up around this hotbed of creativity?

I’m lucky that I grew up around amazing musicians, as a kid I’d always be in the studio watching and was always drawn to the technology side of studios and producing. I kind of learned without studying and mainly just by subconscious observation. I got to meet so many legends in studios and tours too, from Jocelyn Brown and Jazzy B to Stevie Wonder and Paul Weller. I’ve been really lucky to meet and see some of the best at work.

You hooked up with the Ibiza Records crew, such an influential label. How did this happen and what can you tell us about that time?

At the end of ’93 Paul Ibiza opened up a shop at the end of my road in Dalston, Potential Bad Boy, Chatterbox, Chris Music Power and Paul were all working in the shop, they were like heroes to me at the time. “Work The Box”, “Bad Girl” & “Can You Feel The Rush” were anthems on the streets back then. So after a few weeks of hanging around, hassling them, they probably took pity on this little obsessed 15-year-old jungle fanboy and asked if I wanted a Saturday job at the shop. I worked there from early ’94 until late ’95. They were doing some legendary raves at the same time so I was there as part of the team for the Jungle Splash and Jungle Soundclash events.

I learned a lot from those guys, I’m especially grateful to Chris (Potential Bad Boy) for letting me sit in some of his studio sessions and watching him work, he really is one of the founders and innovators of hardcore/jungle/DnB whatever you call it… Potential, James from Noise Factory, Marc Mac & Dego (Reinforced), they are the godfathers of that art form to me.

As far as jungle, what were you listening to at this time and who were you hanging around with?

Listening to and collecting everything jungle! Obsessively…

Rush FM or Kool FM always on the radio, I was hanging with mates who were also collecting records, heading down to Unity and Black Market in the West End, getting to hang out at Roller Express, Bagleys etc. with the Ibiza/Jungle Splash crew.

In early ’94 I got friendly with some of the SOUR Records guys who had a studio in the same building as my dad. T-Power was there and Shy FX was doing his first tunes to and he became a real friend. I was there when he did “Original Nutter”, he did the “Gangster Remix” in my dad’s studio.

My first ever tune was done while I was on School Work Experience at Trident Studios in mid ’94, while I was working on my first tune, Andre was next door in a big SSL studio room doing “Original Nutter” specials for the DJ’s at Jungle Soundclash. He came in and heard my tune I was working on, liked it and helped me finish it off. He called me up the next week and asked if I wanted to do a live PA with him at Jungle Splash performing the tune before him and UK Apachi did “Original Nutter” live for the first time.

Shout out to Shy FX, he helped me a lot man and even got us to do an Incognito remix of one of his tracks to launch his Digital Soundboy Label years later. The same day we did the PA at Jungle Splash we went down to Music House to cut a dubplate, Brockie was there, heard it and asked if he could cut it too, he played it as his last tune on Kool FM that weekend which really made my life at the time!

After that, I started on my journey making music full time. 1994 was such an amazing year musically and I’m just grateful to have been around it all considering I was a just a 15-year-old kid.

Later on, I got to know many guys in the scene, did some uncredited, lowkey engineering on tunes and at times I just made tracks and gave them to certain cheeky people who put them out under their names!

As I became a bit more skilled on the sampler I taught a lot of techniques, like filtering and mapping, to some big artists on the jungle/DnB scene. I’d go round and show them how to do certain tricks that were not common knowledge at the time, no Youtube tutorials back then! Either someone schooled you or you found things out by trial and error.

Must have been mad being on school work experience and hearing Shy FX making dubplate specials! That track you made was called “Assasinz” and remains unreleased. How old were you then and why didn’t it come out? You still got the plate?

I still got the plate, crusty and battered but it still plays!

SOUR & Sub Base wanted to put it out, but I wasn’t happy with it enough to release it. I was 15, had no clue what I was doing really and was just happy to make a tune, have Brockie cut it and perform it at Jungle Splash, that was enough for me. I guess I wanted to just learn, get better and be able to work all the gear myself before putting anything out there properly. So I got an Atari ST, a cracked copy of Cubase, my dad’s old hand me down Akai S1000 sampler and went to school cutting up breaks in my bedroom, stealing time whenever my dad’s studio was free!

I know from your social media posts about your love of Reinforced and Tom & Jerry. What contact did you have with the Dollis Hill community?

