Kniteforce Radio Coming Soon…

Yes, we are doing a radio station. And here is a little sound clip thing I did for it:

And now I will attempt to answer your questions before you ask them:

“Why are you doing a radio station?”

Because I think it will be fun. It is something I have never done before, and there are remarkably few of those things left in the music industry. But also because we have so much good music coming out, and such a variety of artists on the labels…I think we can do something pretty unique. So I figure, lets give it a go!

“When will it go live?”

Soon. I can’t say when exactly, but we are integrating it into the current website and the current website is likely to need a few tweaks before we can get it all sorted. However, I have a new web designer who will be adding the radio station and the chat room, and fixing any issues that need to be fixed. But my guess? Maybe a month or two. I will keep you all updated!

“What will be the music policy?”

It will be like the labels in that the basic philosophy will be “Is it good? Then fine” lol. I hope to bring a really wide variety of music. Even just with the Kniteforce and KFA artists combined we can easily cover everything from trance and breaks and old skool hardcore and jungle through to the new old skool, modern hardcore, d’n’b, gabber and the rest. And just like with the labels, I will be giving the artists free range to do their thing how they see fit.

“Will you have other, non Kniteforce / KFA people playing?”

Yes. I am sure there will be a few spots open BUT right now we are still just sorting out who plays when etc etc so what is likely to happen is we will go live with only the KF artists and then add others. Once that is running smoothly, I will ask for demos to be sent in from Djs who would like a spot. Other than that, there are some very good Djs who I know of who will be approached directly by me as well.

“Will I be able to stream it through other apps etc?”

Yes.

🙂

Nice one,

Luna-C

 

4

The Relaunch Of Knitebreed Records

Mythical Interviewer Billy Bob-Bobblob:

“So I heard Knitebreed is going to relaunch, and I have some questions. Lets jump right in shall we? The first and most obvious one is, why are you relaunching Knitebreed Records?”

Dj Luna-C:

“Well, the thing is, since I relaunched Kniteforce Records and started releasing vinyl again, I have been inundated with some of the best old skool hardcore, jungle, darkside and d’n’b I have ever heard, and I simply cant fit it all onto Kniteforce Records – even with the Vinyl Is Better CDs. There is simply too much material that deserves to be on vinyl, and that I want to have on vinyl. So I need another label for it.”

Billy Bob-Bobblob:

“Yes, but why Knitebreed Records? Why not Remix Records or Malice or a new label altogether? Knitebreed had some good tracks on it, but it wasnt…how shall I put it…the greatest hardcore label ever?”

Dj Luna-C:

“Well, Remix Records is complicated. I started that with Jimmy J and I wouldn’t feel right about continuing to release music on that label without Jimmy’s involvement. On top of that, it is legally complex – the label was sold, and other artists released on it totally separately from myself and Jimmy, and then I think it was sold again, and I actually don’t even know who owns it at this point. And how would it work? Would I carry on from REC19? Or whatever catalogue number the other owners did? Either way is kind of confusing. Even if I did go though all of that, the whole thing would be a long drawn out mess that I don’t want to get into really. Malice was for gabber, so thats no use right now, although I don’t completely rule out restarting that for the odd old skool gabber release. And a new label is just…I could have I suppose? But why not continue and improve Knitebreed? It was not the greatest label of all time, true enough, but it was solid, it had some good releases, and now I can make it into something new and exciting, make it into what it always could have been!”

Billy Bob-Bobblob:

“So what is the plan? Is it just an overflow label? Like Kniteforce Two, Electric Boogaloo?”

Dj Luna-C:

“Its not Kniteforce Two. Or Electric Boogaloo. It will carve its own niche. If anything, it is more like Remix Records Reincarnated, but with a new hat to wear. This is why I have reworked the logo, and why I am using a similar distinctive black and white and one colour look. I want it to do the job Remix Records used to do back in the old days, only better. By that I mean, some of the music I have been sent sounds Remix Recordsy to me, and that is what is going on Knitebreed Records. Basically, it is for music thats a little more dance floor friendly, a little more obvious perhaps, but music that still has the innovation and intensity of a Kniteforce release. It is a little more fun, where Kniteforce is a little more experimental. It will also be able to do slower, more 1991 or 92 releases if I want. I feel like Kniteforce has such a legacy and so many releases of a certain speed and style….that I cant suddenly release say a 145bpm piano tune on that label. I mean, I could…but…It wouldn’t feel right. But Knitebreed? It never defined itself really, so its like wiping the slate clean and off we go…It can have both new artists and old, and be a little more flexible in style and speed. I dont know – I cant really explain how I know what will be Kniteforce and what will be Knitebreed, but I just know it when I hear .”

Billy Bob-Bobblob:

“Will it feature the same artists as Knitebreed used to have?”

Dj Luna-C:

“Nope. I mean, its possible you will see an Eko release at some point, but actually it is more likely to showcase original Remix Records artists – The Timespan has a release in progress, I am hoping to get a Dj Poosie and 2 Croozin’ on there in the future, and I am working with Dj Jedi on a project as Cru-l-t, which is sort of like a reworking of the Jimmy J & Cru-l-t partnership. As well as that, I have Ant To Be and Paul Bradley with releases ready to go, and others lined up with some amazing music. Its going to be wicked, I promise you.

Billy Bob-Bobblob:

“Is it a vinyl label? Whats the deal? How will it work?”

Dj Luna-C:

“Yes, its a vinyl label. And it will work in a very similar way to how Kniteforce Records works now, but with a few minor differences. Like KF, it will be 100% exclusively vinyl, and the music will never be released digitally. When you buy the vinyl, you will get a “Breed Sheet” with it (rather than an Idiot Sheet, they are not interchangeable) with links to downloadable content. The downloadable content will be the tracks you bought on vinyl, some bonus tunes by the artist, and also remastered Knitebreed releases from the back catalogue. And the Breed Sheet will also be collectable (get 10 and theres a prize!) There will be other stuff added as I think of it, I imagine 😉 I like to play and experiment with how things come out, as you know.

As with Kniteforce, the Breeds will be released in pairs, and will usually be released between Kniteforce vinyls. So for example, the first two Knitebreed Records releases are the next vinyls to come out, then KF70 and KF71 will arrive after that.”

Billy Bob-Bobblob:

“Will you be doing a pre-sale? And does this mean Kniteforce will be slower to release tracks?”

Dj Luna-C:

“Yes, but it will be a very short pre-sale. I am hoping to make all pre-sales going forward 1-2 weeks maximum, on both Kniteforce and Knitebreed releases. And this will not delay Kniteforce releases. Knitebreed will actually increase the amount of vinyl releases coming out.”

Billy Bob-Bobblob:

“When are the first two due for release?”

Dj Luna-C:

“At the end of the month actually. I have already received test presses and they sound fantastic. I expect the pre-sale will open the last week of May and the vinyl will arrive to be sent out the first week of June. And I have already cut KF70 and 71, and I am expecting those test presses in the next week or so, with the aim to release those at the end of June, early July…its going to be monthly-ish. Every 4-6 weeks or so, a new pair of vinyls!”

Billy Bob-Bobblob:

“So when can we hear soundclips?”

Dj Luna-C:

“Right now if you bought KF68 and KF69, the links on the idiot sheet will take you there. Otherwise, when the pre-sale starts…but in the meantime, you can enjoy the artwork…”

Billy Bob-Bobblob:

“Thank you for your time!”

Dj Luna-C:

“Word to the mamma-jamma!”

6

5 Things The New Old Skool Vinyl Scene Needs To Do

Hello! I haven’t done an “about the scene” blog post in a while, and with the new vinyl thing going on, I felt it might be worth saying a few words as a sort of pre-emptive strike against possible future danger. I have been around a long time. Im old! I have spent 25 years of my 44 in the business now. I have seen how things go wrong. And I am loving the excitement and all the hype surrounding the current crop of music…so I don’t want it all to go pear shaped over some stupid shit that could have been avoided. This is my attempt to stop problems before they happen. It probably won’t work. But I wrote it anyway! Huzzah. Okay, first up:

1. Don’t Try To Force A Name On It

As you can tell from the title of the post, the lack of a name for this new scene is sort of a problem. I am talking about music such as the new Kniteforce vinyl releases, what Dj Jedi is doing, the new Liquid album, the recent Billy Bunter & Sanxion album, the recent Xenophobia album and the 2 Bad Mice album and so many others too numerous to mention. All of it is…ummm…old skool hardcore? New old hardcore? I don’t know what to call it. Nor does anyone else. And that is actually okay. I have been around long enough to see various attempts at naming scenes cause all sorts of trouble. It never works, it just divides, restricts, and then ruins what everyone is doing. Who remembers 4 Beat? Exactly. Despite the good intentions, it was a stupid effort and everyone complained about it. What about Nu Skool Breaks? No! It’s Nu-Rave? Any of you remember that nonsense? I watched all sorts of stupid unfold as various people argued about the sodding name of a scene before it even had a chance to go anywhere. I would honestly say that crap was part of why it all imploded. It was tiresome. Take it from me, naming things is best left to the scene to do on its own, not record label owners or Djs or anyone else, and it will happen organically if a scene develops. Thats how it always works. No one got up one day and said “This music is called Jungle” and then everyone agreed to call it that from then on. It just happened.

Right now, what we are doing is not even a scene really – its more like a lot of people all facing the same direction and saying “Lets do this” – it is a beginning, a possibility. It is a very exciting thing – we can see an amazing future…and it will probably all go wrong. But if you want to absolutely guarantee it will all go wrong, call it something restrictive and stupid and then argue about what is and what isn’t part of it.

Now, if it were me, I would say the ideal name for what this…thing…we are doing is “Classic Hardcore” (like how you have Classic Rock to distinguish between Jimi Hendrix and…I don’t know, whatever is modern rock nowadays lol) or “Original Rave”. Except both of those name are shit. Whatever though, as long as it is something bland and it is able to cover a huge variety of music under one banner. This is important, because the relentless division and carving up of music, especially our music, has done it no good whatsoever.

