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Supaset 15 – The Kikwear Set – Download Now!


Welcome to my blog post about Supaset 15 and Kikwear. For those of you who are not interested in any sort of explanation, here is a link to download the set:

Supaset 15 – The Kikwear Mix

For those of you who are interested in an explanation, here it is!

Kikwear is a clothing company that is very involved with the rave scene in the USA, supplying much of the rave fashion, and sponsoring events and Djs. I am pleased to announce that I am now officially sponsored by Kikwear, which is great because I always like to work with people who are invested in the rave scene. Also, free hats! lol.

Some of you, especially the US residents, will know who Kikwear is. Some of you, especially the UK residents, might not. This is because the history of rave music, and therefore rave fashion, is different in the USA to the UK. I did not know who Kikwear was until I moved to the USA, although that might be because I spend a lot of time with my head in the sand lol. Over the years, much has changed in the music and the fashion in the rave scene, and since I moved to live in the USA, I have learned that the roots of rave style are quite different. In the UK, old skool ravers were all dungarees, bomber jackets, baseball caps and baggy clothes. In the USA, it was similar, but the pants were wider – much wider, often covering the feet entirely due to width, plus there is the “candy” thing as well – coloured beads made into bracelets and necklaces and all sorts of things. Obviously, these things vary by place, and over time, and the styles have merged as the years have passed, but while I remember seeing very large pants in the UK and in Europe, I was unaware of who made the clothes.

Kikwear sponsors many raves in the USA on a regular basis and its great to see a company that puts their money where their mouth is and that is actively involved with promoting the rave scene. I am unlikely to wear the gigantic pants – I am, after all, over 40 years old, a terrible dancer, and also British, which means I am a little more…hmmm…reserved? However, I do like and wear the shirts and the less huge pants etc. You all know me well enough to know that I would not join forces with a company that I could not promote honestly.

When an announcement is made for a new Dj joining the Kikwear roster, the DJ supplies a mix. And this is what I have done. However, when asked for a mix, I was a little bit stuck as to what I should do. I could have done a standard Dj mix, but that would be a little weird after all these years of releasing Supasets. So I wanted to do a set especially for Kikwear. As the announcement date approached, I was busily working on Supaset 16 – Timewarp – and sort of working on Supaset 15, which was likely to be a new Luna-C FM. However, I could not finish both SS15 and SS16 in time for the Kikwear announcement and my upcoming tour. And once a Supaset is released online, I no longer play it live.

So instead, I have moved the idea of a new Luna-C FM set to Supaset 17, and made something that is unique for my Kikwear set. And I have called it Supaset 15 because otherwise it would just get very confusing for everyone involved, including me lol.

Supaset 15 is unusual because it is three sets in one. It is a mix showcasing the sort of music KFA releases and that I play when I play live. It contains many unreleased brand new forthcoming KFA tracks. And it has a section of Supaset 16 – Timewarp – as well, which, as it touches on the old skool vibe (understatement) makes it perfect for a mix by one of the oldest surviving hardcore labels and a clothing company with an equally long rave history.

So go ahead and download it. It contains a lot of very new material, and I think you will enjoy it very much. I expect there will be questions about the Timewarp section, which I will answer in my next blog post, next week.

But for now, grab the mix, check out Kikwear’s site while you do so:


Kikwear Facebook

and leave comments below and on the Kikwear FB page 🙂 Its the least you can do for a free mix, right? 🙂

Nice one,

Chris / Luna-C


KFA67 OUT NOW! New Status Report! Exciting Things!


KFA67 front 500

Please welcome Demcore to the KFA clan lol. KFA group? Label? Buddies? Weirdo’s? You choose. Anyway, this release is a little more 4×4 than most KFA’s, however it is stunningly well made and all the tracks on the E.P are in my opinion very very excellent. And thats not even proper english, so it must be true. Also, superb Ex Ec. So get on it right now…

KFA67 Ex Ec

There is quite a lot to talk about so I will do my best to make it as simple as possible. Firstly if you are thinking “wait, where are KFA65 and KFA66?” then I love you very much because you are a regular KFA customer and you are the best. I have had to rearrange release dates because KFA65 is remixes, and it is excessive in size, and excellent in content…and it is also waiting for a final remix to be completed. So that should be the next EP and I hope it will be here at the end of March.

KFA66 is sort of finished. It is 4 tracks of my best work, but there are things that have to happen before I can release it. Is that vague enough? Good 🙂

KFA68 and KFA69 are penned in as Doughboy and Idealz E.Ps. And KFA70 is finished, but I have no Ex Ecs ready as all my time has been taken up with getting the new Supasets done. Yes. Supasets. Plural lol.

Supaset 15 is coming as a free download at the end of March. I have decided to give this one to you before I have ever played it out, because of reasons that will become clear when it is released. It features a section of Supaset 16 as well. So in a sense it is not a “true” Supaset, but it is all exclusive material, and it is something I think you will all really love. In the end, I decided to call this mix Supaset 15 as it will get confusing for me otherwise, and call the one I am about to play out on my tour Supaset 16 – Timewarp.

Both sets consist of “complete” tracks. I have changed the way I do things with the Supasets, partly because I was bored, and partly because I would make tracks and people would download the sets and then ask if I was going to release “that one with the kangaroo in it” or whatever, and I would not be able to release it because the kangaroo bit would only be 64 seconds within a track that also contained 2 KFA tunes, a sample of a TV documentary and a track from another label, with no intro and a speed change at the end. Making it not a thing I can give away. Also, I have found it frustrating not to be able to reuse tracks from Supasets, as the kangaroo track only works if I play the thing with the fridge in it beforehand, and lentil mayhem after.

Note: Kangaroo, Fridge or Lentil Mayhem are not real tracks. But they should be. In a better world, they would be!

Moving on, here is the Status report for this month….


KFprogressgraph 8th March 2015 500

So there’s that. And there is also this:

KFlp16 artworkfront500


Once again, well done to Dj Saiyan for winning the KFA Mix Competition. KFLP16 – The Best Of KFA Album is due for release on the 27th of April. Feel free to spam the crap out of it 🙂

What else? Oh, all of the KFC T-shirt Pre-sale Orders have been packed and sent. Yay! I have a few overstocks, as I have to order certain amounts to reach certain price breaks. But once these are gone, I will not order them again. Dodgy logo and all that, you know 😉

KFC Tees

I am sure there are other important things to tell you, but I am tired now lol. So here are my tour dates for the UK – would love to see you at any of these!

