mandag den 9. september 2013

Samuel Madsen - NWS Cast #30

After Jane Fitz' superb mix we are now ready with number thirty. This one is made by Samuel Madsen. His record collection is great, his mix is cool and he is such a nice guy. Can't be better!! Listen to the mix here.Enjoy...

onsdag den 15. maj 2013

Jane Fitz - NWS Cast #29

Click right >> HERE << to listen to Jane's mix!

You don't have to be a nerd or particulaly lucky or anything of that nature to have come across the name Jane Fitz in your clubbing escapades. She has played and are still playing all around the most respected venues and for a simple reason. Let me bring it to you like this: There are DJ's who should have found another way in life and there are DJ's who should have stuck with producing records. There are DJ's who are good - even great - within their narrow subgenre of dance music and DJ's who will make a musical mess with two decks. BUT finally there are also those DJ's you meet that live up to their name, DJ's who make an impact on you and can take you places with their mixes. Jane Fitz is of the last rare breed.

Jane Fitz lives in Hackney in east London. Like most people in Hackney you'll probably see her in the park, the local pub or at the market on her day off, but unlike most people her day off is Monday due to a busy schedule playing in various clubs around the world most weekends. And moreover, unlike most of the people you'll meet Jane has been lost in music since the age of 8 when she would zone out on the floor with Herb Alpert and Stevie Wonder in her fathers headphones.

She is currently promoting the Night Moves parties with her friend Jade Seatle in London. She's played alongside countless DJ's like Brothers' Vibe, Brawther, Hakim Murphy to count a few. She runs her weekly radioshow DirtySounds Sessions. Radio has in fact been a major part of her life since she as a 10 year old tuned in to pirate radio stations, up until she began mixing on various radio shows. I could go on and on speaking about her life, but I prefer to let her do the talking.

NWS: Tell us a bit about how life is in Hackney.
Jane: Yes, I live in east London, and have done for most of my life. The parks are lovely, lots of friends are nearby, the food and pubs are brilliant, and I'm 15 minutes from my parents. Over the past three years or so, where I live can be very busy at weekends, and I sometimes wish everyone would leave because it's really not that hip and also it's really driven the prices up - £4 for a pint of frankly rubbish Guinness in my local pub. Not on. Apart from that I have very little to complain about, either in my local life. Oh, except the queue at the post office, which is always way too long. 

NWS: What's the difference to you between recording a podcast and playing live? 
Jane: I guess the main difference between recording a podcast and playing live is that I've never worn my pyjamas while playing live. Also I take out somewhere between 60-80 records when I play out, so I have to make the best of what I've packed. While recording at home, I can pull out anything as I feel like it. To be honest though, when I make a mix at home it's usually from what happens to be on the floor that day – so new bits I've bought, promos or something I've pulled off the shelves during the week. The sound tends to be a bit different I guess – I probably thump it out a bit more and try and stir up a bit more energy when I'm playing out; unless I'm doing a warm up set, or the early morning slot (both of which are my favourites if given a choice). You don't have those kind of restrictions or responsibilities when you're at home, so it's more solitary and probably less pressured and more thoughtful because of that.

NWS: I have yet to hear you DJ live and am looking forward to the day. 
Jane: You've probably never heard me live because I think i'm still pretty under the radar so I tend to only get booked to play at more underground nights, or by more switched-on promoters. I haven't released any records – which is the only way to make a name for yourself these days – and the stubborn teenager inside me says I shouldn't have to. I have a radio show on an internet radio station on a Monday night, and a couple of thousand followers on soundcloud. I co-run a small party with no advertising in London. And my music isn't exactly populist either. I just do my thing in my own way at my own pace. I would hope that means what I do retains some integrity. If I can share the music that I love with more people, via channels such as your lovely podcast, and that in turn makes a few more people happy and into it, then that's pretty cool for me. I hope you can hear me out because I put a lot of work into packing my record bag and I really try to play weird and wonderful records you don't know, because if I'm on a dancefloor, that's the sort of things I would want to hear. 