And if there is one thing we can all agree on about old skool rave, it is that it had a huge amount of variety. That was the very essence of the original rave scene. It was wonderful. It encompassed breakbeats, 4×4, piano and vocal, dark, techno, jungle, d’n’b, 145-170bpm, everything. It was great. Lets not fuck that up by calling it “New Breakbeat Rave Music from the UK” or something equally shit and restrictive. Any name that restricts in any way pretty much dooms the whole thing.

2. Welcome All The Styles

This is kind of a continuation of point one, but it is very important so I want to emphasise it. What Kniteforce is doing is not the only way of doing it. I want KF to be a part of a whole, not a leader or a follower, neither dictating how to do it, or copying someone else. And I am actively making sure I don’t make the mistakes I have made before. Let me give you the Remix Records example: Jimmy and I started that label off with no formula, but RR was already more…restricted…than KF because RR was deliberately dance floor friendly. So the tracks hit immediately, and did well. When they did, we fine tuned the formula. It wasn’t consciously done, but it is what we did. Then the tracks did really well. So we kept doing it until we had that formula down! And everyone got bored shitless and it all went wrong. The end.

Lets not do that again. I am not going to do it with my label, and we need to not do it with the “Classic Hardcore” scene (Sorry. I have to call it something for this article, otherwise its impossible to write it lol). But look, the point is this. For a scene to develop, it needs growth. Growth needs to be sustained by variety. It needs it, because it has to draw more people in, so it has to appeal to more people, so it has to be interesting and varied to grow. And then, it needs to remain that way to sustain itself. This is imperative. Its not just me saying “I would prefer it is the scene had a lot of different styles in it” although anyone who knows me knows that that is true. This is a core element that needs to be not just accepted, but loved and desired by the people in the scene. Without it, nothing will come of it, that is certain. That doesn’t mean you cant prefer one element more than another. It just means, at a minimum, you cant dismiss or shit all over tracks that are good but not your taste, and ideally, you open your mind to those very tracks and gain an appreciation for the wide spectrum of sound being produced.

3. No Rip Offs And Less Remixes Of Old Tunes

Let me be clear – I am being a hypocrite. I have done more than one rip off. And I restarted KF with remixes of old tunes. Shit, I have new remixes coming out this week as I write this.

So let me explain what I mean. Firstly, the Rip Offs:

There is a distinct line between a clever sample and a rip off. What I am talking about here is the difference between using an old 80’s commercial vocal to make a new and unique track, and sampling “I Just Died In Your Arms Tonight” because that worked back in the day for a big gabber artist. I am also talking about not sampling Sweet Harmony or any of those old, big rave tunes and making a new version. Its shitty. It takes minimum effort and it relies on other peoples success and its been done again and again and again. At this point, even with the best intentions, its not clever and its not cool. I mean, if you can come up with a truly unique way to do it, then thats awesome. But…I don’t think you can. I am not sure if anyone can at this point. This new, emerging scene is absolutely based on the classics of old – but it will die as soon as everyone starts doing that shit. Because then, what is there to distinguish it from old skool anyway? Why would anyone bother to buy it? Or even be into it? Its just tired, and tired leads to rest, and rest to stagnation, and stagnation to rot and to death. Death by boring.

Okay. Now for Remixes Of Old Tunes:

Don’t do this. Don’t do loads of remixes of old skool tunes even if you own the rights to them. I am telling myself off here, as I am guilty as hell lol. And the only excuse I have is that I needed something to restart the label in a strong way. Okay. I did that. But the current remixes are the last in the series. After this, I will not be doing remixes of my old catalogue, and for the same reasons as above. Its old, tired, and resting on past glories. A scene cannot rely or rest on its past, it has to forge a new future.

I am not saying no remixes of anything. Just not of old things. I will certainly do remixes of the new batch of KF hardcore. If the track deserves it. And thats the key point – endless remixes are not a good thing, even of the new stuff. We need new music and new sounds if we are going to have a new scene.

4. Don’t Do It For Free

I would politely ask that everyone involved in this new scene, whether playing a set or releasing music digitally or hosting an event, charges real money for it. You don’t have to charge much money. And its okay to do the odd free thing here and there – that’s good promotion. But please, charge money for the work you are doing. This is very, very important.

Look at modern hardcore – there is almost zero money in it. A few of the biggest name Djs do okay with Dj work, but event promoters are struggling, Many Dj’s play for gas money only, and almost no one makes anything more than pocket money from music sales. This is because the music is worthless. I don’t mean that as a criticism of the music quality – some of it is excellent – What I mean is that so many people make it for free, and so much is freely downloadable, that the music has no value. And this is a huge problem because the whole scene is based on the music. If you want really good music, you need people who can do it as a full time job. Therefore it has to pay. Right now, there are a handful of people in that position with modern hardcore, and a handful isn’t enough. The result is less music altogether, less innovative music within that, and a scene which eats itself, losing artists almost as soon as it has them.

Lets not do that with this new scene. What we are doing is valuable. It should not be free. I assume it goes without saying that we also shouldn’t be ripping people off? Because thats another problem. But let me give you a concrete example of why we need to charge for things: I have been able to offer retired old skool hardcore artists a financial advance to make new music. And some have accepted. I can do that because I have sold the new KF vinyls at a fair price – one that gives the public value for money, but also pays the artist and the label a decent wage. So I have, for the first time in ages, a little bit of extra cash. This enables me to approach artists and say “I have money for you if you want to make some music”. This is essential. Many old skool artist would LOVE to make new music. And many are. But they also have jobs, wives, children, responsibilities – and you cant just drop that to make music that doesn’t pay. This is why I applauded Dj Hams audacious album concept even though some thought it was asking too much. And I am not just talking about old artists. You want new artists to be able to hang around? They have to be paid. So do the Djs, the event promoters, all of them. And people will pay for music, events etc. They are happy to – because they want the scene to thrive as well.

Lastly, and on a more general philosophic note: When you charge for things, you give those things value by default. When you give it away for free, you are devaluing it. We have all been given things for free that we don’t use or treat badly. When we pay for any item, it resonates with us – whether its a new car or toilet paper. Those items were wanted or needed. We had to work to get the money for them. It cost us, so they matter.

5. And Lastly…As Always….Support

This is linked to all of the above. I have talked about it before, but I don’t think I made it clear enough. Yes, you have to click links, leave comments on Soundcloud and Mixcloud and blogs, and you have to pay for music and to go to parties. But even more, you have to promote it. You have to tell other people about it. You have to buy the new albums, and then you have to tell your friends to buy them. You have to share the article or the event post, and then you have to go to the event and drag people along with you. You have to be excited, involved, and you need to be getting others excited and involved. More, you should want to. I know I do – but of course, that is part of my existence, being who I am and doing what I do. For my part, I am going to start sharing all the new music of this kind and advertising it where I can in my mailouts etc. Some of you will be reading this after being given a link via my Kniteforce mailing list. And you will have seen a link to the new Liquid album. I don’t know Liquid any better than you – I bought their old releases, and that is it. But the album is wicked. I have paid real money to buy it myself when I could have got it for free probably by asking for a promo and being all “we are in the music business together, give me free stuff” lol. It happens. But thats the whole point – No, I don’t get it for free, I buy the album. Because I have to support as well. I have to spend my money – money that I don’t have really. My money goes back into the label and is spent on Wilders diapers and food and other boring essentials. But if I want this scene to work…and I really, really do…then I have to play my part. I have to spend my money. I have to use what resources I have to promote these things. This is me, doing that. This is me, asking you to do that. And if you are reading this as an artists making this stuff – hit me up, I will help where I can!

Nice one,

Chris / Luna-C

PS and please don’t call it “Classic Hardcore”

8

Podcast 51

Podcast 51, new and revamped, featuring Luna-C mixing all new Kniteforce and KFA material and (regular) guest mix staring Dj Lowercase with a fantastic “My top 10 hardcore records” hardcore mix featuring not a single accordion! Oh well 🙁

Tracklisting:

Dj Luna-C Mix

01. Worldwide Epidemic – Contrast

02. Dj Luna-C – I Keep Coming Hardcore (Bucksta Remix)

03. Dj Jedi – Bring the Beat Back

04. Dj Luna-C – Free As The Sky – (Hyper On Experience Remix)

05. Dj Doughboy – Come On

06. Sanxion – Waiting On My Feelings

07. Dj Luna-C – back To Cause Mayhem

08. Ant To Be – untitled Riddim

09. Shadowplay – Born Again

10. Timme – Forbidden

11. Dj Poosie – Gotta Get Down (Dj Doughboy Remix)

12. Dj Sike – Bongo Bong (Dj Sc@r Remix)

13. Clayfighter – PK Rockin’

14. Jimmy J & Cru-l-t – Six Days (Scartats WTF Did You Do Remix)

Dj Lowercase Mix

1 – SL2 – On A Ragga Tip ’97 (Force & Styles Remix).

2 – N-Zo & Invincible – Take Me Away.

3 – Jimmy J & Cru-L-T – 6 Days (Brisk Remix).

4 – Luna-C & Reeve – A Million Miles.

5 – Dj Slam – Till We Meet Again (Unreleased Edit).

6 – Dj Ham, Dj Demo & Justin Time – Here I Am (Brisk’s Breakbeat Remix).

7 – Robbie Long & Devastate – Panic Attack (Ruff Mix).

8 – Robbie Long & Devastate – 24 Track.

9 – CLSM – Timebomb (Cube::Hard Remix).

10 – Dj Luna-C – Piano Obsession.

11 – Liquid – Sweet Harmony (Timewarped by Dj Luna-C).

Inappropriate song of the month

Leonard Cohen – You Want It Darker

3

Podcast 50

Podcast 5o, new and revamped, featuring Luna-C mixing all new Kniteforce material and (regular) guest mix staring Dj Lowercase with a fantastic hardcore mix!

