Archive | Production Notes

The Triple Threat Is (Just About) Here…

The Triple Threat Pre Sale Opens Monday 1st October

And is released on Monday 22nd of October!

WHAT YOU GET IN THE BUNDLE

KF100 – The Triple Threat Vinyl LP

Disk 1 – Kniteforce:
A1. Hyper On Experience – Lift Me Up (Luna-C Remix)
A2. Pete Cannon – The Box (Sunny & Deck Hussy Remix)
B1. Alex Jungle – The Need In Me (M-Project Remix)
B2. Shadowplay – Calling Me (Clayfighter Remix)

Disk 2 – Knitebreed:
C1. Wislov – You Make Me Happy (Audio X Remix)
C2. Paul Bradley – Magic (Empyreal Remix)
D1. Sunny & Deck Hussy – Only You (Mannik Remix)
d2. Ant To Be – Nobody Likes Me (Scartat Remix)

Disk 3 – KFA
E1. Demcore – Believe (Ant To be Remix)
E2. Doughboy – Rock Deh Riddum (Dj Ham Remix)
F1. Anglerfish & Lucider – Rumba! (Shoreman Remix)
F2. Audio X – Set Your Feelings Free (Liquid Remix)

Plus links to the digital Downloads in 320MP3 and 24bit wav versions!

KFCD100 – The Triple Threat CD

CD1
01. Hyper On Experience – Lift Me Up (Luna-C Remix)
02. Pete Cannon – The Box (Sunny & Deck Hussy Remix)
03. Alex Jungle – The Need In Me (M-Project Remix)
04. Shadowplay – Calling Me (Clayfighter Remix)
05. Wislov – You Make Me Happy (Audio X Remix)
06. Paul Bradley – Magic (Empyreal Remix)
07. Sunny & Deck Hussy – Only You (Mannik Remix)
08. Ant To be – Nobody Likes Me (Scartat Remix)
09. Demcore – Believe (Ant To be Remix)
10. Doughboy – Rock Deh Riddim (Dj Ham Remix)
11. Anglerfish & Lucider – Rumba! (Shoreman Remix)
12. Audio X – Set Your Feelings Free (Liquid Remix)

CD2
01. Alk-e-d – Home (Darwin Remix)
02. TNO Project – Start Lovin (Shadowplay Remix)
03. Sanxion – Gettin It (Demcore Remix)
04. Saiyan & Cru-l-t – Only Whats Real (Alex Jungle Remix)
05. Gothika Shade – Enter The Dancehall (Dj Jedi Remix)
06. Future Primitive – Right Here (Doughboy Remix)
07. Timme – Bad Choice (Paul Bradley Remix)
08. Clayfighter – Into My Eyes (TNO Remix)
09. Mannik – Computers Are Taking Over (The Timespan Remix)
10. Luna-C – Alice (Idealz Remix)
11. The Timespan – Sensation (Gothika Shade Remix)
12. Shoreman – Deep Waters (Saiyan Remix)

CD3 – Dj Brisks Triple Threat Mix
01. Dj Brisk Intro
02. Hyper On Experience – Lift Me Up (Dj Luna-C Remix)
03. Dj Brisk – Airhead (Sanxion Remix)
04. Audio X – Set Your Feelings Free (Liquid Remix)
05. Demcore – Believe (Ant To Be Remix)
06. Anglerfish & Lucider – Rumba! (Shoreman Remix)
07. Timme – Bad Choice (Paul Bradley Remix)
08. Clayfighter – Into My Eyes (TNO Project Remix)
09. Mannik – Computers Are Taking Over (The Timespan Remix)
10. The Timespan – Sensation (Gothika Shade Remix)
11. Gothika Shade – Enter The Dancehall (Dj Jedi Remix)
12. TNO Project – Start Lovin’ (Shadowplay Remix)
13. Saiyan & Cru-l-t – Only Whats Real (Alex Jungle Remix)
14. Dj Ham – Most Uplifting (Doughboy & Jimni Cricket Remix)
15. Sanxion – Gettin’ It (Demcore Remix)
16. Pete Cannon – The Box (Sunny & Deck Hussy Remix)
17. Doughboy – Rock Deh Riddum (Dj Ham Remix)
18. Alk-e-d – Home (Darwin Remix)
19. Wislov – You Make Me Happy (Audio X Remix)
20. Shoreman – Deep Waters (Saiyan Remix)
21. Alex Jungle – The Need In Me (M-Project Remix)
22. Paul Bradley – Magic (Empyreal Remix)
23. Triple Threat Outro

Plus links to the digital Downloads in 320MP3 and 24bit wav versions!