NWS: I know you DJ'd since the 90's. Can you tell us about your beginning? The feeling of London scene at that time, the parties and the vibe? Educate us a little please.
Jane: I started playing records to people when I was maybe 13 or something, at friend's birthday parties. Mainly because, while most of the other girls in my class were spunking their pocket money on My Little Pony stickers, I was buying Duran Duran and Yazoo records. By the mid-late 80s I was buying a record a week and that would have been some kind of electro or soul, things like the Streetsounds Electro compilations, or records by Cameo, The Cool Notes, Timex Social Club, even some early UK acid house such as Jolly Roger's Acid Man... things I'd heard played on the pirate radio station Solar, or Radio London, or at this night I used to go to at the back of a pub in Dagenham every Monday when I was 15. By the time I played at any sort of proper party or club or pub, I guess that would have been the beginning of the 90s, I played things like Gil Scott Heron's It's Your World, Masters At Work's I Can't Get No Sleep, KRS-One's Sound Of Da Police, Tranquility Bass' Cantamilla. The feeling of London at the time? I was a student then, I used to go to things like Talkin' Loud in Brixton, or Dingwalls in Camden or The Iceni in Mayfair – I was a proper little jazz and rare groove fiend. That was a really strong scene then, we could go out to something probably every week and it wasn't dressy or hip or even that druggy, it was totally about the music. There were lots of little nights in pubs or basements locally too, things in Ilford and East Ham as well as going into Central London. And I was really discovering record shops properly – Soul Jazz had a big effect on me and my music buying, as did Rhythm and Bass in Barking. I've still got loads of flyers from those times because that was a really special time for me.
I sort of stopped being into house music around 1990 when rave and hardcore got really big. I don't think I bought a house record again until about 1995, it was probably The Horn Song or The Bomb or something like that. I didn't really get into house properly though until I moved to Hong Kong in 1996 and I started going out there. I went to New York on holiday for the first time in early 1998 – I went into a record shop and they were playing Francois K's mix of Cesaria Evora, and someone in the shop told me about Body and Soul, so I went and it totally blew my head off. I was in London after that for about a month, to have my wisdom teeth out – and I discovered Fridays R Firin. I thought that was amazing – Kenny Hawkes and Harri playing in this little basement on Oxford Street every week. I came back to HK all fired up, with a big bag of records and taught myself how to mix on my flatmate's turntables. I think I played my first house gig within about a month, at this brilliant party called Robot. That was it, I've played mainly house ever since.

NWS: So you've been playing records since the age of 13. Where would you say your "musical education" began?
Jane: My musical education started at home – via my mum and older brother. My mum used to love Stevie Wonder and Freda Payne and Herb Alpert. And my brother loved everything – one week he'd bring home a Chic album, the next week Styx, the next week, David Bowie, the next week Third World. I used to make tapes out of his records when I was really young, like 7 or 8 years old, of all those different things. I didn't know about styles then, I just loved certain songs. Then I discovered pirate radio when I was 10 and used to tape loads of stuff from there. And also Greg Edwards on Capital Radio. I guess those three things – mum, my brother's records and the radio, from a really young age – shaped what I play right now. Certain records – Earth Wind & Fire's Fantasy, Rotation by Herb Alpert and Another Star by Stevie Wonder – are probably the first records I remember really taking me off to somewhere magical in my head, and when I hear those records now I'm 8 years old again with my dad's headphones on laying on the floor zoning out. It's a feeling I still get from records now, so my history and music education is never far away really. Or maybe I've just not developed a lot since I was 8.

NWS: Can't help imagining the 8 year old Jane on the floor deep into the music. Let me ask you about your current radioshow "DirtySounds Sessions" which has been running now for quite some time. What is that about and how can we tune in?
Jane: The show has been running on an internet station called every Monday between 10-midnight UK time, pretty much since the station started, so that's going to be eight years in November. The MHYH people have always been really supportive and given me the freedom to play exactly what I want – so sometimes I might do a soul show, or an old electro show or something. The name actually dates back to 1999, when I made one of my first ever mixtapes – called Dirty Sounds For Late Nights. A year later I started doing a radio show on Groovetech, which was one of the first internet radio stations, a really great professional set up, and I called it DirtySounds Sessions after that tape. A few years later the word 'dirty' started to be used by lots of trashy 'dirty funky sexy electro house' nights and it made me really hate the name. It has, for me, genuinely become a dirty word. But I've been using it for so long it feels wrong to change it. I started putting the archives up on Soundcloud about four years ago, when Soundcloud was still quite unknown, because not everyone could tune in late on a Monday night. And people just started discovering it and reposting links to the shows. Until just recently you could only post so many archives on Soundcloud so i've had to delete the mixes - but I've actually got 90 per cent of my shows recorded. I've had some really good guest mixes on too – they aren't a focus but if I hear a DJ I really like I want to showcase them. It started with just friends dropping in but now I ask more people to record mixes – because I think hearing me every week can get a bit boring. I'm just beginning to get these up as archives now too because there are so many good ones. I used to talk on the shows, but I stopped when I started posting the archives because I thought it got in the way of the music. Maybe I will again but I'd rather the music did the talking than me. I talk a load of old shit, my records are far more interesting.