Tracklisting:

Dj Luna-C Mix

01. Alex Jungle – Dance & Hover

02. Cru-l-t – I Cant Forget

03. TNO Project – The Orphange

04. Paul Bradley – Nobody Else

05. Dj Luna-C – Fly To Heaven (Dj Mannik Remix)

06. 2 Croozin – Code Red (Fat Controller Remix)

07. Ant To Be – Nobody Likes Me

08. Gothika Shade – The Grave Of Fireflies (Dj Luna-C Remix)

09. Idealz – Run The Tune

10. Cru-l-t – Snow In Summer (Alex Jungle Remix)

11. Shadowplay – Calling Me

12. Alk-e-d – Shining Bright (Dj Jeph Remix)

Dj Lowercase Mix

01.  Saiyan & Cru-L-T – Magic.

02. Dys7 – Neon.

03. Northern Lights – Love Of My Life (Brisk 2013 Remix).

04. DeckaJam feat. Jazmin Knight – Feeing Out Of My Mind.

05. Timme – Four.

06. Future Shock feat. Naomi Gibson – I’ll Be With You.

07. Anglerfish & Lucider – This Is How We Do It Hard.

08. Scartat – The Trustworthy Promoter (Demcore Remix).

09. Dj Ham – It Would Be (Dj Luna-C Remix).

Inappropriate song of the month

Grandmaster Flash – Adventures On The Wheels Of Steel

 

3

KF69 – Remixes Part 12 – Hyper On Experience, Alex Jungle, and Shadowplay

KF69FinalFront500

How do I even begin to write this blog post? Most of you reading this will be into Kniteforce Records anyway, and I flatter myself that if you are, you will also be aware of me, and maybe even the artists that influence me or that I respect.

I have a wide taste in music, but very few hero’s or people I genuinely admire, and most of those hero’s are outside of the area in which I work. You will never see a Leonard Cohen remix on Kniteforce Records, is what I am saying. I mean, apart from the fact he died, you couldn’t find a less suitable artist to have a Luna-C Remix lol. No, when it comes to artists I admire and that also fall within the genres I make, the list is very slim. Aphex Twin. Messiah. The Prodigy. NRG. Sublove. Acen. Austin Reynolds.

And, of course, Hyper On Experience.

If I had to choose who I would personally want to remix one of my tunes out of that list, it would be Hyper On Experience. I say this knowing that Aphex Twin or The Prodigy would obviously sell many more records. But thats not what it is about for me, and it never has been. And this is why I am sort of lost for words. Having a Hyper On Experience remix on my label is a dream come true for a man who doesn’t dream very much or very often.

If you are fairly new to the scene, or not fluent in old skool (be it hardcore or d’n’b) you might only know Hyper On Experience from their more massive tracks, the remix of Lord Of The Null Lines probably being the most famous. But I first heard them in a small shop outside of London rather than one of my regular haunts. The EP being played was called “Keep It In The Family”, and when I bought it, it was just one of many records I bought that day. I did not know I had just purchased the work of an artist that would have such a profound effect on my music from there on out.

The EP itself is not Hyper On Experience’s best, although thats a little like saying, “this caviar is slightly worse than the other caviar”, in a restaurant where most people are served hot dogs. And I found the EP fascinating. All four tracks were unusual in format,  and they moved and developed as they went along, where most music at that time repeated. They used the “wrong” parts, the “wrong” arrangement, and did not sound like anyone else out there. So when “The Family We Never Had” EP came out, I bought that instantly. And so on and so forth, every new H.O.E release was snapped up by me as soon as I saw it. I never knew when one would arrive, with no internet etc, so the thrill of going into a record store and seeing a new one was immense.

I could bang on and on about each release. I can sing along to the sound effects in all of the tunes lol. And back in those days, I was really puzzled as to why I never heard anyone play these tracks out at parties. They were amazing! They still are amazing actually – very few of the releases back in those days have stood the test of time with their production – The Prodigy, Acen, anything produced by Austin Reynolds – but Hyper On remain in that select group of clarity and skill where so many other old skool tunes just sound…well….old. That doesn’t make them bad, but its still a thing.

Anyway.

When Kniteforce was rolling along, I got to know Moving Shadow’s head honcho Rob Playford a tiny bit. I think the first thing I ever asked him was “when is the next Hyper On Experience record out?” lol. He looked surprised – I guess most people wanted to know about 2 Bad Mice or Blame. Those are great artists, no doubt. But it was Hyper On Experience that always excited me the most on Moving Shadow, and in general. Rob told me that they were not as popular as some of the other acts on his label, but the music was so good and that he was always looking forward to putting their music out. And I could see he was as puzzled as I was about them not being way more famous than they were. It was like we both thought “why does no one else get this?” lol. Personally, I think its because some artists are just too far ahead of the game. The Panacea is another one like that. A dear friend of mine, he always seems to be about 3 years ahead of what everyone else is doing. And when artists are like that, they rarely hang around to get the credit they deserve. The scene they are in becomes what they left behind.

So yeah. It was only really with the Lord Of the Null Lines remix that Hyper On Experience were thrust into the forefront of music. I remember everyone suddenly being all about Hyper On, and I was like “Really? Its about time!” lol. And I remember that remix destroying dance floors for years, and it is a stunning remix, there is no question. But the original version of that track? Oh man. The remix is nothing in comparison, in my humble opinion. For me, Lord Of The Null Lines and Monarch of The Glenn are works of art that I refer to again and again, and have for decades. Listen, when you can use a duck quack as a beat edit and it doesn’t sound daft, thats a whole new level lol. And the intro to Monarch Of the Glenn? Go home everyone else, you’re done lol:

I was and remain inspired and impressed every time I listen. Much of the technicality of Luna-C work owes direct inspiration to Hyper On Experience. It is only with the passing of the years that we now, as an older, wiser scene, can look back and can appreciate and recognise Hyper On Experience as one of the finest hardcore acts ever. And if you disagree with that, you are wrong lol. Sorry, but you are. Still, thats the music industry for you. The things that blow up are usually simpler, easier to digest and can feed everyone. Hot dogs, in other words. Not caviar.

And now I have a Hyper On Experience remix on my label.

Which makes me happy.

As you can probably gather from what you have just read, this is what is known as British understatement. You could say that, having got a Hyper On Experience remix on Kniteforce that I would no longer have any other ambition and should just call it a day. Nope. Just as I am trying to get a full Justin Time EP on the label, I’m going to try and get a full Hyper On Experience release as well. And then I am going to try and persuade Acen, Messiah, Austin Reynolds, Sublove, Aphex Twin and The Prodigy. Ha ha, okay, probably no chance, but you know what? If you had asked me even a few years ago about getting a Hyper On Experience remix on Kniteforce, I would have also thought “no chance”. So fuck it. Lets try eh?

Oh, I haven’t talked about the actual remix. Is it any good?

Yes. It is quite good.

British understatement again. Its actually very very very good. Its very Hyper On Experiencey. It starts off good, and then it changes into some really good bits, and then it changes again to some amazing stuff, and then it ends on a good note. You basically have to listen to the whole thing from start to finish. Which is exactly how it should be.

Now, it seems unfair to go on and on about just one of the remixes on the E.P. And I apologise to the others on the EP for the inevitable short thrift, but I think just this one time, I am allowed to be a fan boy and fill my entire blog post talking about my favourite artist 🙂 Having said that, I have to hand it to the other two remixers on this release because neither knew who they would be appearing next to, and yet both hold their own spectacularly.

You already know Alex Jungle. His stunning debut EP has just started being sent out and he is already one of my favourite producers. Well, he has remixed “Snow In Summer”, a tune that I made, and that was big in Europe, and that I have always sort of hated. And Alex Jungle has made me love it. Thats how good his remix is. It is, simply put, a stunning remix. The Panacea remix of this track for the 20 Year box set was brilliant of course, but mainly because he dumped all the vocals, ha ha! This remix is good because, impossibly, he has made the vocals sound cool. And added Bruce Lee samples. I don’t know, its all the wrong stuff and he has made it work so amazingly well. You just have to hear it. Its brilliant.

And of course, Shadowplay won the recent “Remixes” competition, and has been signed to Kniteforce, and has already got two tracks ready for a forthcoming EP. His remix of Richie Whizz “Song Of Angels” beat out all the other competition entries, and is the perfect compliment to the others on the EP.

So yeah.

What more can I say, except, if you want to hear some of these remixes, including the Hyper On Experience one, tune in to Glowkids radio show tomorrow, February 28th. I have made him a nice 45 minute set of all new and recent KF material, and have a little interview on there as well!

Here are the details:
GL0WKiD Generation X [RadioShow] pres. “THE 25th ANNIVERSARY OF KNITEFORCE RECORDS” Feat. LUNA-C Exclusive Interview & Guest Mix
@ Planet Rave Radio (www.planet-rave.com)

Tuesday 28th February 2017
17:30-19:00 [UK TIME]
CHAT: http://bit.ly/1OzhOLR
LISTEN: http://bit.ly/1RETXKT
App player for mobile: http://bit.ly/1RI4lza

And thats all for now….Too much really. Im gonna have to have a little sit down lol.

Nice one,

Chris

6

KF68 – Remixes Part 11 – Fat Controller, Justin Time, Dj Jeph, Saiyan & Cru-l-t

kf68frontckmy500

Look at that! Thats a proper line up of talent on one 12” right there. Yes indeed. Yes indeedly doodley. So I thought I would do a little blog about this one, because there are some things to say!

I have decided to announce the next two Kniteforce releases individually because I have words to blab about each one, and I am letting you know about them early because, in this case, two of the remixers have been silently and patiently waiting for a very long time, which was unfair of me really, very unfair, but circumstances meant that it couldn’t really be avoided.

So, previously On Game Of Kniteforce (cue music and flashbacks of scenes you already saw and want to fast forward through but you know if you do you will go too far and accidentally miss new material which will mean you have to rewind and thats just annoying so instead you will sit through the whole boring bit and maybe notice that some of it has been edited because that isnt quite how it happened but anyway.)