BONUS CONTENT:

Exclusive Digital Downloads:

We have a bunch of things that are not quite ready for the bonus content…will add a full list as each thing becomes certain, but we have a few ore tunes including the amazing Sanxion remix of Dj Brisk “Airhead” as featured on the Brisk Mix CD…

AND NOW, THE TALKING BIT!

The Triple Threat is a celebration of 100 releases on Kniteforce, and close to 100 on KFA and…some…on Knitebreed as well! That was the excuse that triggered the whole thing you know. And for the pedantic: We just cut and have test presses of KF88 – so thats 88 Kniteforce releases. Plus there was also KF18R and KF15R and KF21R – so thats 91. Then there is KFSE 1-4, bringing the total to 95. And then there are the 4 KFLPs that were on vinyl bringing it to 99. And then…err….oh, yes, then this! KF100. Phew, that was close lol.

Ands yes, I did those sums for the first time just now ha ha!

But really, it is the culmination of many many long months of hard work and planning. It took a long time to organise because the idea is simple in principle and complex in execution. Basically, each of the 12″ in the triple vinyl pack represents one of the 3 main KF labels – Kniteforce, KFA and Knitebreed. Each vinyl contains four tracks from one of the labels, and the tracks are remixed by the other two labels. So the Kniteforce vinyl has 2 tracks remixed by Knitebreed artists, and 2 remixed by KFA artists, and so on and so forth.

It was tricky because JUST the vinyl means we are talking about 24 artists. And of course, like all of my ideas, it quickly spiralled out of control and we had the CD idea and so on until the whole project became massively complex with over 48 artists involved. I think. I am not counting them. But its a lot. Anyway, the point is, it became so complex that it is actually…lets see…6 months late? Maybe more. Haha, brilliant.

It was worth the wait.

Because I think we have compiled one of the most interesting and era covering hardcore LPs ever. And not only that, it is fucking brilliant. You can tell I mean it, because I did a swear, which I never normally do.

The Triple Threat has artists from 1991 – 2018, of every era and style. It has the very famous, such as Liquid, and Hyper On Experience (who I got to remix!!!…Yeah, I bent the rules a bit, but Luna-C has appeard on KFA so it was that Luna-C that remixed H.O.E, not Kniteforce Luna-C, and if any of you think I was going to pass up the opportunity to remix my greatest influence and hero, then I dont know what to say to you lol…but I digress)…where were we? Oh yes, so big names from the old skool, Liquid, Hyper On, as well as KF old skoolers like Dj Ham and Future Primitive…and Me, I guess? Then there are KFA artists such as Idealz and The Panacea and Empyreal and Saiyan of course. And then the newer artist to the label such as Paul Bradley and Pete Cannon and Clayfighter and Mannik…and…theres a lot of us, it turns out. But what is really great is how unique we all are – Shoreman is not Audio X is not The Timespan and Shadowplay is not Doughboy is not Alex Jungle.

So I think this album very well represents the “alternate” sound of hardcore, but I do not think this sound it is going to remain “alternate” for much longer, if it still is, which it isnt or might not be. Errr. Moving on…The excitement for The Triple Threat is off the charts, we have had to barcode it because it is maybe going to go into Amazon and HMV etc, and once you put a big name like Brisk as the featured Dj on the mix? Well, you are planting a flag in the ground and saying “listen up mofo’s, we are here, and this is what hardcore is.” Sure, some people wont agree, but they arent reading this.

Yet.

And when they do, all I have to say is “Welcome!” ha ha. I honestly belive that the future of hardcore is here, now, and it is inclusive in sound. It is old skool. It is new skool. It is True Skool. It might even be Ghoul Skool ha ha. All I know for sure is, it is what we have always been about. Good music, genre defining and defying, fun and serious, complex and simple.

It is Kniteforce. We are 100. This is the perfect album for it!

While I am here, I want to thank everyone who has worked so hard the last few months to make this happen. A big thank you to Sara for the artwork cos god damn it is beautiful. To Shane Saiyan for all the help in compiling and getting the remixes in and generally being a soundboard on how we should do things. Idealz for the hard work he is about to do packing and shipping everything ha ha! Glyn Lowercase for all the promotion on his show, and all the KF radio crew for the support come to that.

A massive thank you to very artist on this release – too mamy to name, and that is humbling in itself, but a special shout out to a few who are friends of the label more than on the label – Edd Jedi, top fella! Sanxion – Your Airhead remix is superb and is a special bonus for those who buy the bundle! M-Project, you know we love you! Darwin of course, big up sir! Your remix of Alk-e-d is so good, it appears here as well as on the Alk-e-d Legacy!

A massive thank you to my old mucker Dj Brisk – I am very grateful you mixed this album, because not only are you one of the most skilled Djs in our scene who could handle such a wide array of styles and speeds, you are also one of the original KF crew.