NWS: What keeps you busy these days and what's in store for the future?
Jane: I'm on an enforced break from my day job at the moment – so my days are spent writing a book on the history of pirate radio, which i've been researching for about three years. I'm also in the studio with my friend Dom trying to make weird records that we both like, which I hope will finally see the light of day this year (something I say every year!). Or I'm travelling for gigs. And then the rest of my time is taken searching for records and buying records and playing records. And also filing records away, especially after the weekend, it never seems to end. I wish that was an exaggeration but anyone who knows me will be able to confirm this shameful geeky truth. I also spend rather a lot of time packaging up records I've sold on Discogs and standing in the queue at the post office, hence my earlier comment. 

NWS: NWS Cast is all about vinyl, but maybe you can tell us why you buy records? (and where) ?
Jane: Why I buy my records has a simple answer – because I like them and because I really love buying records. That's it. I am constantly getting obsessions about things and then I have a need to own them. Where is a very complicated answer because I buy from so many places. I actually buy a lot from the internet because I always have. When I lived in Hong Kong, my flat mate used to order records from Juno, so I started to. That was when it was called the Dance Music Resource Pages and there were no sound clips. I did that all the time I was in HK so when I came back to London in 1999 I continued because I was in the habit. No one in the UK used Juno then so it was a great place to buy new things no one else had – which has always been a motivation. I started buying off Vinyl Underground then too. My favourite record shops in London closed down a long time ago, so I lost the habit of going – although I do try and pop in and support and buy things if I'm near and I still like to scour the secondhand shops. I was a massive basement 50p record digger in the early 00s – until I worked at the Music and Video Exchange in 2003-4 and realised that most of the staff considered anyone who bought from the bargain basements to be cheap scum. Sad but true. So now I do my 50p record buying on discogs where no one can judge me. And it's cleaner. I hear of all these younger DJs spending £60 on old Prescription records and it makes me laugh that most of my records today rarely cost me more than two or three quid, sometimes a lot less. I pity people spending that much money on records that ten years ago no one would touch – at the Music and Video Exchange in 2003 I used to regularly mark down old Boo Williams records to 50p and now they're going for £30. I think it's ridiculous – and being a cheapskate, necessity drives me to unearth new things. I say that, but I'll still regularly spend £150 in a week on brand new records as well. Oh and I've recently started buying records off bandcamp – direct from the artist, sometimes on really small runs. That's probably my current obsession – and again, just to find newer and weirder and different things.

You can catch Jane at one of her upcoming gigs or if you are lucky at the Victoria Park pavilion in Hackney having her veggie breakfast. :)

Enjoy the mix!

torsdag den 21. marts 2013

NWS Cast #028 - Asmus Odsat (BULK, DK)


NWS Cast is now two and a half years old and still we are proud to present great mixtapes for you! With alot of mixtapes flourishing around, we are proud to present not only vinyl mixtapes from established and well known DJ's but also from the talent that we find in our own backyard. 
We like to present them to you because these guys are simply great DJ's - they know their records, they have the skills and most of all, they are extremely nice people.

Asmus Odsat is a perfect example of this. A ph.d. student of nano science and co-running the succesfull techno club Bulk in Copenhagen, Asmus likes to break down barriers and build bridges. Most copenhageners will know Asmus for his powerful techno set's and Culture Box, but recently he has been shaking things up with old school house records. One year ago if not more we asked our friend Asmus Odsat to make a mix for us. Every once in a while we would receive a mail from him saying that he was now a little closer to finish the mix. And now after all that tension we finally get the drop - the drop of a mindblowing mixtape.

We asked Asmus a few questions about his club in Copenhagen and about the difference between vinyl DJ's and digital DJ's.

NWS: You are a longtime friend of NWS. Can you tell a little about yourself to people who might not know you?

A: Hi, my name is Asmus (not Rasmus), I'm a 28 year old music aficionado running the BULK nights with Mads Rehl. In the weekdays I'm doing a Ph.D in quantum chemistry & molecular dynamics. I like long walks at the beach and romantic candlelight suppers...

NWS: You've been struggling a bit with completing this mix. What's been your thoughts and difficulties with it?