Epidemik – London – 14th March

Uprising – Sheffield – 20th March

Bangface Weekender – 21st March


Yes Yes! Will be playing Supaset 16 at all of these. I am excited / scared about the response. See you there?


Nice one,






Hello Everyone,

Here are the much anticipated results of the Dj Mix Competition. Sorry its a little late, but that turned out to be a good thing as I did in fact need the extra time, only coming to a final decision about 3 hours ago. I hate it when you just want to find results and theres a load of waffle to get through, so I am going to post the 2 winners and one runner up in picture format, then explain everything below. So those of you that won can bask in the glory lol, and those who did not can smash their computer in anger and curse KFA for all eternity. What? Thats how I always resond to not winning anything, so I assumed that was what everyone did. Its not? huh. Well anyway:


Winner 1, Dj Saiyan


Runner Up / Winner 2 Ongaku Robot



Runner up / Winner 3 Bad Corey

badcorey comp

Okay, some explaining and all that. All the mixes I received were either very good or much better than that. I hated having to choose a winner, I really did. There were at least 10 I could have chosen to be the final winner. Before I talk about why I chose the mixes I did, I want to give props to a few mixes that could just as easily have won. Mastermind Moon’s mix was very clever, quite Supasetish – a difficult task within the restrictions I placed. MrPanda’s mix was also very accomplished – I already knew his mixes were good, hence me featuring him on a recent podcast, but as I mentioned in the email, I listened to all these mixes blind so I did not know who I was listening to until after I had already heard the mix. Katayro’s mix was fantastic, a pleasure to listen too. And a special shout out to Robbie P whos mix was a little bit less polished than some, but every track was mixed in tune with the last one. Quite incredible, that.

I say all this because before I had the mixes in, I thought it would be fairly easy to pick a winner, and it really wasn’t. I could not base my choices on technical aspects, at least not much. There were very few clangs in any of the mixes I received, so I could not even thin down the playing field by very much. I feel like using the phrase “they were all winners” but that makes me sick up in my mouth a little bit lol. Still, it is kinda true.

In the end, I simply chose the ones that stuck with me the most. Luckily, two mixes stood out just a little bit from the pack for opposite reasons:

Saiyan’s mix is the perfect KFA showcase. Every mix is precise, smooth, on point and clear. Each track is nicely balanced in that no track goes on for too long or too short. This is not something that really matters in many ways, unless you are mixing for an album. Which this is. And that was the main reason I chose if for the winning mix. There were other mixes that were as balanced, but the track order selection was not quite as good. Or mixes where the balance was perfect, but some of the mixes were not as smooth. This one stood out in clarity and as a perfect album mix.

However, I almost chose Ongaku Robots mix as the winner. It is frankly insane, basically a supaset. It has a bunch of added weirdness, extra samples, and all sorts of odd little quirks and clever mixes. Perhaps it is egotistical to like a mix because it sort of sounds like me, but I sound like me because I like barely organized chaos in my music. So yeah, this mix is brilliant, and in the end, I only decided to go with Saiyan’s because while Ongaku’s mix is perfect for us – people into KFA – the point of a “best of” album is to draw people in who are not so familiar with KFA and its slightly peculiar take on the hardcore scene. Is that a flimsy reason? Yes. However, thats all I had with this many good mixes to choose from lol. Another small reason is that while it will be Sayian’s mix for this release, both Ongaku and Bad Corey will (hopefully) be mixing fully released albums for the label in the future, and I think Ongaku could do something pretty impressive given a free range to the entire catalogue.

Did I mention the winners get the complete collection of everything Kniteforce / KFA has ever released as part of their prize? No? Well, I didn’t want any other incentives to get people to enter 🙂

Lastly, I chose Bad Corey’s mix as the runner up. It was much harder to choose the final runner up than the two winners. His mix is solid, competent and cleverly mixed with a great track order selection. In the end, it was the use of scratching – just here and there, as it should be – and a extremely clever mix from Thrones & Dominions into Continue The Fight that decided me on it. Clever exit too!

So congratulations to the three winners. I will email you all in the next few days – or you can email me if you like (if you do, tell me your address so I can send you music!) and we will get things rolling. I have Jimni Cricket on the artwork already…Exciting stuff!

Thank you everyone for entering. It was a really fun experiment, and I look forward to working with all of you at some point. I will leave you this image from Ongaku’s MP3, because it made me laugh out loud. I especially like that he needed to let me know this was temporary artwork. I am almost tempted to make the the front sleeve of his mix:

Best of KFA Mix Compeitition

Nice one,






Hi Again,


Slight delay on the announcement, I only just finished listening to the last mix today. This is partly because I had some issues with my ears a few weeks ago, and could not listen to anything for a few days, putting me behind. All good now. But here is an update, and the winner will be announced on Friday 13th of February. So at the end of this week. Sorry about that.

Okay, I finally listened to all the mixes, and there are two clear winners. Thats a problem lol. So I will have to relisten to those mixes in the next day or so before making a final decision there, with one of the winners becoming a runner up. A bigger problem is the other 20 or so “runner’s up”, which I have to somehow whittle down to one.

There was not a single bad mix. I did not consider that in doing this competition, I have made myself the judge, and after listening to all the mixes its actually not a pleasant place to be lol. There were a few mixes that I perhaps could not have released as a professionally mixed LP, but the majority were easily good enough, many of them better than the mixes on big compilations simply because you guys had some pretty tricky tunes to mix in the first place.

So yeah, very impressive, and a very difficult task to choose the eventual winners.

So here is what is going to happen now. I mentioned in a previous Facebook post that I could send out feedback individually to everyone. This I will do in the next 48 hours. It will not tell you if you won or not!

The feedback I have for each mix is very small, usually just a sentence or two noted down either after the mix ended or during if I wanted to remember a specific mix. I think I might have given the impression that I would send everyone a firm critique of their entire mixes, and I wish I could, but I would still be on the first five mixes if I did that lol. These are really just my notes.

The winner and runners up will be announced on Friday morning, this week.



Nice one,




February 2015 Status Report

KFprogressgraph 5th feb 2015

Hello Everyone,


Do you like my graph? I know, I know, its brilliant. I just thought it might be fun to do an update at the beginning of each month, so you can see what is going on, and as a helpful reminder to myself.