I am sure I have missed people. Liquid and Hyper On and Pete Cannon for being so very generous with thier music and there time…Paul Bradley for wearing a cowboy hat. Shadowplay for yacht rental. Everyone at Curved and SRD. That bloke with the limp. I dont know, I am very tired.

But it was worth it. I couldn’t be more grateful or more proud. And I hope you all enjoy this release as much as I did making it!

Nice one,

Chris / Luna-C

2

Why Not Join The Kniteforce Mailing List?

Hello,

Firstly, thank you for clicking on the link! In doing so, and in a weirdly ironic way, you have demonstrated one of the reasons for this blog. I wonder, did you click it from a post on Facebook? Or from a link in the Kniteforce the mailing list?

If you came here via Facebook and you are not on the mailing list, you can join using the form on the top right of this page! And please do – its great – and its gonna get a whole lot greater 🙂

If you are already on the mailing list, I thank you! Seriously, you are one of the reasons we are here doing what we do.

Because heres the thing. One of the toughest challenges for any record label or musician is actually getting word of your new music to the people who want it. It is very difficult to do. There is no central place everyone looks anymore – web based forums are mostly dead, magazines are non existent, record shops are very individual and specialist, and TV advertising is obviously way out of our reach, and even that is failing as people do not watch it anymore. All we have really is things like Twitter, Instagram, Reddit and Facebook. The first three are are fairly weak at advertising new music as it gets lost swiftly, and Facebook is not very good although until recently it has been the best option out of the four. And sadly, Facebook is getting worse for anyone who wants to spread the word about anything they are doing.

The reason is that Facebook keep changing their algorithms in favour of paid advertising. And the trouble with Facebook paid advertising is its not very effective in my experience. This makes it very hard to get the information out there about new releases. And the result is a direct hit to every record labels efforts to sell music and survive. Its not that people don’t want the music, they just don’t even hear about it, and worse, they don’t KNOW they are not hearing about it. What would previously come up on their feed no longer does.

So Facebook is not our friend, unfortunately.

But the mailing list is. The mailing list is my way to be able to talk to you directly. And here I have to apologise a bit. I had always planned to make the mailing list a bit more than just a place to advertise our new releases, but the label raced ahead and I…errr…forgot lol. There has been so much going on I had barely time to breathe, let alone turn my attention to managing the mailing list a bit better. My bad.

However, since I am now between homes and have had time to think about it, and as Facebook is rapidly becoming useless, it seems to me I need to make the mailing list more attractive both to thank you regulars who are always supporting the label, and to encourage new people to join. Since Facebook is actively limiting our reach (and there is no reason to think its going to change for the better) I want to make sure everyone on the mailing list feels valued and gets good stuff out of it! And so, I have made some changes!

Here is whats going on with the Kniteforce mailing list from here on out:

1. FREE MUSIC

From now on, each vinyl release will have 5 tracks. Four of them will be on the vinyl, and one will be exclusive to the mailing list leading up to that EPs release. The first link is right here:

Paul Bradley – Feels Good – ‘Kin Cosmic EP

Usually, the link will not be public. It will be given exclusively in the mailing list and active for a week, and then gone…but for this first one, you can get the exclusive 5th track on Paul Bradleys newly released EP “Kin Cosmic”. The track is called Feels Good, and was always intended for the vinyl, but we decided on the other 4 because they fit together better as a cohesive EP. You can get his EP as part of the bundle right here:

Kniteforce Bundle 11

Or on its own, right here:

Breed22 – Paul Bradley – ‘Kin Cosmic EP

In the folder, you will find the bonus track and also find a mini mix from resident Kniteforce Radio Dj, Dj Beeno. His show is on Friday nights at 6pm, should you want to catch that! We will often add extras, as and when we have them…maybe sample packs or whatever. It will be a surprise!!!

2. Remix Competitions:

We will be running a remix competition very soon. It will be one of my tracks, and like before, the winner will get their remix cut on a Kniteforce vinyl. Again, only the mailing list will be given the samples / competition details.

3. Exclusive Mixes:

There is one in the folder right now, but we will also be doing things like “preview” mixes of upcoming KF / KFA / KFD and Knitebreed releases. One of those mixes is being done as we speak, and will be available in the next 2 or 3 weeks.

4. Discount coupons and codes:

As many of you will know, we have The Triple Threat triple vinyl and triple CD dropping in October. There will be a discount code for that for those on the mailing list.

5. Exclusive mailing list only releases!

I already have a few planned…

6. Anything else fun I can think of really.

If you are a cynic, you could say “Isn’t this just a way for Kniteforce to “buy” loyalty so that they can sell us more stuff?” And I would candidly answer “Yes” lol. But is that a bad thing? Yes, we want sales – we need sales to keep the label going. Every single one matters. Our survival depends on it. But on the other hand, if you know the label at all, you know we are in it for the funny more than the money. Its just…we do need the money too. Otherwise we cant do the funny. And I feel like this will make the mailing list a lot more fun for everyone, plus you don’t HAVE to buy anything. Perhaps you will just enjoy all the free goodies, and thats fine too. Again, if you know the label and me, you know I am always interested in trying new things. And this is me doing that. My hope is that it will be fun for you, and if it generates a few extra sales as well, brilliant.