Just deep respect and appreciation for those guys, it was probably the “Journey From The Light EP” by 4 Hero that turned a hobby into an obsession for me. I was lucky to go down to the Dollis Hill HQ and meet the guys once in the ’90s, but didn’t want to bother them too much that day and was a little bit starstruck! But yeah, Marc is an online pal these days, him and Dego have remixed quite a few of my productions and tunes, we’ve also produced on the same albums for artists like Terry Callier and have been featured on the same comps and stuff, that’s big for me just to be linked in any way to the guys who inspired me so much as a kid.

Recently Marc put me in touch with Stretch after they heard a few tunes I was messing around with for fun in between projects and we got some jungle releases cooking in the oven, Venom will return!

I’ve also let Marc know that if he ever revives Reinforced or the Enforcers series that I still hold a glimmer of hope to be on one, even if I’m 70 by the time it happens!

You made a mix of Rivets and Shells which contains an unreleased Tek9 dubplate. What’s the story behind that track and can you tell us a bit about how you got it?

Haha! No info to give on that one… just one of many plates and DAT’s that I’ve cut, ripped or borrowed from many secret sources and pals over the years. Since the early 90’s I’ve been collecting rare dubplates, digitising them and have built up a pretty sick collection of rarities that I like to draw for now and then… From Photek and Dillinja to Reprazent and Optical I got a lot of holy grails in the collection…but still a few out there I need!

There was a Dillinja tune that Randall had called “New York Sax” that was one of the first things he did when he signed to FFRR that I would pretty much kill for!

I really enjoy mixing that music, there are few things as fun as throwing down a classic hardcore jungle mix!


That era of jungle featured a lot of rare groove and ragga samples, I’ve been introduced to some great 70s LP’s through people like SelectaBwoy and various websites and groups that catalogue sample sources. What’s your view on sampling and can you recommend any old original tracks that ended up in jungle?

Sampling is the backbone of the genre. A backbone that was integral and has been kinda lost. Even though I grew up with jazz and soul music I have learned far more about those genres, and others, from sampling, digging for new samples and tracking down samples that others used has been a vital education.

My thoughts on sampling? It’s great when done right, like pretty much anything in music.

It’s also these days great seeing the online communities that are into finding sources for breaks etc. I wish we had that back in the day, certain breaks were closely guarded secrets back then and finding a new source for an exclusive, unique sounding Amen or Think break was a big thing!

Gotta be careful not to be too much of a snitch but check out…

Maxi – Lover To Lover
Idris Muhammad – Piece Of Mind
Brainstorm – Journey To The Light
Reese – Just Another Chance
Starvue – Body Fusion
The Jones Girls – Who Can I Run To
Take 6 – I Am On My Way
Jeffree – Mr. Fixit
Roy Ayers Ubiquity – The Third Eye
Azymuth – Brazil

For just a few of my personal favourite samples used in classic jungle tunes…

You had releases on Chronic and Hardleaders in the late ’90s, can you tell us about these, how you made them and what your artistic vision was at the time?

Yeah, to be honest I was never really happy with my tunes and was a bit of a perfectionist that wouldn’t give out or finish my best ones, at that time I was still learning and trying to improve the basics so most of my tracks never came out but every now and then someone talked me into releasing something! DJ Ash passed a couple of my tunes to Karl at Hardleaders for those releases, Andy C played one of those tunes out on plate while I was standing in a DJ booth with him and Ash unaware who I was or that I made it. That was massive as his work throughout the ’90s was a huge influence on me.

With Chronic, my best mate John was V’s in house engineer. Bryan heard a few bits and put out a couple lil’ rollers we did, which was awesome. A real honour to be on those labels which at the time were pretty much Dillinja, Roni, Ray Keith and those guys, who were gods to me. There was even a tune we did that Bryan signed up to V that ended up being lost to time and space somehow! I need to track down my DAT box as I’m sure there is tons of unreleased stuff that was supposed to come out on those labels somewhere!

What can you tell us about that unreleased V track? Heavy on the amens?

Nah, it was a jazzy little track that my dad helped me out on with a Weldon Irvine sample, around ’96-’97, will have to dig it out one day, can barely remember it myself, so many tunes get lost in time! I made a whole ‘Venom’ mini-album for Talkin’ Loud that is probably sitting in a vault somewhere that never came out too!

Like a lot of people, I ducked out the drum and bass scene in the late 90s as the science in the music seemed less important or even lost. Around this time jazz labels like Talkin Loud and eclectic labels like Mo Wax were releasing tracks by the likes of 4hero, Photek etc. It seemed a great way of continuing the ride created with the conception of jungle. What was it like rolling with the Talkin Loud crew and hearing those sounds leaving the studios before the public?