Anyone who has been paying attention will have noticed a continual increase in activity from me. There are many reasons that this has come about, and I will go into them at a later date, but all you need to know for now is that I am absolutely loving what I am doing, and I am doing a lot of it. I seem to have the same excitement and drive I had in 1993. Which is personally pretty stunning to me, and very exciting. The result of this is that I have been getting quite a lot done. By which I mean, I have got more stuff done in the last 2 months than in the previous 2 years. Since December, I have finished a huge number of tracks (20 maybe?), often working 12-18 hours in the studio. Because I had to. I cant asleep, too many ideas. So welcome back, 1993 Luna-C, you who worked so hard and also had insomnia lol.

So a quick rundown explaining the above graph…

KFA65 is a Remix E.P. It is complete, but I am still waiting for the delivery of the remixes – all are due this month. This will no doubt be the next release.

KFA66 was the start of the snowball increase of productivity. I had been working on something on and off for about a year, but every attempt resulted in something shitty or it just didn’t work. I started and scrapped maybe 15 attempts, probably more. At the end of October, the thing I had been trying to do finally came together and I finished possibly the best track I have ever written – something truly me, from the heart. I think at this point, I finally became an “artist” for want of a better word. I broke through barriers that had held me back since I first got into the business. I sit it next to My Angel, only better because…well. You will see. But one track is not enough. October was spent trying to pull off the same magic again. And at the end of October, I did. November bought a third track. And a fourth. But…there are things that need to happen before I can release this E.P. Sorry to be vague, but many things will make more sense when you hear it. So its not quite complete, and may well come out after a few other KFAs!

KFA67 is a brand new, recently signed artist to KFA called Demise. Some proper solid hardcore that I cant wait to play for you all. I expect this will come out after KFA65.

KFA68 and KFA69 are likely to be Idealz and Doughboy. Both are working on new E.Ps for KFA. I have one of the Idealz tracks already, and its marvelous!

KFA70 is what I have been working on the last few weeks, making tracks betweeen the Supaset 16 tracks. I have 3 tracks completed, and am waiting for the forth to be finished. It is very different from the Risk E.P. If you were a raver and had no idea who Luna-C was as an artist, and I played you the 2 E.Ps, you probably would think they were different artists altogether. KFA70 largely came about because of inspiration from the creation of Supaset 16, although the actual tracks are more likely to appear in Supaset 15. This will make sense, I promise you, even if it sounds insane at the moment.

The concept and the first track for Supaset 15 arrived in one go, and I was ready to work on it immediately. But then I had another idea for a set, and it was so good I had to drop everything and work on it. So Supaset 15 has one or two tracks ready, and the concept in place, and I am gathering material for it while thinking about the execution of it. But I am furiously working on…

Supaset 16, which is either the greatest idea and concept I have ever had, or is so stupid that I will never live it down. It will cause a stir I think, maybe even an uproar. Or perhaps no one will give a shit. Whatever, sometimes you are called to something, and then you go for it. I have 10 completed full length tracks for Supaset 16, all of which will get released somehow. In fact, both Supaset 15 and 16 are being built in a different manner. Instead of making small 2-3 minute tracks, I am making full tracks, then editing them down for the sets. This way, I will be able to sell or actually do something with the tracks I make, even if they are simply freebies for the mailing list.

Old Skool Supaset 3 is on the back burner at the moment. But I have maybe the first 10 minutes of it done.

Other things people will want to know about:

The KFA Mix Competition – I am now down to the last 5 mixes to listen to. It has been an amazing thing, hearing all theses mixes. At this time I am likely to get everything done and have the winner announcement ready for the promised date.

Free Supaset Tracks – I talked on Facebook about giving away some remakes of the older Supaset Tracks. This is definitely gonna happen. I intend to send the mailing list one a month, every month. They will be available for a week or so each time, then gone. However, I have yet to remake a single one of the older Supaset tracks. Sorry. Its just, new stuff was calling me, and I have to ride that creative wave until it throws me ashore. When it does, I can get on to the older Supaset stuff, as that takes technical creativity but not creative creativity, if you see what I mean?

The February Idiotic Product is coming soon. It is very idiotic, and also very cheap and free postage. So if you are thinking “I wont buy the presale of the KFC shirt because I don’t want to miss the Idiotic Product for February” then you are insane. That aside, you don’t need to worry about it – free postage you see? I have to say though, I do these stupid products, and every time people buy them and every time I am surprised. Having said that, I use my KF Coffee Mug all the time. So I guess I have to raise the stupidity of what I am selling? I think Februarys product will cover that lol.

Oh, and yes, after relentless demand, I finally got the KFC shirt ready. Presale open now, for a week! Clicky…

KFA Shirt

Okay, thats it for me for now – back to the 4th track on KFA70. Git er dun. Nice one, Peace Out Fools! Fist Bump. And etc.




I figured it would be nice to say whats going on every once in a  while with the Dj Mix Competition. So here is a little bloggy update.

I have to admit I kind of dreaded going through all the mixes I got sent. While I was very excited about the competition, the actual sitting and listening to loads of mixes repeatedly playing tracks that I had probably heard more often than anyone else in the world seemed like a bit of a pain in the butt.

I am pleased to report being absolutely wrong, as this is shaping up to be one of the most fascinating things I have ever done as far as interacting with everyone goes.

I received about 35 mixes in total. More people entered, but did not send in their mixes – go figure!

I have listened to a third of the mixes. I only listen to one per day because I want to come at them with fresh ears. And I usually train Kung Fu while listening to them, so I can pay attention with my ears and am not just sitting still or distracted in the car or doing other work. I have made brief notes on each mix, because I did not want to forget a good mix just because I listened to it first. I am happy to send those notes out to each Dj if you like?

Anyway, it is amazing to hear what each Dj does with the tracks. For example, I can tell which Djs are more comfortable with breakbeat, which ones are more comfortable with 4×4 and which are easy with both. And I sometimes think I can actually hear the personality of the person mixing. Some of the mixes are frantic, others careful, some are uneven in pace, others are very structured.

And all of them have been either very good or excellent.

And not a single clang. The worst there has been is “those two tracks aren’t great together” and even then, I have felt picky just thinking it. But I am going to have to be picky, because the standard is so high.