Dj Jeph won the remix competition I did in 2016. Way back then, I put up three tracks to remix, and a huge amount of people entered. My intention at the time was to release two brand new 12″ vinyl  “Remixes” in the ongoing classic Kniteforce series, and leave it at that. 10 was a good number to stop on. So I had expected to choose 2 of the 3 tracks I put up in the competition, and that would be the end of it.

And then the competiton entries came in, and there was no way I could leave it at just the 2 winners – Ant To Be and Nicky Allen, so Dj Jeph was the third winner, hand picked as such by Alk-e-d himself.

Only there was a problem – I could not afford to release three 12” vinyls at once – doing two was a struggle. So I told Jeph that his remix would be delayed until the next two vinyls. And I started looking for a big name remix for that EP.

In the mean time, Alex Jungle sent me some amazing tunes, and I got to work on a new Luna-C vinyl. And as most of you will know, those ended up being the next two releases. These are likely arriving this week – please buy them lots of times lol:

KF66 – Alex Jungle – Elevate EP

KF67 – Dj Luna-C / Scartat / Gothika Shade – Things I Made With Things I Played With EP

Why did these two vinyls jump the queue? Because I did not want to have just 11 remixes in the “Remixes” series. 10 is okay to stop on. So is 12. 15 would be okay too, but yeah, thats not gonna happen lol. But 11? Nooooope. But if I was going to do 11 and 12 then I felt they needed to be released at the same time. However, I was not ready to do that. I had Jeph’s remix, and plans to get Saiyan in the studio, and that was it. I had spoken to The Fat Controller, and he was on board and had started work on his remix, but that was it, that was all I had. And I needed more – I needed another old skool artist that was great, had not appeared on the series before now, and was still working AND wiling to make something in the old school style. Thats actually a pretty hard thing to find in 2017.

Dont worry – I have found another headliner. I will reveal that next week and you can all die of excitement and shock (if you have survived this release’s news, that is) lol.

Anyway, where were we? Oh yes. So a month or so passed while I was still searching for another big name, The Fat Controller gave me his remix, and suddenly we were starting to get these remixes ready! His remix is superb by the way – a subtle rolling remix of 2 Croozin’s “Code Red”. Its a really classy remix, and I have to admit, I was a little surprised. I mean, obviously In Complete Darkness remains a timeless classic, but I wasn’t sure what I would get, and sort of expected a typical old skool remix – which would have been fine of course. Instead, he has taken the original tune and given it a classy rebuild, giving it depth and thoughtfulness while retaining a wry sense of humour. Obviously, I am thrilled with it, and I think history will show it to be one of the best remixes in the series.

So. Fantastic remix from Fat Controller. Full on jungletastic remix from Dj Jeph. Annnnddd…..nothing. Nothing else at all. Nada. Zip.

Which meant I had to ask both of them to just sit on their remixes. Say nothing, do nothing, don’t talk about it, just wait. This was very unfair really, and they both had to wait over 4 months. But wait they did, and grateful am I (spoken in Yoda fashion for no reason) – and now I am very happy to be able to finally reveal them both as the remixers on KF68.

And some of you are now wondering “How come I have read all this way with no mention of Justin Time?” Well, hang on a sec, I will get to that. Jeez. No patience have you (Yoda again).

I finally found another big name to remix for me on part 12, nearly died of excitement myself, and then had to find a third remixer for part 11, while at the same time setting up another competition for part 12. Yeah. Its been confusing.

As it happened, enough time had passed and Shane Saiyan was on his way to the studio, and so we got straight to work with a remix for the EP at the same time as we did the remix of Pilgrim for Scott Brown. Shane and I have done an excellent job, if I say so myself, which I do. Shane wanted to go for a slightly later style on the remix – nearer to 1996/97 than the others on the vinyl, which was great because it gives the EP a nice balance. So I let him do his thing and functioned more as an engineer than as an artist, like usual for when we work together.

I then commissioned another remix from a Kniteforce artist for part 12 (revealed next week, pop fans!) And I was all ready to go. Yup. Got the three remixers for each vinyl. Nothing more to do here. We are good! Relax.

The End.

Except….out of nowhere I was given a link to a Dj Poosie “Its Gonna Be” Remix by Justin Time. It was on Youtube, and had had a few hundred views. It had only been up for a week or two. And I was like “wait, what?” I had a listen and expected it to be some shit knock-off or something. But what I heard was waayyy to good a remix to have been done without the samples. And it was very…Justin Timey. The problem was, I had no recollection of a Justin Time remix of Dj Poosie. Ever. I certainly did not have a DAT of it. Thats not the sort of thing i would have lost, missed, or forgotten I owned.

So I contacted the Youtuber who uploaded it, and that mystery person was…Matt Carlton aka the one and only Justin Time lol.

It turns out, it was an official remix that I must have asked him to do at some point? I just don’t remember that ever happening, although Dj Poosie does. Look, I don’t know what happened, ok? Its a brilliant remix, and I didn’t release it for no reason at all, and fuck knows. Moving on….Justin Time very kindly dug through his old DAT tapes, and found the original, unmastered, fucking excellent remix. And I added it to this EP – partly because it makes an already amazing EP even better, but mostly because its a FUCKING ORIGINAL UNRELEASED JUSTIN TIME REMIX FROM BACK IN THE DAY. What? Im not gonna release that? Of course I am. Its brilliant. Its a brilliant remix. So it kinda had to be on here, you know? And yes, it breaks the rules because he appears twice in the series. So does Luna-C actually. But rules schmools, whatever.

So yeah. Thats the story of KF68, Remixes Part 11. Next week, KF69, Remixes Part 12!

Now, let me anticipate and answer your questions:

“When can I order this EP – I don’t even need to hear the tracks because obviously its the best thing ever?”

Soon. KF68 has been sent to be cut. When the TPs arrive and I have checked they are all fine, the pre-sale will start. I sent this one to be cut before the new vinyls arrived because I want to speed up the vinyl releases 🙂 So. Soon!

“Wait, even though I don’t need to hear the tracks, what are they?”

A1.  2 Croozin – Code Red (Fat Controller Remix)

A2. Dj Poosie – Its Gonna Be (Justin Time Remix)

AA1. Alk-e-d – Shining Bright (Dj Jeph Remix)

AA2. Dj Force & The Evolution – High On Life (Saiyan & Cru-l-t Remix)

“Actually, I do want to hear the tracks after all – where is the link to the soundclips?”

Nope. Sorry, no sound clips until the pre-order is up. BUT you can hear the Fat Controller Remix on his radio show, Tuesday 21st February:

The DJ Fat Controller’s #OldSkool Show live each and every Tuesday
4-6pm G.M.T. 5-7pm C.E.T.
Join us for a 2 hour magical mystery tour through Old Skool… All aboard!!!!

**********Available LIVE **********
TUNE IN APP/WEB:
http://tunein.com/radio/Dream-uk-s206512
DREAM FM website:
http://www.dreamuk.co.uk/
NU PERCEPTION website:
http://nu-perception.com/npr/
FACEBOOK LIVE VIDEO:
https://www.facebook.com/DjFatController

**********Get Involved***********
Twitter:
https://twitter.com/DJFatController
Or use the hashtag #OldSkool
Facebook:
https://www.facebook.com/DjFatController
Event Page:
https://www.facebook.com/events/692492487577370/
www.DJFatController.co.uk

And you can hear some of the other remixes from KF68 and KF69, as well as a full mix and an interview from me on Glowkid’s radio show on February the 28th – details next week!

“Can I still listen to the Youtube of the Justin Time remix?”

Nope, I asked him to take it down. Ha ha! I suck!

“Are there going to be amazingly amazing good things with these EPs?”

Yes. Yes there are! There will be 2 KFA EPs like last time – one will be the Remix Competition Winners 2 EP, and the other will be Remixes from the Kniteforce family!

“Are these remixes a direct result of the support we have given you with the last releases?”

Yes, absolutely.

“Any chance of new material from these remixers, especially Justin Time and Fat Controller?”

Yes, on both counts. Jay (Fat Controller) had been doing his thing for a while and we have spoken about a full Fat Controller release, and Matt (JT) has said he is cautiously interested. Incidentally, so has the remixer on KF69. Like I said to you all originally when I first restarted KF as a vinyl label – if you support these things, big things can happen. You are supporting, I am trying to make them happen. I want to be able to go to these remixers and say “your vinyl sold out, lets do an EP, eh?” because they will be down for that. So really, its up to you guys 🙂

No more questions? Good. I’m sleepy! Until next week then? 🙂

 

2

The Final Competiton Results

kf69redactedartwork500

kfa89-full-sleeve-500

Let me start by saying I am an idiot. I should never have given out three different tracks to remix, because it made this competition next to impossible to judge. Its hard enough choosing the best remix when everyone is on the same page with the same samples and track. And I knew that – I knew that because of the last remix competition. So thats on me, my bad. But what I also didn’t account for was some of you who entered last time got so much better with all aspects of you music production. Paul Bradley, Shaun Armstrong, JDubz, Sunny & Deck Hussy and Ben Venom, amongst others all just blew it out of the water. I would say roughly half of the remixes I got this time could have been released. Ok, some were not suitable for my label, and some were not quite up to scratch with clarity or production, but the essentials were there, the remixes were musically accomplished and just too good really. In the end, I had to disqualify or choose remixes over others just based on stupid nit-picky type issues – such as slightly too much bass lol. The eventual winner, Shadowplay, won by the slimmest of margins. I spent a few days just listening to my favourites, the top 8 or 9 remixes thinking “Shit. Shit. How am I going to decide?” I seriously considered flipping a coin lol – and even now, I am not sure if I got it right. What I do know is that we will be hearing more from all of the names mentioned above, thats a certainty.

Below are the winners, and then the runners up who will be appearing on the KFA EP. And I have asked all of the winners to submit tracks for future KF releases – thats how close it was and how impressed I was. Congratulations, and a huge thank you to everyone who entered. It was a brilliant and tough competition with talent to spare. Below is the stuff that I wrote about each competition entry usually as I listened to it, along with sound clips from those that didn’t quite make it!