Yeah, my history with Talkin Loud and Gilles goes way back, my dad was one of the first artists Gilles Peterson signed. In the early ’90s he was starting to check out the jungle scene that was bubbling, he came to me as he knew I had started DJ’ing and was into it. So I kinda became his little junior jungle advisor for the label as it was considering signing a few artists. He asked me who to sign and I recommended Dillinja, Roni Size and Tom & Jerry, he ended up getting 2 out of those 3, so not too bad!

As I started making tunes, Gilles cut and eventually pressed a remix I did of one of my dad’s tunes “Still A Friend of Mine” as a Talkin’ Loud promo, which is now going for a pretty mental amount on Discogs whenever it comes up for sale.

I later signed a deal with Talkin’ Loud as a solo artist in the late ’90s. It was an amazing label, so diverse, jazz, brazilian, hip hop, house, experimental music, it opened my eyes to a lot of styles and sounds which led me to branch out a bit from jungle into different styles.

Can you give us a handful of titles from that era you still hold important today?

Oh man, so many tunes, so many genres!

Here are a few that were big in the Monday night Bar Rumba days of the ’90s.

Nu Yorican Soul – The Nervous Track
Bel Air Project – Dark Jazzor
Incognito – Fearless
Reprazent – Brown Paper Bag
Carl Craig – Bug In The Bassbin
Theo Parrish – Music
Moodymann – Misled
The Pharcyde – Runnin’
4 Hero – Loveless
Raw Deal – Headless Horseman
Jazzanova – Caravelle
Spacek – Eve
MAW – Moonshine
Vikter Duplaix – Manhood

Too many good tunes back then man…

“Atmospheric Funk” by Wax Doctor too, that was a big crossover track between the jungle and the jazz/dance worlds… I remember Gilles, Earl Zinger and I went to Speed at the Mars Bar club when they first moved there and as we walked in Fabio was playing that on dubplate. I turned to Gilles and said, “whatever the fuck that is, you gotta get it for Talkin’ Loud man”. He smiled, marched up to Fabio and asked what it was, came back and said “Atmospheric Funk” by Wax Doctor…

A few weeks later a bike courier turned up at my house, out of the blue, with a Talkin’ Loud record bag stuffed with all the latest promos from the label and in there was a promo of that tune, with a big Talkin’ Loud Logo on it! Great times man.

“Atmospheric Funk” is one of my all-time favourites, Wax Doctor certainly knew how to ride out a sample. Got any other Speed stories?

No particular stories, but every visit was a huge inspiration and I heard so many future classics there every time I went… Bukem and Fabio were incredible DJ’s & those sessions were unforgettable, a mad mixture of people there as well, celebs, producers everywhere, nodding away! I did a mix recently just made up of tunes from and inspired by those nights at ‘The Mars Bar’.

What was it like being around Gilles when all this was going on?

It was a brilliant education, I’d tag along with him whenever I could to Bar Rumba or Blue note, Kiss FM then later BBC Radio 1 when he started there, he’d play groundbreaking music in every style and genre, every week seemed like a revolution. Gilles schooled me on so much stuff and opened mine and many other artists eyes to a larger musical world than the ones we came from.

Some of the more experimental drum and bass producers walked away from the scene to produce other styles of music, helping to form the Broken Beat movement. This was the perfect outlet for people into the more forward-thinking side of jungle and ignited my love for music again. What were those early days like?

Brilliant days man, there was a vibe in the air and a feeling that I hadn’t felt since ’94, real groundbreaking original rhythms and sounds were being put together in a whole new way. The West London boys, Bugz, IG, 4hero, the European guys too like Jazzanova, Peter Kruder etc. It was just a great time for experimentation and breaking rules and knocking barriers down. Monday nights at Bar Rumba in those late ’90s was life!

With regards to the drum and bass scene after the mid 2000s, I think it became music based far more on technique and formula than ideas and feel, it has lost something that I think people are yearning for and starting to bring back, at it’s best, it should be a balance between tech wizardry and rule-breaking, bring back those breaks and samples sometimes too!

Your Viper Squad release on Far Out was a landmark release for the scene, what did you use to produce these tracks and what was your vision when working on them?