It is interesting to see which tracks are popular as the first and last in the mix as well. A number have used My Angel as a first track (for brownie points? lol) and a few smart asses have used Belladonnakillz as the outro track – using the “so long, bye bye” to end the mix. That is such a good idea and I cannot believe I have never once done that on a Supaset. Its not like I don’t look for outro samples, and I have a fkin class tune that I love, released on my own label, which is basically a ready made outro. Sigh.

Each time I hear a standout mix, I put a note on it to make a smaller list so I can re-listen to those mixes. I am a third of the way through, and there are 4 already that I really don’t know how I am going to choose from.

And there are still two thirds of the mixes to listen to. So that “best of” list is going to grow.

I want to thank everyone for entering, and compliment you all on your mixing. I am frankly amazed at how high the standard is, and a bit annoyed to be honest. I thought there would be a few lame mixes that I would get 10 minutes into and think “nope” lol.

Not a single lame mix yet.

I will update you all again once I get through the first round.

Nice one,



5 Things Everyone Can Do To Improve the Hardcore Scene in 2015

Hello again!

A number of people liked my previous blog, so I figured I would write another one. Once again its in the format that the website Cracked uses, but this time they are online, so after reading this, go have a look. Its a brilliant waste of at least 30 minutes of your day lol:

Anyway…Perhaps it should be said right from the beginning that I write these things mainly for myself. I find writing down my thoughts and ideas clarifies what I want or need to do – the emphasis being on trying to improve my own outlook and abilities. So if you read along and disagree, or think that the things I am talking about don’t really apply to everyone, then you may well be right – it may just apply to me lol.

In some ways it was easy to write “5 Things The Hardcore Scene Needs To Learn In 2015”, mainly because criticism is easy. Try it for yourself, perhaps on a sibling, or your significant other (I take no responsibility for you sleeping on the couch). Anyone can complain and talk about how something is not as good as it could be. And as I am British, its extra easy because it is a proud tradition of my people. But in an effort to be Australian (the traditional home of boundless optimism), I am going to try and offer a few things we could all do to actually help the scene, and maybe make a difference.

Anyway, here we go…

1. Whatever You Are doing, Do It Properly.

Here is a picture of the decor at the rave in Atlanta I recently played at. It was hosted by Katalyst Atlanta, was called “Return To Pandora” and it had an Avatar theme (no, really? lol).

avatar 1



“Everything is blue in this world…”

The picture does not do it justice as it is only one room of the three and it was taken before the place was full. The venue was already awesome, but as well as the stuff hanging from the ceiling, there were actual bits of tree painted to look Avatar-ish, as well as the extensive decorations hanging from the ceiling, around the Dj booths, and also some giant mushrooms which I would have thought I maybe imagined, except that I tripped over one of them. And here is another picture of ravers who used the face and body painter, who painted people to look like the Na-vi:

avatar 2

“So are we Star Wars droids, or what?”

This is doing it properly. Not only was the party themed, and then made as blue as possible, even the body painters made sure to keep within the theme. Its a small thing, but it matters. In my last blog post, I mentioned in a very offhand manner that promoters need to do something other than themes. In retrospect, I felt a little bad about this because it is just as difficult to do something new when putting on a party as it is to do something new musically. So I wanted to clarify a little on my previous comments, and then apply it to everything else. BangFace, Katalyst Productions, Tight Crew and various other parties I have had the privilege to play for, choose a theme and then go all out to make the entire night follow that theme. A recent Tight Crew party was Mario themed, and even had game consoles set up to play MarioKart etc on. Again, its not a big thing, but these little details make for a really complete party experience. The promoters do way more than is called for, but in doing so, they make the party a unique experience. It is fantastic.

The scene as a whole has become stagnant, but I think this is as much due to laziness as to repeating the same ideas. Things don’t need to be new all the time, but they do need to be awesome all the time. So if you are doing something that has been done before, you need to do it better than before. And attention to detail is where the difference lies.

This applies to every aspect of the scene, not just parties. If you are making an old skool sounding track, use the original sounds, but produce them to todays standards. It will take longer. It will be more work. But you have to do it properly because otherwise, whats the point? Likewise, if you are making a modern hardcore track, or any sort of music, short cuts need to be forgotten. Producers cannot keep falling back on old tricks. Its the small details that make it progress rather than a rehash.

Dj’s cannot keep playing the same tracks in their sets (I am looking at you, Luna-C lol). And they need to remember they are putting on a show – so be a showman. Dress to be part of it if you can (again, I am looking at myself here as I have a tendency to dress like its sunday morning lol), dance to the music you are playing, and for fucks sake look like you are enjoying yourself even if you aren’t. There is nothing quite so dull as watching a statue play records, and that small thing reverberates around the room. The crowd feeds from the Dj, the Dj feeds from the crowd. If the Dj is dead, the crowd has to work harder to be alive. Also, are you a warm up Dj or a headliner? Both have a certain responsibility. If you are warming up, learn the art of it. It is not a respected or loved place to be unfortunately, but if you do it well, you make the whole party better. It takes skill, and I think it has become a lost art. So don’t play the headliners biggest releases just before he or she plays. Likewise, headliners need to respect and appreciate the previous Dj’s work. It costs nothing to shake the previous Dj’s hand and thank him or her, but it shows the crowd we are all in this together.

Blog posts, and hardcore website owners need to have the correct spelling and grammar on their sites, plus working links to tracks where appropriate etc etc. Not because any of those things matter in themselves – I am certainly no grammar nazi (how do you spell Kniteforce again?) However, do it because it shows attention to detail, and that you care about what you are doing. When some new potential raver reads it, you want them to draw them in, not make them think the scene is run by fools who can’t spell and don’t care about what they are doing.

As for ravers, if you are going to a rave, get there early, and leave late, not after an hour or two. Why? Because if promoters are putting on a proper party, and Dj’s are playing proper music with commitment to their art, you ought to be there for it. They are there for you, yes, but are you there for them? You should be. Neither the promoter or the Dj is going to make a million dollars playing that set or spending time making the venue look amazing. All they really get out of it is the satisfaction of pleasing the ravers. And if all the ravers go home at 2am, it kinda sucks for everyone. And if the warm up Dj is playing to no one, why should he bother?