WINNERS

In the end it came down to these four as my favorite remixes, and it was really hard to choose just one of them:

KF69 – VINYL 12” WINNER

Richie Whizz – Song Of Angels (Guess Who ’96 / Shadowplay Remix)

This one immediately grabs the attention with its heavy edits and tight, clever, hectic intro. Lovely rolling amens roll into a nice piano break with the vocals. This is the first remix to replay the piano and still keep the vocals in key. Lovely piano work as well. The name of the remixer is a little worrying though – who am I listening to? I hope its not Paul Elstak lol. Yes, a very good remix, a contender for sure!

KFA89.01 DJ Brisk – Make It Rough (Sunny & Deck Hussy Remix)

Like Jdubz and Hannibal Selector, Distrax and Paul Bradley, I find myself looking forward to hearing what Sunny & Deck Hussy come up with. Because I know its going to be a good one – and this doesn’t disappoint. What a fucking great breakdown this has. Really different and a very clever replay of the original stab pattern. I actually didn’t realise that was what was going on until it dropped it. And then the same trick again with the piano breakdown – the original riff, but changed and folded into something altogether original. Yes, very impressive indeed! I had to listen to this one, and the Shadowplay remix back to back numerous times before making the final decision, and in the end it came down to simple preference – I like the Shadowplay remix a tiny bit more – like, 1% more. It was a choice between best thing ever and other best thing ever lol.

KFA89.02 Jimmy J & Cru-l-t – Cant You See (Paul Bradley Remix)

Another remixer from the previous competition, whose work didn’t win that time around, but whom I tagged in my head for future KF work even so. He just needed a little time, I thought, to up his game. And this remix doesn’t disappoint. Nice fresh intro breaks, very rough and ready sounding but not in the production, which is tight and clean. Oh yes – using the original stab but messing with it, and then hitting hard with the beats. I like this one a lot!

Its also complimented by some nice little “I have the power” vocal snippets. The piano breakdown is the same as the original, but drops into a surprising accappella section rather than doing the obvious. Yeah, this is cool. Different, but in a good way. And from nowhere, it breaks into a lovely string section, which for a year or so was a pretty common trait in hardcore. The entire vocal time stretched over the breakdown is a risk that I am not sure pays off…but then it zig zags again into a different riff. This is a very impressive remix. Oh shit, “oh oh” stabs as well? Okay, this just gets steadily crazier. And yeah, this is my favourite so far. Great remix.

KFA89.03 Dj Brisk – Make It Rough (Jdubz Remix)

Another entry from Jdubz, and its up to his usual high standard. This is really different. Stomping kick and twinkling piano intro lead to a softer breakdown with distant bass. This reminds me of a trance track – back when trance was really good, even though its definitely hardcore. Oh man, a filtered lead section. Okay, this is really not appropriate for the vinyl – thats far too modern for the era I am looking for, but god damn its good. This might actually be my favorite of the remixes, but its just too modern for the vinyl. Unless it does something awful, this one will be going on the KFA EP. Its an excellent, really different take on the track. A proper remix in every sense of the word. Really good stuff…

The three above who didn’t make it onto the vinyl will of course be the leads on the KFA “Competition Winners 2” EP, and will be joined by:

KFA89.04 Dj Brisk – Make It Rough (Ben Venom Remix)

Frantic and chaotic from the start, this one is in your face as soon as it starts. Breakbeat and 4×4, like the original, it charges along with clever variations on the “make it rough” sample as well as great sound effects and atmospherics. The breakdown is proper – a nice intro to the piano and a great string / whine noise behind it. Oh yes, this is a good one. If this one doesn’t win the competition for the vinyl, it will appear on the KFA EP for sure…My only reservation about this remix is the triplet section in the middle, which is great but seems a little too modern and not needed. But still, it remains a stunning remix.

KFA89.05 Ex Ec Edition DJ Brisk – Make It Rough (Paul Bradley Remix)

Oh man, this is great – another really strong remix from Paul Bradley. A very hectic intro full of mentasm and craziness leads to some twinkly piano effects with the vocal, and a lovely drop as well. Oh yes, this is another good one. Man, this is going to be a hard decision. And then halfway through the piano, once it has dropped, the stab just loses its mind and goes completely off the hook. This is great, a lot of clever editing and some stunning work all around. This one will also very likely be on either the KFA EP or as a possible winner.

KFA89.06 Ex Ec Edition Richie Whizz – Song Of Angels (Sunny & Deck Hussy Remix)

Ooh, I like this one a lot. Especially its use of the old dribble sounding noise popularised by Bizarre Inc “Plutonic”. Oh man, I love that sound. Hardcore needs that sound back. And the piano work is wonderful too. Very tight bit of production, nice drums and clarity in the mix. And the icing on the cake is some awesome mantasm work in the middle of the track. Yes yes, definitely a contender.

KFA89.07 Ex Ec Edition Jimmy J & Cru-l-t – Can’t You See (Sunny & Deck Hussy Remix)

I have high expectations on this one, because I already know Sunny & Deck Hussy can bring it. And I am immediately impressed. Nice flow with the breaks and good edits on the intro before dropping into the original piano, but with a subtle and atmospheric string complimenting it. Oh yes, I like this a lot. Well put together, well produced…lets see what happens with the stab section…Oh, hmmm….I can’t decide if this is cool or not. Its like the original, just bent a little out of shape. On the one hand, thats a great thing to do for a remix, on the other, its a little disconcerting because I keep hearing the original riff that isn’t happening lol. The second breakdown is great though, with the piano in breakdown, single chord hit mode. Yes, this will also need to go in the “potential” file!

  • So it seems that all three entries from Sunny & Deck Hussy made it though! Thats pretty amazing really!

RICHIE WHIZZ REMIXES

Richie Whizz – Song Of Angels (Paul Bradley Remix)

This one is almost perfect – except the piano and the vocal are not in key. And its a real shame, because in every other respect this remix is fantastic – excellent beats, a nice use of quirky added samples as well as the original samples from the track, a switch up halfway through between breakbeats and 4×4 kicks, and interesting stab patterns. This was very nearly the winner, at least of the Richie Whizz remixes.

 

Richie Whizz – Song Of Angels (Matchstickman Remix)

This remix has a nice rolling vibe, and takes its time to go about its business. But it needs some production work, its a little muddy. Its the first one I have listened to which uses the original piano riff – but again, the vocals are out of tune. I think this might be a running theme on these remixes lol.

 

Richie Whizz – Song Of Angels (DJ Nine-T-X Remix)

This one is very nice – well put together and authentic. Nice use of the original samples, messing with the “Bass” vocal and editing the lead vocals too. I also very much like the lead riff. Yes, this is a good one, and came really close to winning. However, it is let down by a slightly muddy production. In normal circumstances, this would not be an issue, but the competition was so on point that it just didnt quite make the cut. Still, a stunning remix!

 

Richie Whizz – Song Of Angels (Systec & Sir Rice Remix)

System and Sir Rice have sent me a few tracks over the past few months and also entered the last competition. So I was expecting a well produced and well thought out remix, and thats exactly what I got. But like a few of the others, this remix has had difficulty sitting the vocals with the piano. I understand – I remember us having the same problem when we made the track. However, this one isn’t so much out of key, just a little odd. I actually like the rest of the remix way better than the bit with the vocals. Its got great stabs, well edited breaks, and a smooth, tight feel to the whole track. I expect we will see a System & Sir Rice release on Kniteforce at some point, because these two have skills. But not with this remix, good as it is!

 

Richie Whizz – Song Of Angels (Ten Tun Remix)

This one starts off really cool – using time stretches as rhythm section. Clever and different. Flowing, rolling breaks lead into euphoric use of the piano and vocals. But the remix really finds its side with the stab pattern. The production is clean and crisp, and the whole track is nicely authentic. The only criticism i might have is the its a little bit too drawn out, and could do with some sound effects and subtleties to fill it out, such as fills etc. but a very solid, cool remix for sure!

 

Richie Whizz – Song Of Angels (Shaun Armstrong Remix)

Well, this is a really interesting remix. Really unusual sounds and arrangement. I am writing this as I listen, and on my laptop, so I would need to hear this on my studio speakers. It might be a little too weird for the vinyl, but I don’t know, its got a really nice vibe to it. I will need to have another listen to this one!

 

JIMMY J & CRU-L-T REMIXES

Jimmy J & Cru-l-t – Cant You See (Gothic Shade Remix)

This is going to be tough, as Gothic is a friend of mine. Actually, many of the previous contestants from the other competition have entered, and I have been working with some of them, so i am having to put my bias on a shelf (which is a thing I can do). Anyway, this is a nice solid remix, starting with lush strings and rolling breaks and a vocal leading up to a sweet little stab riff, which fakes you out before turning into a bigger, more anthem lead riff. After running for a while, this breaks into a well put together piano line with clever vocal editing and atmospherics. Yeah, this remix is great, really good work!

 

Jimmy J & Cru-l-t – Cant You See (Jdubz Remix)

You know, its hard on me judging these remixes. Guys like Jdubz pop up and I am rooting for him to win – along with all the others that enter lol. Because I can hear the work that goes into each remix. Anyway. This one starts off really strong – nice work on the beats, good use of the vocals, using the main ones as well as a few bonus ones from…somewhere? And kept at the chipmunk pitch too – which is a plus in my eyes. Wicked piano and some nice work on the stabs too. Some clever editing with both the stab and the beats. Yes this is a contender for sure! The only reason this one did not win a place on the KFA EP (if not the vinyl), was simply production. Jdubz is improving by leaps and bounds, and I hope to feature him on KF at some point.

 

Jimmy J & Cru-l-t – Cant You See (Distrax Remix)

This one fooled me at first. Partly because I expected an D’n’B workout, but mostly because it starts with a house type kick and hi-hat. I was like “oh no, please, not a house remix” lol. Anyway, 8 bars in the breakbeat drops and the track proper starts. Nice intro stabs and a good use of effects and samples makes for a good start. After the drop the piano comes in, the original piano line is used. This is a good solid remix, and would certainly suit the vinyl, but on the other hand it doesn’t leap out from the crowd in any way. Very solid work though, as I have come to expect from the talented Distrax.