No real set vision, just trying new things and starting to combine all the influences into an original style. That music was drum and bass, house, jazz and hip hop all coming together to form something new. It was probably the last music that I made on hardware samplers, specifically the EMU samplers of the time which were absolute beasts, with hardware EFX machines, big desks and early versions of Logic Audio on an Apple Mac, expensive gear at the time! People don’t know how easy they have it these days, with infinite FX plugins and recording time/channels etc. It’s a far cry from the Atari ST & Akai S1000 I started on!

So, let’s move on to your debut solo album “Macumba Quebrada”. What can you tell us about its vision and production?

Again, it’s just distilling all my influences into a form and trying to make a unique almost unclassifiable album, it has a bit of everything from my musical life in it but doesn’t fit in a box… One of the main things on this record is rhythm, I wanted it to have a real heavy, almost primal use of rhythms.

There’s a heavy Brazilian, percussive influence, as well as elements of Detroit techno, Chicago house and of course a lil’ London hardcore/jungle dust in there somewhere too.

The music was done on my laptop in between my bedroom in Dalston, my girlfriend’s house in Brazil & a little studio set up at my uncle’s house in sunny Scotland.


You’ve produced albums for some of the most iconic jazz and latin artists like Azymuth, Marcos Valle, Terry Callier, Incognito, Ivan ‘Mamao’ Conti and Sabrina Malheiros. To be honest, that’s quite a mindblowing list! How did you go about approaching producing your own LP? Is the process similar or completely different?

Every artist and every project is different, there are no rules. I finished my electronic-based album completely on a laptop, with samples, software synths and plugins just after I recorded Marcos Valle’s latest album “Sempre” in a more traditional vintage studio in Rio, with live horns, drums, percussion, a lot of analogue gear and real instruments. I really enjoy doing different things in different ways, I’d get bored doing the same music the same way all the time.

I have a friend who done some work experience for Far Out years ago and he commented on how friendly the team were, especially Joe. Is it a similar community vibe you experienced in the 90s?

Yeah, I mean it’s a different world now, music biz wise. But we are trying to do our thing and spread good music as much as we can! Not many labels are doing what Far Out are doing, electronic music, foreign music, big productions with incredible musicians playing real instruments too, it’s important that there’s still labels trying to push boundaries and put out quality music.

The album covers everything from deep house, broken vibes and even a little uptempo drum and bass track yet is still really cohesive. How have you achieved this and what do you think the reaction will be?

Thanks, cohesiveness is key, especially when there are such varying tempos and sounds. As far as what reaction it will get, I have no idea. I just do music how I feel I should at the time. If people like it great, if not that’s cool too. I’ve had a few emails from some artists whose work I love, who have reached out to me to say they got the promo and how much they like it, that is always inspiring and reassuring, to get the thumbs up from your peers.

Your dual residence between Rio de Janeiro and East London really shines through in your music. How do you think this has influenced your sound?

It’s all in there man, definitely… Like the jungle influence and the hip hop that I grew up on its just part of what I am and what I do now, consciously or subconsciously. Working with Azymuth and people like that you can’t help but learn, expand your horizons and musical arsenal, I hope it comes through in the music.

You’ve been making and producing music for a very long time, now with your debut album under your belt where do you go from here?

Who knows! Gonna keep making all sorts of music hopefully, just finished a heavy jazz-funk album in Brazil for Far Out Recordings and already got about 30 tunes for a follow up solo album… Hope to head back out there and record another LP with Marcos Valle next year.

Actually, in between projects this last couple of months, I’ve been sat in my bedroom in Dalston, carving up old classic breaks and returning to the jungle that I started with. That has been really fun and I think some of it will be making it’s way out too, bringing it all full circle!

Finally, both Talkin’ Loud and Far Out have put out some great drum and bass tracks/remixes. Got any recommendations for people who may not have checked the labels?

Of course, the Reprazent and 4hero albums on Talkin’ Loud are now considered classics of the genre. There were some great remixes on that label, the Nicolette remixes by Dillinja “No Government”’ and Krust “Beautiful Day” are personal favs & 4hero’s remix of Courtney Pine’s “I’ve Known Rivers” was a big one, Andy C, Rider, Optical, Peshay and many others did great remixes for the label as well… Too many to remember!

Far Out put out a “Misturada” compilation back in the day that was all Drum and Bass remixes of Azymuth tracks that were dope too. Both labels have vast catalogues of incredible music that anyone who loves music should investigate.

Link: Bandcamp