The reason all of this needs to happen is simple – it shows commitment to the scene and each part helps the other. The raver dancing to the first set at 8pm is telling the Dj that what he is doing matters, and telling the promoter it was worth opening at 8pm instead of 9pm. The worst thing that seems to happen at the moment is people leaving after the headliner plays. That’s sad, and it links to the Superstar Dj thing mentioned in my previous blog. If you go to the party, try to stay as long as you can? Be there for your locals. This might mean dancing to music you might not be totally into. But try it, it can be brilliant, and the Dj will definitely appreciate it.

If we all do our part and make just a little effort to do things properly, the whole scene will thrive and be more attractive to those new people coming in.

2. Embrace the Future.



You know whats really boring? The phrase “Real Dj’s use Vinyl” and the entire conversation that goes on after that. Its bollocks. Big hairy boring bollocks. It is also boring when someone starts a sentence with “I remember in the good old days” but I am going to do that anyway. I remember in the good old days, when ravers thought they were the future. We felt like rebels, we were embracing a new technology and a new music and a new attitude. The rave scene used to be about innovation in every aspect. To use a horrible word, we were “futurists”.

Nowadays we all seem to be looking backwards. To address the Dj and vinyl issue,  let me clear it up once and for all with this simple sentence:

Who the fuck cares?

It is the least important thing. I love vinyl. But I cant do a Supaset with it. I don’t like playing CD’s but it is practical for what I like to do in my sets. I don’t trust my laptop not to spaz out at a club and I cant edit vinyl, so CDs is what I use. The only thing all of that has in common is it is MY PREFERENCE. No one dancing to the tracks I am playing is thinking “this is good, but it would be better on Serato”. And I have never heard a set that I didn’t like because the Dj was playing on Ableton or whatever. These sort of arguments are pretentious nonsense. Does vinyl take more skill than CD? Or Traktor? Again, who cares? I want to hear something new and exciting, whether its Jimni Cricket cutting it up this way or a new producer using a laptop. What does matter is that the Dj is making it work. If you like vinyl, great. If you like Serato, also great. Whatever makes you happy, basically. But lets not pretend that it matters even slightly to anyone but ourselves.

Another boring thing is everyone saying “its not as good as it used to be” – which I am totally guilty of…But you know what? Perhaps one of the reasons its not as good as it used to be is stupid people like me hanging about the place saying “its not as good as it used to be”. Why are we looking backwards? We didn’t used to. I think we have all got into our own comfort zones, where we want to hear the things we like played the way we like them. And thats okay…but its not enough. We need to be looking forward, and embracing the new things while retaining our love for the old. There is nothing wrong with the old ways of doing things – there are certainly things to learn from the past. But once we have learned those things, apply them to the future.

3. Show Your Appreciation Part 1 – Speak Up


“or I will jab you in the face with this mic”

With the scene being so small, we really need to encourage the makers of things to stick around. We need to let the promoters, artists, Djs, record labels, ravers and everyone else know that they are appreciated. There are various ways to do this, and all of them are important.

For a start, leave a comment. Leave a comment on this blog post. Leave a comment about the rave you went to last night. Leave a comment on the Soundcloud mix you listened to. Write a review on iTunes, a message via Facebook, an email to a Dj, whatever, but speak up. Don’t sit there enjoying shit and not saying shit. Those of us in the creation business put out hearts and souls into what we do, and as often as not we sacrifice money, time, and even relationships to do it. We would do this anyway – it is how we are built, we are driven. But creativity is a finite resource that needs sustenance. Part of that is being inspired by others, but another part is to know that what we are doing is worth the considerable effort we put into it. It’s not about ego. It’s about…how to explain? I sit in the studio most days, and I have ideas in my head for tracks and sets and artwork. I feel the excitement, I get hyped up, I have this thing I want to do, something I want to try out because the artist in me screams that I have to, I have to. And the icing on the cake is that when I show everyone this thing, people are going to love it.

The single thought I have to avoid thinking is “no one will care about this” because if I start thinking along those lines, all the enthusiasm drains out of what I am doing. I will do what I am doing anyway – I will still eat the cake. But its so much better with the icing on it.

Look, I am not going to pretend that I don’t want people to love what I do. Perhaps that makes me egocentric, but any artist that publicly displays any type of art wants the people to like it – otherwise they would not bother to make it public.

Why am I writing this blog? Because loads of people commented on the last one. Why am I putting out a new hardcore track? Because people danced to the last one. I can sit at home and make music for me and write things for me, but every time I reach out and connect with you, it validates what I am doing and encourages me to do more. And even if you hate what I do, the feedback lets me know, helps me move forward.

I cant be sure, but I think this is the same for every Dj, producer, promoter, photographer, blogger – whatever, you name it. We are not desperate for comments and people kissing our ass, we will do what we do anyway most likely, but it sure is nice when you release a new tune and people actually bother to say how much they liked it.

4. Show Your Appreciation Part 2 – Pay For It


“Subtlety – now available in comic sans”

There have been endless boring debates about piracy, and I am not going to drag it all up now. As far as that goes, there is so little money in the scene nowadays that if you are stealing hardcore music, you are quite literally incapacitating those who make the music, and that is the debate over. So please, pay for it or fuck off.

But what I really want to say here is that we all need to pay for what we like, and its bigger than music piracy. A successful party promoter gets to know a lot of people – networking and encouraging people to come to the party is absolutely essential to the success of the party. But I would ask those ravers that are friends with promoters to still buy the tickets at full price. You may think that “its just you…and your girlfriend…and your girlfriends mate” that want a discount / free ticket, but you are three people in a huge list of others all asking for a discount or free entry. And taken as a whole, that is a chunk of money that the promoter may well need to afford the night. And if they are lucky enough to make a profit, that money can be used for the next party being a bigger, better experience.

I keep going back to it, but the scene cannot sustain itself if people don’t pay for what they want and get paid for what they do. And its really not that hard to do, nor that expensive, if we all just pay a little. Its the same way for Dj’s. Yes, you are playing out, and promoting other peoples music. But everyone is a Dj nowadays, so all the Dj’s also need to buy the music rather than try to get things for free. Also, a plus one at a party is standard. A plus two is okay as well. A plus ten is taking the piss and you really need to check yourself. A free alcoholic drink is nice, but the promoter is not obligated. And no, you don’t deserve 20 bottles of champagne.

These are just a few examples, but there are many others. In all cases, if stuff is offered for free, then sure, take the kind person up on the offer if you want. But consider that kind person – are they being kind to everyone? At what point will the kind person no longer be giving away anything because they are now working in the accounts department of a corporation?