 

Jimmy J & Cru-l-t – Can’t You See (Hannibal Selector Remix)

Ha! Nice use of the weird analogue sample from the sample pack makes me smile as soon as this remix starts. I don’t even know where that sample came from, but I have always liked it. After a short intro, this drops into a great old stool riff, with definite echoes of Jimmy J & Cru-l-t’s signature stab style. This plays briefly over the breaks before the piano comes in. Good edits on the amen break, this one is fast and in your face. As I write this, I am getting the “possible” winners and putting them into a separate file, which is where this one will be going.

 

Jimmy J & Cru-l-t – Cant You See (Greg Sin Key Remix)

A much slower pace on this one. I wonder if there is anything quite as strange as listening to multiple versions of a track you wrote decades ago? I doubt it. Its a weird sensation. This one seems to half speed everything, making it sound sort of lazy – which its not. This is a well produced effort, with some good ideas, but it lacks energy. Maybe because of the slower tempo. This is more of a head nodding, hardcore breaks (maybe?) remix. Its cool, but not what i am looking for for the vinyl. Quality stuff though!

 

Jimmy J & Cru-l-t – Cant You See (Master Mash Remix)

A simple break beat intro leads into a creeping stab pattern that slowly gets louder as the track moves along. This is very different! It sort of reminds me of some old Euro releases. Oh man, then some sort of hard stab comes in. Very cool. Very cool indeed. Lets see where it goes from here? This is relentless. No breakdown, just ever developing stab patterns and a vocal. Eventually a piano line comes in, and its like the original, but with reverse sections and all sorts of edits. The vocal is also edited, but sounds real thin. Production lets this one down a little, because it feels like the balance of things isn’t quite right. But I love the unconfined randomness of the structure. Yeah, I dig this one a lot. Its a little too odd for the vinyl, but a seriously good remix all the same.

 

Jimmy J & Cru-l-t – Cant You See (Klartbeat Remix)

This one is interesting – it uses samples that were heard in previous KF tunes. Also, it has a very 4×4 kick style to it. Kinda fun – funny in a way. Nice edits on the piano and really very “doofy” for want of a better word. Its absolutely not right for the vinyl, but I also really like it. It makes me smile and would make me want to bounce about a club if I heard it there – except I am old and might take a spill, so obviously I can’t engage in that sort of behaviour. But anyway, nice bouncy remix!

 

Jimmy J & Cru-l-t – Cant you see – (The Matchstick Man Remix)

Another one from Matchstick man. Once again his remix is content to take its time – nearly 8 minutes long! Which is actually how long we used to make a lot of our tracks. That seems crazy now, but there it is! As with his last remix, this contains nice elements, a good breakbeat and a rolling feel to the whole thing. Some nice old stool organ work as well, which compliments the vibe of the track. it almost feels like an earlier era, like 1990 or 1991, and has a house music feel to it even though its not house music at all. When the piano does drop in, it does something a little weird. The timing is odd. Not wrong, just odd. I don’t know about this. I like it because it is different, but its a little too drawn out, and unfortunately has production issues as well.

 

Jimmy J & Cru-l-t – Cant You See – (Systec & Sir Rice Remix)

Another clean bit of work from these two. A new “Killer Soundbwoy” vocal leads the intro, before dropping into a nice amen. There is an undercurrent of 4 x 4 in the breaks, which matches up to the original very well. They have also given the remix a number of very jungle styled vocal tips, including the classic “Bad Boy” shout out. The piano drop in minus the vocal and with a great old stool string, allowing the whole remix to breathe before the vocal drops. And the stab pattern is perfect. Yes, on the whole this is a contender, and will go with the other finalists…

 

Jimmy J & Cru-l-t – Cant You See (Shaun Armstrong Remix)

Another solid entry from Shaun Armstrong. I remember Shaun entering the previous competitions, and these remixes are definitely a step forward and a step up from what he last sent me. Both this one and the Song Of Angels remix sound completely unique. Nothing like the other remixes, and unusual in concept and style. I wonder if its too strange for the vinyls? Not that I mind usually – Kniteforce is always willing to get a bit weird lol. However, with this remix it is the production that lets it down. Given time, I would like to have had the stems sent to me so I could re eq the entire remix, but I think that would count as cheating lol. But on the other hand, here is a potential artist for Kniteforce in the future, with a style this unique, how could it be otherwise?

 

Jimmy J & Cru-l-t – Cant You See (Ten Tun Remix)

The Ten Tun remix is more traditional than the last few have been, but thats not a bad thing. A nice intro with rolling amens breaks into a sweet little stab riff, with the vocals coming in over the top. This is a pleasant change! The first remix to do this I think. After the drop the vocals get more intense before a nice, slightly spooky stab riff drops in. Yeah, this is nice, it rolls along really well, and sort of reminds me of exactly the time when the original of the track came out. Very good stuff!

 

Jimmy J & Cru-l-t – Can’t You See (Research & Development Remix)

As soon as this one starts, you can hear that it is a different remix altogether. The note i got with it says it was done by my old forum friend the Architect and that he knows it isn’t the style I am looking for. And I guess he is right – its 4×4 and very trance so far, so not what i would want for the vinyl. After a stomping buildup, it drops into the piano and vocals, which have been crisped somehow. Its a nice effect. I like this remix a lot, because I like different things, but yeah, its not right for this project, even with all the wicked old stool means’s and such that drop in later in the remix!

 

Jimmy J & Cru-l-t – Cant You See (DJ Toucan 33 or 45 RPM Remix)

This one appears to be much slower than previous entries, but that gives the amen lots of room. And theres nothing quite like an unedited amen rolling along. The piano has a nice delay on it, but the effect is somewhat lost when the vocals come in at half speed. The stab is also slower than expected when it drops in, but that makes it very powerful. Judging by the name of the remix, I suspect this was designed to be played at either speed. Thats a very clever idea! I will have to test it out and see how it sounds sped up! But clever though that is, this remix is not quite what I am looking for!

 

Jimmy J & Cru-l-t – Cant You See (Pressure Remix)

This remix is really good. The new replayed piano line is one of the best out of all the remixes, and its a tight, well made remix. If there is any issue with it at all, its that it sounds almost to obvious, or predictable. Which is hardly a fault. It starts of with some nice simple breaks and a slow build with an old stool string and “Can You Feel It” vocals. The stabs and breakdowns and effects are all well placed. This is one of those ones where if I put it on the vinyl, it would be liked well enough, and the only reason its not a winner is that it doesn’t quite stand out enough! But a very good remix all the same!

 

DJ BRISK REMIXES

Dj Brisk – Make It Rough (BeanHeds Stroking the brown remix)

Ha! Classic old Kniteforce joke in the title of this remix! Made me laugh. Anyway, thats cheating mate! lol. This remix starts off great, nice rolling amen beats and growling drawn out mentasms. They slowly layer up and get more intense before the “tear this mutha fucka up” vocal drops in, and finally the beat gives way to the vocal and an edited piano. This is a nice interesting remix, with some clever ideas, but shockingly goes into a heavy gabba 4×4 section once the vocals drop. I sort of like this, but it does make it totally unsuitable for the vinyl, unfortunately. Still, a very unique take on this track!

 

DJ Brisk – Make it Rough (Hannibal Selector Remix)

Hannibal Selector is another name that I have seen pop up a few times…lets see what we have here! This remix starts off like it means business. Hard and rough, and a kind of techno feel to it. Its hard to explain, it feels metal, sharp. The intro breaks into a fairly traditional stab, but the drop with the beats is awesome. Clever use of time stretch and layering on the vocals, and a nice 4×4 kick which makes it stomp – not bouncy. The piano section uses the same piano as the original, but its low in the mix, and the vocals are pitched higher. This works, but you know, this track almost feels like it would be better if it didn’t have the piano in it, if it wasn’t a remix at all. Its a solid remix, don’t get me wrong. But the ideas in are held back by it having to be a remix. Good work though, very impressive!

 

Dj Brisk – Make It Rough (Kemikal Breakfazt’s Ruff Bacon Mix)

This one rolls along, with drum patterns that remind me of the good parts of Krome & Time when they were doing hardcore (after Sub Base). Like many of the others it has kept the piano section the same as the original, which is fine as the piano was good in the original. The “Make It Rough” vocal has been changed to a different rhythm, which is a nice touch as well. On the whole, this is a good remix, but it doesn’t stand out from the crowd, or have anything that really hooks you other than the parts that were in the original. It does have a fresh stab riff though, and the work on the breakbeats is very impressive – some of the best I have heard in this competition, actually. Subtle and technical without having to show off. Like the Hannibal Selector remix, this one feels like it would benefit from not having to be a remix – there is a very good jungle / breakbeat lead hardcore tune here, rather than a remix. The mid section edits are wicked and are almost let down by having to go back to the remix parts!

 

DJ Brisk – Make It Ruff (Rufus Tempest Remix)

This is an interesting one. Its kind of mellow, almost like that time in barcode / d’n’b where neither style was really defined, so its a blend of both. I like this style a lot, but its not quite right for Kniteforce. Still, this is exceptionally well made and produced, and a very unique remix when placed with all the others. It has a lot going for it, its just not going to the right place for the vinyl, unfortunately.

 

Dj Brisk – Make It Rough (Ten Tun Remix)

Another entry from the unstoppable Ten Tun. A tough intro with some great edits sends this one off to a firing start. i especially like the whistle noises and the sense of panic that comes in straight from the beginning. Plus theres a nice use of the Outlander style stab hit. Oh yeah, this is cool. It has a restless energy to it. Its almost a shame when the female “deeper” vocals come in because it slows the track down a bit. Another excellent entry from Ten Tun, and it will go on the short list!