A: Hah, "struggling a bit" is an understatement. I dunno what happened, I made the first half a year ago, then spent a lot of time deciding on the second half. Finally ended up discarding it, and recording a new second half a few weeks ago.
I always try to make something "special", which often ends up meaning "too much", instead of just recording a proper mix. -And then I get annoyed with myself :)
Knowing your limits and exercising self-restraint are not my strongest sides apparently. But it's something I really appreciate in the more accomplished DJs. -As long as it doesn't get too boring ;)  

NWS: Your crew BULK is doing some of the finest Techno parties in Denmark. Why did you start BULK and where do you want to take it?

A: Thanks, we try our best! Check out :) Shameless plug!
Anyways, we've been consumers of techno and house events for so long that we felt like giving something back to the scene. It might sound cheesy, but I think our love for the music is so large that it's always been really hard not to preach it to the yet uninitiated. - Ask my non-techno-friends, they'll tell you… ;)
So, for me, BULK is very much about trying to get more "new" people to appreciate the music and way of going out, without compromising the music. I think there's plenty of room in the underground!

NWS: It seems that Copenhagen, but also Aarhus (the second biggest city in Denmark), are now flourishing with new crews doing parties more freely and disconnected from one single venue. Just a few years ago promoters and DJ's where more connected to a single venue. What do you think about this transition and it's ups and downs?

A: Copenhageners really like novelty, so I can understand the compulsion to try new locations every other week. For me, the person behind the decks is more important than where the decks are located, as long as the sound system is decent.
There's always been crews coming and going, but I agree that there's a lot of really good colleagues out there right now that share our dedication: Vektor, Bunkerbauer, C.U.P., etc. - Which is also why we want to work at making more people from "the outside" to discover the wonders of proper electronic music on its own premises.

NWS: You've played a lot at Culture Box and have an upcoming gig there with C.U.P.. How do you like the venue?

A: Culture Box has really meant a lot to me, and formed me quite a lot as a person. I started working there as a bar-back a year or so after they opened, and continued to do so for 3 or 4 years if I remember correctly. Culture Box is home.
I'm looking forward to playing in the new basement, haven't tried that before, but even more so, I'm looking forward to playing with the awesome C.U.P.-crew, and dusting off the house records for a change!

NWS: Your mix contains some really deep tunes and also some pretty banging old skool joints. The old skool sound has had a revival during the past 2-3 years. Where do you see dance music going in the future?

A: To space!

NWS: What's your opinion on DJ'ing digital formats compared to vinyl?


A: Heh. I started DJ'ing using Traktor, but it just… Felt wrong. I had no respect for the tracks I was playing, everything could be looped and fucked up using the (terrible) effects. I guess digital can work for some (really genius) artists like Surgeon, but he's not DJ'ing, he's doing… Something else. Something amazing, but it's not a DJ set. It's great that the technology enabling geniuses like Surgeon to do their things, but it's really sad that the same technology can be abused so terribly. - Like with all technology! ;) And the majority of my great DJ experiences has been from people playing vinyl. Physicality, focus on selection, skill, respect for the music you're playing: It all grows out of that sweet, black wax. 

lørdag den 2. februar 2013

NWS Cast #027 - Richard Zepezauer (Nsyde, Diamonds & Pearls)

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You don't have to have released numerous EP's and get the best reviews to actually be one of the more sought after and respected DJ's. Playing at the finest clubs of Berlin, where he resides, Richard Zepezauer has earned a great amount of respect from all members of this scene we call house and techno... But that is not all! In fact, Richard is quite a connoisseur when it comes to both classical and jazz music. He knows his music history and knows what very few DJ's know, which is to actually play those records in DJ'sets.

It was a strange feeling when I received this mix from Richard. I was completely astounded by the journey I was led on, I honestly had no clue where he would take me next, but I felt that it was somewhere new, amazing and unexplored. It's been running on repeat since and I can't stress this enough... This is one of those mixes that you will probably treasure for a long time.

Richard Zepezauer is working at Diamonds & Pearls distribution in Berlin, he is running Nsyde Music and he's producing and re-interpreting music on the side. I had a talk with Richard about his music aesthetics, experiences and ideals.

NWS: How is life treating you lately?

RZ: going up and down again, just like it should. 

NWS: You have played many of the respectable venues of Berlin including the renowned Panorama Bar. Is their some point in your carrier you feel as a turningpoint and why?

RZ: the real turning point was my decision a decade ago to change from my archeology digging to my much bigger obsession music. i cant  say there was a turning point after that change. maybe i can point out my work for the berlin label scape.  which was an inspirational time, and it sharpend my view on certain things in music life. 