I am certainly not suggesting giving Mr Greedy McSelfishpants any extra money – but we all know those who are genuinely promoting the scene and those who are only in it for themselves, and we all ought to help out the good ones in every way – in comments, financially, and then perhaps most importantly…

5. Show Your Appreciation Part 3 – Get Involved

There are millions of things you can do to support the scene. The two mentioned above are the easiest in a way – it is easy to sit at home and leave comments or pay for something. The fact that many people don’t is a mystery to me, but it is no mystery that many people don’t get involved. It takes effort to get involved, it takes work, it takes doing something other than watching TV lol. But still, if you can, then please, get involved. You know someone putting on a party? Help them set it up or post it on your Facebook or twitter or help with the flyers. You have access to a studio? Make some music. You have turntables? Make a mix, and put it out for people to download. Can you draw? Design in Photoshop? Flyers and logos are calling you. Skill with decor? Or photography? Step up, you are needed.

Getting involved is better than leaving comments or paying for stuff, because it does both. If you are helping the promoter set the party up, you are saving them money and time (and yes, you should then get free entry but that should not be the reason for doing it lol). If you are releasing podcast mixes, you are commenting in the best way possible about what you love with the music. Again and again, whatever you can do, I encourage you to do it. Not only will it help the scene, it will also be fun for you, and you will meet a lot of new people and learn a lot of new things. It is true that it sometimes sucks – you can put a lot of effort and get little reward. But in my experience, it is mostly awesome, and you will have a great time. Helping the scene might be the reason to start, but once you start, that will be an incidental benefit, one you wont notice because you will be having too much fun doing whatever you are doing. Even if you disagree with me on everything else I have written, trust me on this one, because I know it to be true.

Nice one,



5 Things The Hardcore Scene Needs To Learn In 2015

I read the website Cracked quite a lot. Most days. They usually have 4 or 5 new articles a day, and they are usually in the form of lists. Some are comedic and some are serious, but they are always fascinating or funny or both. I was going to add a link, but for the first time I can remember, the site is down. Sigh.

For a few weeks, I have had the idea of doing a hardcore version titled: 5 Things The Hardcore Scene Needs To Learn In 2015

Having said that, it was more of a personal idea and something to think about, than something I would publish. But as it turned out fine, I thought I would share it. Also, it mostly relates to the US scene, as I live in the US now, but I think it applies all over to some degree:

5. Hardcore Needs To Realise Its Not A Big Scene Anymore.


“Hi, I’m happy hardcore, nice to meet you rest of the worlds music!”

This is the root of the problem I think. And part of it is due to old fucks like me who remember a bigger scene and forget that it has changed. We don’t know how to adjust because we lived through the vinyl selling years. To us (and you can count in this pretty much any artist or Dj who had their music released on vinyl), the current music industry is relentlessly disappointing. We were very used to selling records for a living, and Djing as a bonus, or vice versa. We always think we could “sell more units” if….something. We are not sure what that something is, but we still think it.

But we can’t. Not now, maybe never again. And this thinking leads to errors in judgement.

Another part of the issue is that the scene as a whole is optimistic by nature, and we all want the scene to be bigger and better. We just cant quite figure out how to go about it…but still, we hope. But that hope only lasts so long, and we don’t see anything change, so….

And the last part of it is pure mythology. I am constantly told by promoters and ravers in the US that “This party is nowhere near as good as the UK, right?”. But the UK has shitty and good parties, the same as the US. And many of the US parties have been as big or bigger as the UK parties I have played. The only thing the US currently cannot do so well is the “huge” rave. Those are getting rarer everywhere. But the main reason the US cannot do it is geography. Ravers are spread too far apart here to pull off 2000 plus parties with any degree of regularity, if at all. It used to be like that, yes – but hardcore needs to realise it is not a big scene anymore.

This error in thought leads to warped expectations that sour us on the scene. No one likes being disappointed. And while we all walk around thinking “It used to be better” or “It should be better” or “I wish it was better” we are not really getting anywhere. Instead, I humbly suggest we accept the scene is small. That’s okay. It leads us to better questions, such as “What can we do with it? How can we make it better for the people in it? What has not been tried before”. Being small has advantages – lower risks being a major one. If the party is gonna be small, if the sales on the new release are tiny, there is nothing to stop us trying out new ideas. And we need new ideas desperately. This will grow the scene. Nothing else will, and shit, we have tried everything else lol.

4. The Superstar Dj Has To Die


I got this image by searching Superstar Dj. Exactly.

Slightly controversial perhaps, but I have long thought that the superstar Dj is the epicentre of the problem. One of the things that drew me to raving was the sense of community. I was with all the other weirdos, listening to weird music in a weird place played by a weird fella, and it was great. We were all together, we were all odd, and we were all part of the same crowd. The raising of a Dj to superstar status immediately separates the Dj from the crowd. I am always flattered when someone asks for an autograph or does the bowing thing, yet it always leaves me a little uneasy too. Because of my history perhaps, because my best years raving was an era when you didn’t even know who the Dj was as often as not. I understand the intent, it is a thank you and a way to show respect etc, and thats a beautiful and appreciated thing. But I would much prefer a hand shake or a hug – those things are inclusive, meeting someone on the same level. Bowing etc cannot help but put distance between the Dj and the people, a distance that is not healthy for the Dj or the mentality of the rave. Rave culture as a whole should be about everyone being part of it, equally. We all do different jobs, be it raver, Dj, promoter, producer, and all of us are needed to make it work.

When the Dj is the star of the party, the parties without a star Dj cannot gain traction. It did not used to be like this, and does not need to be this way. Parties used to make a name for themselves by being good – the flyer would list the Djs, but it was not the sole reason to go to that party, or even the major reason. Parties built a reputation for being good regardless of the amount of fame the Dj had.

It puts an unfair emphasis on the Dj as well – promoters can’t help but think that if the party is not full, then the Dj does not have enough pull. But there are many reasons a party might not be full – geography for example. Darren Styles would pull about 3 people in my hometown of Raleigh, because Raleigh has about 3 ravers. I am certainly not blaming the promoters for thinking this, or for empty parties. Its just the Superstar Dj warps the perception right from the beginning because it leads to “Big name + party = good party”. Not so.