 

Dj Brisk- Make it Rough (The Matchstickman Remix)

Once again, Matchstickman is let down by production. This is a nice solid rolling remix, with a lovely piano riff that twinkles in the background as the remix unfolds. But the quality of the overall mix just isn’t quite there yet.

 

Dj Brisk – Make It Rough (Liam T Remix)

This is another solid remix, with some sweet editing on the vocals and a nice authentic feel to it. The beats build up great on the intro and actually, it sounds a little like how I would do things back in 1995. It has a good shabby sort of riff with the lead vocals. There is some subtle filtering which is a little before its time in a way, but its so well done I can’t complain. The main lead riff is a little simplistic, although it rolls along very well. Yeah, this si a strong remix, with some greta edits, but it doesn’t quite excite enough. Good work though!

 

Dj Brisk – Make It Rough (Shaun Armstrong Remix)

The 3rd entry for Shaun, and a third strong contender. Lots of heavy edits on the intro, and a nice shift in chord structure on the vocal drop, that lifts the whole remix up a notch! And then up again when the piano comes in. The attention to detail in Shauns remixes is really something. Sometimes it works against him, in this case, the breakdown sounds almost overcrowded and the beats take too long to come in. When they do, they are a little drowned out by all the other information. In fact, the breaks let this one down, which is a surprise because his other remixes have been so heavy with the breaks. this has all the stabs and noise and excitement, but the breaks just roll along underneath instead of tearing in. Still a very good remix, from an obviously talented man, but not quite whats needed!

 

Dj Brisk – Make It Rough (Insane & Mind Remix)

Another solid remix, starting with some lovely mixable amen edits and effects. This would be seriously fun to mix! Me likes already. On the downside, this one overplays its hand a little in that, when the vocal and piano drop, it keeps on going with no break. And when the stab pattern comes in, i was a little disappointed to find it is the same as the original. Thats a shame, the remix had a lot of potential, but as it is its more like a rethink than a remix. In some ways, thats not a bad thing – its a good original so a good remix by default. But still, I would have preferred a little more inventiveness on the lead stabs! Especially as the piano is also basically the same riff.

 

Dj Brisk – Make It Rough (Systec & Sir Rice Remix)

Another strong remix from these two. The stab is a nice pattern but drops sort of emptily, which is a shame. I think the duo was going for a more stripped down approach, which works well and is authentic, but did not excite my ears as much as I would have liked. However, the piano drop is wonderful – similar to the original but much more lush and warm. Good rising strings and clear production also help this remix to remain solid all the way through. But like a few others, while there is nothing actually wrong wit it, its just not “stand out” in any real way!

 

Dj Brisk – Make It Rough (Persuit’s Ruffer Remix)

This is an immediately different remix from the others as it is unashamedly modern. Or at least, not breakbeat and not old skool percussion wise. A strong 4×4 kick intro, followed by a drop into the original riff. Only with this one there is a nice, dark edged bubbling analougue acid line in the background. This gives the whole remix a more sinister and driving feel, which is refreshing. There is also a semi-trancey feel to the remix, which again keeps it unique and fresh. Some nice vocal editing tops the remix off. On the whole, an excellent remix, but also not what I am looking for for the vinyl!

3

5 Reasons You Should Buy The New Kniteforce Vinyl Releases

As most of you reading this will know, the pre-sale is now open for the first new Kniteforce Vinyl releases. These two EP’s are the first new Kniteforce Vinyl since 1998, and I think its a pretty big deal myself. These first new Eps are parts 9 and 10 of the long running “Remixes” series, featuring Scott Brown and Billy Bunter as the two big names, plus remixes by two KF artists and two competition winners. They are excellent releases, all the tracks are authentic to their era, and absolutely blinding, if I say so myself…which I do. And this blog post is here to give you reasons to go buy them if you are undecided, and then to get your friends to buy them as well, and to maybe persuade you to spam the hell out of them if you would be so kind lol. So read on…

1. Its An Excellent Release

blogpic1

“Ooh! Look it! New Recordses!”

This is probably the most important reason on the list. All the others don’t really matter if the music sucks. But in truth, I am not sure I could offer a better product if I tried – not only musically but also value wise. I hate to start this blog post off with a sales pitch, but I am going to because what you get for your money matters. I’m well aware that buying vinyl is expensive, and then the postage costs? They are just…awful. I know. Sometimes when I send something I am like “really? does this parcel get its own private jet for that price?”  Unfortunately, there is not a lot I can do about it, except to make these vinyls absolutely worth the money. So thats what I have done, and will do with all future Kniteforce releases. If you buy them you get:

1. The vinyl itself – Three excellent remixes of classic tunes by amazing remixers in an authentic old skool style with colour sleeves and labels. The vinyl is strictly limited to 300 copies (seriously, I cannot repress because of minimum repressing restrictions, and even if I could, I would not) and I have designed the labels and sleeves to be the same as the original series so these will fit seamlessly into your Kniteforce collection if you have one!

2. The vinyl comes with links to both 320mp3 and 24Bit wav versions of the release. I WILL NOT BE MAKING DIGITAL VERSIONS OF THESE RELEASES AVAILABLE ANYWHERE ELSE, EVER. So you can’t buy them on iTunes or Amazon or Beatport or even on the Kniteforce MP3 store. Its the vinyl and the digital, or neither.

3. Each vinyl release also comes with a link to a full KFA digital release. That means as well as the three vinyl tracks, you also get four digital tracks from the KFA E.P, and a further two or three tracks as the Executive Edition on the digital EP. In total, when you buy the vinyl, you will get at least nine tracks. You are, in effect, getting an album’s worth of music.

4. I have included an “idiot” sheet with each release, exactly like we used to with older Kniteforce vinyls back in the early days of the label. It would be worth keeping these sheets as they have the links you need on them, but also because good things could happen if you get 10 of them. Plus, they are funny, and again, authentic to how the old label did things. No free plastic spoon on this one. But maybe in the future…

5. If you add your name to the “message” part when you order, and I will give you a shout out on the back of the next Luna-C project vinyl.

So all in all, it seems to me like a pretty good deal. Don’t you think so?

2. The Philosophical Aspect

philosopherv2

“I keep searching, but I just cannot find my rizla”

Like everyone else, I spend a good deal of time floating about on the internet to avoid doing any real work. And while looking at cat meme’s and arguing with strangers about politics, I occasionally read stuff about hardcore music. And when I do, I see the same sentiment repeated over and over again, normally expressed as “The music is not as good as it used to be” or “It was better back in the day” or “Look at this food I ate”. The third one can be ignored – and honestly, no one cares what food you ate so please stop with the pictures of pumpkin pie or whatever. But the other two express a desire for the old school sounding hardcore and raves, and I have been hearing this for as long as I can remember. So long in fact, I think its time to do something about it. Incidentally, its not just me thinking that – all the omens agree, all the signs point to it. Because look…People have a genuine love for old school hardcore. Not just old fucks like me, but new skoolers too. And with all due respect to modern hardcore, it just isn’t the same music at all. They are different in speed, style, sound, and dare I say it, philosophy.

And yet, no one is making proper old school hardcore anymore. Except that’s not true. A lot of people are making it. But it goes nowhere, gets nowhere, and is rarely heard because most of the people making it are doing so as a hobby and do not have the “name” draw they need to take it further, or they have no place to release the music in any official capacity. In this category, you see people like Dj Jedi, releasing new “old” tunes and represses, people like Glowkid, relentlessly pushing that sound on his radio show and mixes, and a whole bunch of talented people giving away their music for free on Soundcloud, such as Nicky Allen. Each of those named are doing superb work, and each have many supporters (including myself) but do not have the name recognition outside of their own spheres of influence.

On the “big name” side, there are a few people finally testing the waters with the new old skool sound. And I don’t mean new tunes with old skool elements in them, or “rave breaks” or any of those other “just like hardcore only new” things. I am talking about making proper, unashamed, old skool hardcore. There are new releases by 2 Bad Mice, Altern 8, Xenophobia, and Billy Bunter & Sanxion, all of which are doing it properly. And this is brilliant, its fantastic to see these names bringing out great new music.…but…What I want to know is, will there be follow up albums from these artists? Because unless these first ones succeed, there won’t be.

Even so, it seems to me that everyone is, at last, facing in the same direction, and these different elements can come together and create a vibrant, “new” old skool scene. I am not talking about giving it a new name or anyone trying to organise it – I have seen people attempt that with “4 Beat” and “Hardcore Breaks” etc, it never works. There can be no ownership, no forced branding. It will happen organically, or it won’t happen at all. Or rather, it IS happening – but will it survive? Thats the question. A lot of people are finally starting to put their money where their mouth is, on both sides. Artists are saying “Ok, I will take the risk and make an old skool release, on vinyl” (This is the risk I am taking too with these new releases) And fans of the music are actually using their hard earned cash to buy them.

And this is the core thing, the basis for all that could be. Without the new music, nothing happens.

So if you are reading this and want there to be a new, vibrant, old skool based hardcore scene, all these things have to happen together – there has to be new music from old skool artists, legacy artists, in the old skool style. It has to be released in a way that makes money, MP3s just don’t do that, and anyway, they simply do not have the same…power…that a vinyl release has to legitamize the sound. When old skool artists do that, it opens the door to the new artists, the ones that have the talent but are not being heard. I know its not fair, but its just the way it is. You need both – the old guard to open the door, and the new breed to walk through it. Neither are enough on their own.

3. The Financial Effect

monergy

“Pictured – Actual MP3 Profits this year”

Money. Like all things, it comes down to fucking money. I wish it didn’t, but it does. As I mentioned in my support for Dj Hams album project, artists should get paid for their work, and in the current music industry its nearly impossible. Because philosophy aside, we all need to eat. Yes, making music for the love of it is great – and lets be real, if you are in the hardcore scene, thats why you are doing it. But if you want a dedicated scene, there have to be dedicated people – and that means people that can afford to spend ALL their time on the music, not just 3 hours a week. I’m not just talking about producers – I’m talking about rave promoters, Djs, radio hosts, studio engineers and musicians.