NWS: You are working for the vinyl distribution Diamonds & Pearls (DnP) in Berlin - a distribution that is growing fast and is known for distributing quality electronic music - where you obviously must be listening to alot of other producers' new material. Do you get inspiration from your work to perform as a DJ?

RZ: I was always a passioned record digger, and i tried not to miss any music which was worth owning and playing. It had always been a lot of work to go through all monthly releases to find the few music pearls. nowadays it takes even more time due to still rising numbers of monthly releases. In the end its more the other way around, that my DJ and Record digging experience helps me for my work for DNP. But of course its not the worst to be surrounded by so much new good music.

NWS: I know that lately you are producing tracks with your friend Daso but that you also have taken on a major project reinterpreting some classical compositions. Can you reveal more about that?

RZ: These are two fields of interest im happy to be able to follow at the moment. Indeed im in the studio together with my friend Daso and we are  experimenting with ideas for new tracks. We have a lot of fun and its very interesting as we both  sometimes see certain things from very differrent angles.  Seems to be a fruitful konstellation for our music. 
    I just finished a project for the Berlin "Akademie der Künste" where i was asked to be part of a reinterpretation of the classical opera "Das Rheingold" of the controversal composer Richard Wagner for his 200 years anniversary. It was a great experience to work with a classical ensemble and experimenting as a DJ with classical material.  I was working with 3 turntables, a digital delay and a roland drummachine for that. it was highly inspirational i can already say that. 

NWS: We recently met in the DnP office where you spoke to me about your recent gig at the Panorama Bar with a great amount of eager and brightness in your eyes. It must have meant something special to you?

RZ: I had a wonderful time playing at the Panorama Bar due to the fact that i had the pleasure to play at my favorite musical time between 8am-11am on a sunday morning. for me its a very special time because the hearts and ears of the people start to open up for a broader range of emotions in music. Im happy that this moment was recorded by the Panorama Bar. I had biggest fun.  

NWS: Your contribution to the NWS Cast series is litterally outstanding.

I don't think we've had anything quite like it in our series before.

It seems as if genres is indifferent to you here? Did you have some

kind of aesthetic vision?

RZ: I recorded this set after coming back from playing another Sun Ra special evening with Mike Huckaby in Hamburg. It was a lovely night and the people didnt want Mike and me to stop playing our Jazz from outta Space. back at home i was in still that mood and i simply played "space". 
Those Sun Ra nights are always a big pleasure for mike and me as we truely believe in the outstanding highly influential work of this genius. 

NWS: Why do you play vinyl?

RZ: Im not dogmatic, but personally i need a spiritual AND a physical relationship with my beloved object of lust - in this case its vinyl.  

 NO TRACKLIST... start digging!

mandag den 7. januar 2013

NWS Cast #026 by none other than Mads Bjerregaard

Listen to the mix HERE
I have the pleasure to present to you one of the most loved and respected DJ's from the Danish underground scene. Mads Bjerregaard might not be know outside the boarders of Denmark, he is neither producing nor a guy who likes to promote himself. Actually when Mads promotes it seems to always be for friends parties and parties with his crew BunkerBauer. He basically needs no promotion in Copenhagen. People know! - and if they don't they will!

During the past one or two years a more raw sound has entered the Copenhagen scene influenced by - among others - the current New York underground scene i.e. Amir Alexander, Hakim Murphy and DJ Spider who all previously has been presented here on NWS Cast. But also the techno milieu of Copenhagen which is growing popular because of work by Culture Box, BunkerBauer, BULK and others is cementing the turf underneath Mads' feet. It would be easy to say that Mads stands on the boarderline between house and techno, but actually I'd rather obstain from trying to narrowing him and his visions. Instead I will just say that Mads Bjerregaard's got soul!

I had a chat with Mads about Copenhagen and the exceptional work his crew BunkerBauer does for the Copenhagen scene.

NWS: To the people following from outside Denmark, can you tell us about Mads Bjerregaard?

MADS: Haha. Hmm.. Danish guy who loves house, techno and vinyls. and dancing as well.

NWS: You are one of many "new" DJ's emerging from the Danish underground, and in your case Copenhagen. Your crew from Bunkerbauer is doing some inspiring work for many electronic music lovers in Copenhagen. Can you tell us a little about the work you do?