The Dj superstar thing affects the Dj too, with some having egos the size of planets, and others that expect their every whim to be catered to. It unbalances everything. We want a strong rave scene, not a strong fan base for a few of the Djs in the rave scene. We need promoters that can put on parties and have them be successful without having to have a big name. More small parties that are great will do a lot more good for the scene than a yearly Big Dj Worship Gathering, no matter how much fun that yearly gathering is.

3. Old People In the Industry Need To Charge Less



“I sure love playing HTID! I can easily afford my adult diapers for the month!”

And by people, I mean me. But I also mean other people like me, who have been around for long enough to charge a decent amount to play. If we accept the scene is smaller than it used to be, then we have to accept it cannot pay the same fees it used to. Now, this is a problem because like others, I have mistakenly learned to live on the money from music. And this leads to expectations. And hopes. And thinking the scene is big because that way I can still get paid and therefore survive like I used to. No! That is just bullshit.

We have to lower our prices because we need more parties. There are less parties when promoters cannot afford to do them. Those of us who are lucky enough to be able to spend the majority of our time making and playing music need to be doing more of it, for less. Its gonna be difficult, but it is what it is. Until the scene gets stronger, we will just have to deal. This applies to remix fees as well. And record label cuts from artists. Pretty much straight down the line. If the people with the most power want the scene to grow, then we need to encourage more people to stay in the scene. So we need more of everything – more producers, more promoters, more Djs. And to get that, we need it to be affordable and worthwhile to those entering the scene. So we need to lower our prices…but conversely…

2. New People In The Industry Need To Charge More

little dog

“Look, I want to be at the party for you, but I need a little help in return…”

We need new people. We need it desperately. We need at least five more S3rls, a few more Jakazids, a Rhythmics or two, a big pile of Jon Does, more Bangfaces and Tight Crews, more Rebuilds and more Hardcore Undergrounds ….we need more. We need more people making music, we need more people playing it, and we need more parties. We wont get that when the new people don’t get rewarded for their efforts. They get shitty Dj times and rarely get paid – the promoter cant afford it cos they got a big name in who is charging all the money. New producers give music to labels and don’t get paid or even accounted to. Its hard to do a years accounts for someone only to find that they have earned $1.63. Still, it needs to be done so that the artist feels it is worth doing and so that they know that they are not being taken advantage of. It’s one thing to say “your release made no money” but it is another to prove it with accounting. It makes a difference.

Promoters must start paying their home talent, and the home talent must start charging to play, even if its just gas money. If I were in charge of everything, I would make it a requirement that everyone who plays on the night receives a minimum wage of $50. Not because people won’t do it for free – they will. But they shouldn’t. And not because I think promoters have bags of money – they don’t. But it would establish a) the Dj’s time and effort is valued and b) make the scene more professional, so that the people in it would not feel used or like they wasted their time. It would also make promoters think about who was playing where. It is too easy to hire a venue, find you have an extra room, and then just get anyone to play because they will do it for free. All this does is spread a small party into smaller areas, so instead of one big room thats full, you have two big rooms that are half full. And it looks like its only a quarter full,  because it doesn’t make a bigger party. You usually wont get more than a handful of extra people for the extra room. And the fact that Djs will play for free means that the promoter does not have to worry about how good the person is. The thought is “Its a free extra room with a free set of Djs, why not? It makes the party look bigger”. But it doesn’t. It makes it look smaller because no one room is ever packed out. The vibe is spread thinner. It also brings down quality because if you are not paying for something, it doesn’t usually matter if its not very good. But in this case, it really does.

1. Everyone Has To Take More Risks


“A whole article and not one mention of farts”

This is maybe the most important one. Man, the scene is stale. Look, I love hardcore, I have been here for 22 years now (on and off but mostly on lol), so I don’t think anyone can doubt me. But we need to pick it up, shake it out, and find new ways of doing things. There is nothing wrong with what we are doing particularly, other than its what we have been doing for over a decade or more and it is just stagnant. Hence the lack of growth. Producers need to risk much more in their music. Seriously. Its not just about what fills a dance floor – because although that is important, I find I am hearing the same formula for hours at every event and have been for years. And it cant help but get boring. I am not advocating any style other than “do something new”. This is not an easy thing to do. In fact, it is maybe the hardest. But unless we start getting a little more variety in the scene, we are destined to stay exactly where we are. Its no good when someone gets into the scene, loves it, and leaves it in the space of a year because the first and last party they went to had the same Djs playing the same music in the same venue.

Djs need to mix it up. Just…play other peoples stuff for fucks sake. Not just your friends and your own. Not just your usual sound. Its tough because we all like certain things, but we have to just get out of that mindset altogether. We have to be willing to use our power to push more variety.

Promoters have similar issues. They need to come up with things to do with parties other than the “theme” idea. We all love Mario, Xmas, Anime and Halloween, yes, but its been done. And done, and done and done. All the parties that I see being successful go the extra mile to make each event something unique. This is absolutely essential.



I hope no one reads this and thinks I am having a go at anyone. This is just what I think needs to change, and so I wrote it out. As with everything I write, I might be very wrong. But it feels somewhere in the ball park to me 🙂


Anyway, I am going to put my money where my mouth is and in 2015 I’m gonna try and do the following:

1. Drop my price as a Dj and remixer. I want to play more and do more, and believe in what I have written above. Therefore, it is necessary.

2. Try to play at least 5 small parties this year where I have not been advertised to play. I will play for free. If you are a small promoter reading this, hit me up and lets see if we can make it happen.

3. Give a greater financial incentive to my artists on the label. There is very little to go around, but I want them to stick around 🙂

4. Take risks as a musician and artist. I already have an E.P lines up called “Risk”, named as such because it is a very different thing to what people might expect from me. And I am going to keep pushing, in every direction, taking risks with the music I make even if it fails. Especially if it fails. There is no other way to find out what works.

5. Take risks with my Djing. And play some other peoples music, for fucks sake!

Nice one,



Music Rule 3

After 1 & 2 came 3. Seems obvious in retrospect lol…


Rule Three: Whatever worked last time DONT do that again.
This one isn’t mine, I read it in an interview with Brian Eno. Another way to put it is this “Formula is the death of artistry.”
This is another one I had to learn from painful experience, and I see artists in every scene and every scale fuck it up. I think its such a huge problem because it is not instinctive, and it is therefore hard work – you have to catch yourself doing something that is natural to yourself, and then do the opposite. We all operate under the idea that if something works, keep doing it. This is true of almost everything, but not art.