One of the reasons the vast majority of old skool artists left the hardcore scene or stopped altogether was simply financial. Most ended up getting a “real” job, because they simply could no longer afford to spend time and money on a scene that doesn’t pay them. Or they moved to other scenes that would pay them. Its not a question of love, its a question of actual real issues like paying rent.

For any sort of resurgence of an old skool hardcore scene, there has to be some money in it. And that means making music that makes a profit. Once you have music that makes a profit, you can have events that pay Djs to play at raves that make money for people who will pay to hear it. Its the central trunk of the tree that everything branches from. And weirdly, in 2016, a good way to make money selling music is vinyl. MP3s make so little, and thats a problem in itself, but they also do not give you any sense of real accomplishment. There is no “product”. Have you ever spent time just looking at and enjoying the feel of a vinyl record? As an artist, I have to say that is one of the best things ever, This is MY record that I made. Look at it. Hold it. Smell it. And play it, I suppose lol. You can only do one of those things with an MP3. And as a buyer of music, its so exciting to get a brand new vinyl record – getting an MP3? Its just…its not the same. Its not the same at all.

While any scene has to have a solid financial basis, a very big part of the thrill of making and owning music is having an actual beautiful object at the end of it, and that feeling of achievement as an artist, or of owning something precious as a buyer. So again, it comes down to this – if you want this sort of music and this scene, you have to buy the records. You have to buy mine, and Billys, and Alterns (lol) and etc. You will also need to go to the events and all that good stuff.

I know its expensive, I know vinyl is an old format, and I know, I know, I know. But if you don’t support these releases, they won’t happen again. And I mean actual financial support. Liking this blog post is nice, sharing it on Facebook is nicer – I am grateful for both of those things – but likes don’t make this work. Money does. Thats the unpleasant bottom line that no one likes to talk about, but there it is. Lose money, end of. Break even, can’t grow. Make a little profit, grow a little. Make a big profit, fuck off to the Bahamas. lol Im kidding. You know how it goes.

Right now, we are at a crucial moment, a rebirth moment. If these albums from old skoolers do well – and if the new Kniteforce vinyl does well – other old skool artists will release new material or get involved in the scene. And that will open the door to new artists releasing material. Meanwhile Djs will want to play it more, and promoters will want to do events. In fact, Djs ALREADY want to play it, and promoters ALREADY want to do events. We all fucking LOVE the old skool. But we can’t keep playing Sonz Of A Loop Da Loop “Far Out” and fucking “Searching For My Rizla” by the Ratpack. No matter how much we love it. We need new music with that old ethic and vibe – thats the difference between a dead scene and a live one. And this is the best opportunity I have seen to make that happen since the early 2000’s.

4. The Selfish Factor

me

“This photo was taken in 1843”

Unlike many of my contemporaries, I did not have babies when I was in my twenties, or when I was in my thirties. I stayed sprog free for decades. But all things change…and so at age 43 I have a baby, and its the best thing ever. Unfortunately, it turns out, babies are quite expensive. And, also, they take up a lot of time. As FP would say – Who Knew? So I am sitting here writing this while he squirms about and gets angry for no reason at all, and I feel its only fair to put my cards on the table, next to the bottle, the wipes, a vomit soaked rag and an assortment of dummies and toys, and tell you this: No matter what happens, I will always find a way to keep making music. It has been, and will always be, a huge part of my life.

However.

It is much harder now as I have much less time. I used to write a few tracks a month – whereas in the six months since he was born I have made one new track and a few remixes. It is getting easier now that baby Wilder is out of his cry / poop / eat / sleep / cry phase. But still, I have to consider carefully what I am going to do with the time I have, and like many of my contemporaries discovered, suddenly it matters that what I do isn’t a loss financially or time wise. I don’t care if I live on beans. Babies do, and if you don’t feed them right, you go to jail lol.

And so, I very much want these records to succeed. As a record label owner, I will continue to make certain that KFA keeps going. I love modern hardcore, and the group of KFA artists I have around me now are both my friends and my inspiration. And running an MP3 based label is not overly difficult or time consuming. Making music though? Thats another thing altogether. As a musician, I have always tried to do it all – every style, all the time. But as a father, I am finding I have to be a little more precise in how I use my time. I love modern hardcore, but old skool and breakbeats is where my heart is. And I love releasing music in any format, but if I can do vinyl? I will do vinyl. Even though running a vinyl releasing label is about 40 billion times more work than an MP3 label. Thats how much I want to do it. So I openly admit that I selfishly want these records to do well.

But its not just that. My selfishness has (good) repercussions.

Since it became known I was restarting Kniteforce as a vinyl label, I have been inundated with music from producers. Some of it average, sure, but the chance to get things on vinyl has meant people have bought their very best work to me. So most of it has been stunningly good. And I want you to hear it. I have KF66 – KF71 lined up already – but only if these first two sell well. I have a bunch of new artists as well as material from original KF artists, and we are talking fucking brilliant tunes. I have signed Alex Jungle, whose 4 track EP will blow you away, I guarantee it. Dj Ham has said he is willing to make new tunes for Kniteforce. I have spoken with one of my all time music heroes and they have agreed to do a remix for me for the 12th and final “Remixes” EP. Basically, I have so much amazing music for you and I want to put it out and I want you to hear it and be as excited as I am about it. But it all goes nowhere if these first few don’t sell.

I want to emphasise that its not JUST the money, or EVEN the money for myself or many of these artists. Its just the key factor that everything else hinges on, unfortunately. For most of us,  one of the biggest draws is simply the opportunity to have music on vinyl. And its the type of music – old skool allows the artist such freedom compared to almost all modern styles. Its the prestige of having a vinyl release (vanity, sure, but we all have it). All of these things excite the artists involved, and that makes for exciting music. If these releases do well, there is so much more that can happen. And I want that.

I want that really badly.

5. The Future And What Could Be

futurejust

“look, there it goes…oh…you missed it”

All of the first four reasons I have given are for right now. But the success of these first few vinyls will (I hope) have an effect much larger than that. Let me give you some examples. Would you like new tunes from Justin Time, or Acen, or Hyper On Experience? or Austin? or NRG? Or any of your long lost music heroes? I would. But how do you get those older artists to make mew music? Or new old skool music, I should say? Well, some just won’t be interested. They will have moved on to other things, or not be contactable, or whatever. But some are just like you and me, loving the old skool, missing the old days, wanting to make new music in that style but certain there is no market for it, and also not having any way to release the music they make in the first place.

Now, imagine that we have had five or six new Kniteforce releases, all in nice sleeves, all have sold out, all have made a little bit of money. You all know me well enough to know I won’t be spending the profits on a helicopter or heroin or any other things beginning with “h”, like heaps of happy hens. After paying for basic survival and feeding Wilder more than a few beans, I will spend it on the music, as I have always done. I would then be in the perfect position to call up some of these older artists and offer them a deal – maybe I will pay them an advance or outright for some music. They would get a proper vinyl release. I don’t know. But I would have the power to at least try, rather than the current situation which would be “will you spend days making a new old skool tune to sell as an MP3? I can give you 26p and a button for the trouble”.

Its a big difference.

And my label aside – others will release new material for their own pleasure if they see it is worth doing. New and old artists will give it a go. New and old Djs will play the new stuff – success breeds success. It just does. And obviously, should the current crop of new old skool styled vinyl do well, a bunch of people will jump on the bandwagon. But here’s the thing – that will be fine. Because if you wanted to jump on the bandwagon of any other scene, you would need to just copy the format others are using. And the greatest thing about old skool? There is no fucking format. So even the band wagon types will have to bring something to the table other than copying someone else. You certainly won’t be able to copy Kniteforce, none of the next EPs I have ready are anything like each other, except they are all superb, proper hardcore.

Then again, maybe I am wrong – thats how I end most of my blog posts. I am a dreamer, and this is a dream I want to be reality very badly. Maybe I am kidding myself. But I look around, and everything in me says “Now. Now is the time. This could happen.”

But it will only happen if you support it. If you make it happen. So as ever, as always, it is up to you!

Here are the links to the pre sale of KF64 and KF65. The vinyl is being sent from the UK. The Kniteforce Bandcamp website is being jointly run in the US by myself (being bossy) and in the UK by Dj Jedi (doing the actual work). So you know you are in good hands!

 

14

Podcast 49

Podcast 49, featuring Luna-C mixing some new Kniteforce and KFA material and guest staring Kaytaro with a fantastic new school hardcore mix!

 

Tracklisting:

 

Luna-C Mix

1. Dj Luna-C – Tech Shmec

2. Alex Jungle – The Need In Me

3. Idealz – TunE

4. Cru-l-t – Don’t Be Afraid

5. Alk-e-d – Shining Bright (Dj JePh Remix)

6. Alex Jungle – 5th Season

7. Dj Force & The Evolution – Fall Down On Me (Billy Bunter & Sanxion Mix)

8. Dj Luna-C – Piano Progression (Scott Brown Remix)

9. Demcore – Summer

10. Disowned – The Needles

11. Future Primitive – Ban This  (M-Project & Music Servant Remix)

12. Scartat – The Trustworthy Promoter

Kaytaro Mix

1. Taylors Gift – Bad Blud (CLSM Remix – Dave Skywalker Intro Edit)

2. AoS – Chasing Dreams

3. Dj Luna-C – Wonderful Days Remade

4. Damaged – The Bootleg Mash-Up – S3RL – Bass Slut

5. Dave Skywalker – State of Mind

6. Doughboy – Hardcore Sirens

7. Fracus & Darwin – Ready to Rock

9. Getty – Pump It

10. Scott Brown – OhEmGee (Origina Mix)

11. Riko & M-Project – Finally

12. Saiyan & Cru-l-t – CL4P

13. Hixxy – No.1 (Al Storm Remix)

Inappropriate Song Of The Month:

Noah & The Whale – An Atom And A Molecule

3
Facebook Icon Twitter Icon