MADS: BunkerBauer is a little community for electronic music - mainly deeper house and techno. The overall purpose of BunkerBauer is to support the Copenhagen electronic society in any ways possible. Physically are we located in a old bunker from World War 2. First of all the bunker is a studio where people produce music. For example we have Lasse Buhl from Northern Structures producing down there. But we also use the bunker for parties every now and then. Mostly afterparties which the space, in my opinion, is perfect for. We are also having parties in other locations when we find spaces that suits the music. So far we've had a some success in all of the before mentioned things i think.

NWS: Can you tell us more about the electronic society that you like to support? How is the situation in Denmark at the moment and is there something you hope to see changed?

MADS: The way i see the society in copenhangen is that there is a whole lot of talent. Producers like Northern Structures, Undr P, Pattern Repeat, 2400 operator and yourself (Samuel Andre Madsen) are making very interesting stuff that also echoes away from Denmark. There is also great parties and bookings but it seems that the great parties often evolve when there is a big foreign booking. That is a shame because there are djs living in Copenhagen who are just as good. Then there is an issue surrounding Culture Box. It is the biggest club in copenhagen for this kind of music but they have what I would call a monopoly because they got the money for the big bookings. Culture Box is a great place but I would to see some of the money put into Culture Box going somewhere else. (...) All in all we have a great scene here compared to many other places but there is still plenty of room for development and raising new talents.

NWS: I agree on the wish for one more club or regular place to go for more great electronic music and there's definately room for it. What do you think it would take to realize this? Is it merely a question of capital?

MADS: I think the club owners and investers are having are hard time right now, and it is therefore hard for people to raise money to do something out of the ordinary. That's a problem in whole cultural environment. Then there is only the state to turn to. And their money is going to other places right now. So i think that the problem right now is mainly raising capital. The ideas and talents are here.

NWS: Speaking of talent your style is known by many as playing house music that has techno complexes vice versa. What are you looking for in a record? What's an ideal record to you?

MADS: The main thing is originality. Its hard for me precisely to point out what it is that turns me on in a record. But my favourite records are often those who open new doors for me genre-wise. For example the whole Restoration and Analogue Cops thing opened a new world to me in how you could make sounds... But i don't know... it is a hard question for me.The easy answer would be to say that the ideal record is Black Celebration by Depeche Mode. Hahaha!

NWS: Are you a Depeche Mode fan?

MADS: Of course who isn't?

NWS: Touché.

MADS: My girlfriend just bought tickets for their show in Copenhagen this summer. Christmas present. Can't wait!

NWS: You're a lucky man!
Everytime I've seen you play you've been bringing your heavy crate of vinyls. Why are you playing vinyl and not digital formats?

MADS:  When i first started playing i used cd's, but once i tried vinyl it was love at first sight. First of all, i think that the warm deep sound of vinyls brings something special to a crowd. Maybe it just me. Secondly, i like the physical feeling of sound on a vinyl. It just speaks to me. Thirdly, vinyl-sets from other DJs is always the ones that gets me highest. So i dont see any reason why not to do it. I know you agree on this Sam... :)

NWS: Woooord
 Anything you like to tell people before they listen?

MADS: Naa, i am just happy if people would take their time to give it a bit attention. And thanks to you for making me do this.
1. Dust and Memories – Dakini9, Plan B Recordings
2. Income Tax Refund Dance – Omar S, FXHE Records
3. Philotes – Third Side, Restoration
4. Nortwest Cave, Samuel Andre Madsen, Nsyde Music
5. Housing Project - Marquis Hawkes, Dixon Avenue Basement Jams
6. Work In – Hakim Murphy, Plan B Recordings
7. The Black Rain - Amir Alexander, Argot Music
8. All For Lisa – Mr. K Alexi Shelby, Syncrophone
9. Colums- Omar S, FXHE Records
10. Family Affair – Big Strick, 7 days entertainment
11. New Stuff (Lerosa Remix) – Cristopher Rau, Never Learnt
12. Drum Trax – Chris Mitchell, Proper Trax
13. The Parkhurst – Terrence Dixon, Thema
14. Sandcastle (The Culture Box re-edit) – Mike Huckaby, Synth
15. 24 – Conforce, Clone Basement Series
16. Pulze - Mr. G, Warm Sounds
17. Wind – Innerspace Halflife, MOS Deep
18. Rise of The Machines – Jitterbug, Uzuri
19. Syncronism – Steve Tang, Emphasis Recordings
20. There is a Time – Glenn Underground, Peacefrog
21. SPN---RMX, Dowhatyoulike (Beatdown Beats), SPNRMX
22. Dont You Want My Love – Debbie Jacobs, MCA Records