I made this mistake with Remix Records, (and with Kniteforce Records as well, to a lesser degree). Remix Records succeeded quickly, and over the space of the first few releases established a formula. And it was a good one. Mixable intro. Breakbeats with a kick drum. Hip Hop vocal snippet. Drum rolls. Drop into stab pattern or piano or vocal line. Nothing too crazy, no sudden jarring changes in pitch or key or style. Always happy. It was never written down, there was no big plan, it was simply a matter of finding out what worked and doing it. And it did work. It worked extremely well.
Until it didn’t.
Because art requires an element of inspiration, it requires something which surprises the audience, something audacious or beautiful or powerful. Something that shocks them and makes them take notice. I don’t know what it is, no one does. But I know what it isn’t – it isn’t using the same kick drum in each release. It isn’t having the “good” bits in the right place. It isn’t making sure the release is easy to mix, or uses the latest VST. All of those things are great, and all or none of them can be part of a good release, but they are not the reason the release is good. And they are dangerous, because as soon as you rely on them, as soon as you think “this worked so well on the dancefloor last time, it will work again” you have lost some of the power. Want proof – who loved the follow up to Robert Mies – Children? Or the 2nd single from that Sandstorm bloke? Or the second Smart Es release? All three were derivatives from the “big” single, trying to repeat the same trick again. Of course some people loved them…but I know the sales figures for Sesames Treet versus Loo’s Control, and I bet you they are mirror images of the other two artists I mentioned. Simply put, its not gonna work. It might for a little while, if you are lucky…but sooner or later (usually sooner) everyone will have had enough of it and then thats that – your precious formula is dead.
And you see it in all music’s and all scales. I loved the first Mumford & Sons album. I thought it was amazing, really different. I think the second album was good too….but…it was more of the same. If their third album is more of the same again, I very much doubt I will be interested in their fourth album.
Its not fair of course. But fair is irrelevant. An artist works hard to get their “sound” and so they want to keep it. And some people manage just fine without ever changing their sound. But mostly, it doesn’t work. Huge artists – Radiohead for example – mature and change. OK Computer does not sound like Hail To The Thief. Kid A is not The Bends. But they are still distinctly Radiohead. How do they do that? Fuck knows. I doubt they even know. But you can be certain they didnt do it by sitting in the studio thinking “Hey, remember that great chord structure in “Creep”? Lets do that again, only change it around a little and make up new words” lol.

More importantly, apart from the “successful” question, there is the artists personal fulfilment to be considered. I dare say some artists are fine with retreading old ground all the time – I understand that. I like to just relax and make an old skool track every now and again. Its a pleasure to do, and requires no new ideas (plug plug) and no real effort as far as innovation goes. But I recognise it as the dead end it is if I try to just do that. Even if I made millions, it would still be an artistic dead end for me because without progress, you stand still, and if you stand still when the world keeps moving, you get left behind. I have done that too.

So yeah. Once you have got it exactly right, whatever it is you are creating, you have to then move on. Or quit making that form of art any more. If you truly think you have made the best piece of music you will ever make, there is no need to keep going – except for money I suppose (See rule two).


Music Rules 1 & 2

For no explicable reason, I decided to post on Facebook with a list of my music / business / life  rules. Here is a copy of that post, Rules 1 & 2….


Rule One: Trust everybody once. Assume you wont be ripped off. I know, I know, people will rip you off, it happens. But the thing is, experience has taught me the vast majority of people in this scene want to do it right. Take Djing. I have been stung maybe 10 times. In my entire career. So thats roughly once every two years. It could be argued that if I had been more careful, had a manager and contracts, those rip off’s wouldn’t happen. But I don’t agree – I have been ripped off under contracts because they are only a protection if you have the money and will to chase someone, which no one in the hardcore scene does, so lets not pretend otherwise. Bad people write contracts too. In the end, it is much nicer to assume the person you are working for will pay you, and accept that they might not, than to stress about the whole thing.
And if someone messes with you, never work with them again. Ever. No matter what. I am not talking about accidents – sometimes shit happens – I played at a party with permits that still got shut down for no reason at all except police wanted to. My first Bangface gig was after a bomb scare in London, and it meant many people did not show up. These things are no ones fault – being nice in this situation is the right thing to do.
No, I am talking about the promoter who just doesn’t pay you and thinks thats fine. It is. Let it go. but never play for him again. And tell EVERYONE.

Rule Two: Never let money be the sole motivator of anything creative.
Its okay to earn money from your art. I like nothing more than getting paid for my music. Having said that, I did not make the music only for money. But to pretend I did not also want to get paid would just be dishonest. Every artist wants to get paid – if not, why did you put the music into a place where it can be bought? Thats okay. The problem is when it shifts your artistic vision away from what you should be doing. An example – I was asked to do a mix for the now defunct Bonkers series. I was flattered and excited to do it, plus it paid pretty well as far as I knew. So initially I said yes. But when I thought about it, how would it work? I could not use my usual sample heavy tricks for the mix, the thing I am known for – they would all have to be legally cleared for that album, and one track from a Supaset would cost more to clear than the album was worth lol. So okay, I could make the set without the samples. but then, that would be a Luna-C mix that didn’t sound like Luna-C. The people who bought the album to hear me would be like “errr, what?” and the people that only found out about me on Bonkers would be a bit confused if they ever heard me play live after that. But thats okay, I told myself, I would get known by more people so sell more music and Dj more and NO! NO NO NO NO NO. Thats where you get tricked. It would have been a simple, small compromise. Some artists could have done it, and thats fine – I am not condemning them. These are my rules for me, remember? But I knew that it would have been the wrong thing to do for me. I had stopped thinking “What amazing mix can I make for this project” and started thinking “This would get me more work / attention” and at that point, it was all bollocks. So reluctantly, I had to turn it down. Only you can decide where that line is. It might allow you to be a hardcore artist that rights commercial pop songs too. It might mean you can only make 250bpm death gabber. It doesn’t matter as long as you keep your integrity, as defined by you. Oh, and that line can change by the way. Maybe even it should. In 1992 I was “hardcore is the only music, everything else sucks” in 2013 I released a folk album. 1992 Chris is not 2013 Chris, and he shouldn’t be. My artistic endeavours matured and changed and grew is all. As yours should.

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