I really cant emphasise enough how important your support is. We started releasing vinyl again a mere 18 months ago. In that time, we have gone from one or two releases every 2 months, to 3 releases a month, and have featured a huge array of new and old talent. Many were tempted because Kniteforce can offer a proper vinyl release with a full sleeve, and offer an advance as well. i am in talks with two other HUGE old skool legends, and a potential return of one of the biggest acts ever to feature on Kniteforce Records. We can only do those things because of your support. And your support can only happen if you know what we are doing. And I intend for the label to keep growing, I have ambitions beyond my own label. I want to see this scene expand and grow, and there is such huge potential….but it cant be done alone. And it cant be done if people don’t know what we are doing.

So to sum up, heres the deal: Please join our mailing list and buy stuff. In return, I will give you lots of good things for free. And we can all have fun! Yay!

Nice one,

Chris / Luna-C

8

The new tunes are good, and other news….

So today I want to talk to you about the forthcoming Kniteforce bundle. It is the last bundle before the arrival of the Triple Threat, and as such, it deserves a little hype. For those of you who do not know, The Triple Threat is a long gestating and ambitious project that we have been working on behind the scenes for over a year. It is a triple vinyl, and triple CD release. It combines all three of the main KF labels – Kniteforce, KFA and Knitebreed, and each label is remixing the other labels. It features pretty much every one of our artists in one form or another, from the big hitters such as Hyper On Experience and Liquid and Pete Cannon, to old skool KF artists such as myself and Future Primitive, to regular KFA and KF and KB-ers such as Ant To Be, Alex Jungle and Scartat, to the newer artists like Clayfighter and Shoreman.

Thats the Triple Threat.

The new releases, out on Monday 17th of September, are sort of like the “Black Panther” to our Triple Threat “Infinity War” in that it introduces a brand new character – Shoreman – who is bound to amaze you, and reminds you of the great skill of one of our regulars, Paul Bradley, and also showcases various hero’s such as Doughboy from KFA on the legendary True Skool Series. Okay, so I am stretching the analogy a bit lol…but…its still important.

These three releases are singles, but there is one from each label and all are on vinyl. All three come in a full sleeve, cos they deserve it. And all three are incredibly strong releases. PLUS there is a bonus “teaser” CD for the actual Triple Threat album too!

So lets start with Kniteforce – KF86 – Shoreman – Deep Waters EP.

So Shoreman started out by randomly sending me the lead track of this EP on its own via the KF music submission page. I think. I can’t remember, honestly. Anyway, the first track sent, and what remained as the lead track for the EP, is Deep Waters, and it is devastatingly catchy. I liked it when I first heard it, and then found myself singing it for weeks afterwards. I cant remember what day it is, so if I remember a tune I only just heard? Thats something. So I signed it for the Vinyl Is Better series, a thing I do with new artists to give me time to get to know them, check they fit with the Kniteforce ethos, and also to see if they have more up their sleeve. I knew Deep Waters was a good track, but I have always thought it is relatively easy to make one good hardcore track. It is much harder to make an EP of good tracks.

But I was quickly proven correct in signing Shoreman because “Deep Waters” was soon followed by “Shake It Up”, and wow, thats a great tune. Proper hardcore in every sense of the word. It would have blown the dancefloor away in 1994, and will do so now. “Still Lonely” came in, and at that point I was like “Ok, this needs to be a vinyl release”…and then “Burn The Manic” arrived and, while it is not as catchy as Deep Waters, it is easily my favourite of the four as it is unique and has this wicked rap bit halfway through that just transcends the rest of the track. I absolutely love it.

I think anyone who hears this EP will agree that this marks the arrival of a true talent. All four tracks are absolutely slamming. In some ways, I liken Shoreman to Alex Jungle, not because they sound similar to each other, but because like AJ, Shoreman has a very distinct style, one that is definetly old skool, yet amazingly fresh and inventive.

I expect big things from Shoreman,..and you should too. I already have one of his latest tunes in my inbox, and this EP is no fluke. I wanted this EP to arrive before The Triple Threat album, and actually delayed that huge release for this EP, because Shoreman HAD to be introduced so you could appreciate his contribution…

KFA95 – Various Artists – True Skool 13

It is no real secret that I am also Radiophonic Oddity. It is not a name I use very often, and it is one of my aliases that is not easy to force music out of. R.O tracks tend to focus on drums and rhythms, and so I have to be in a certain mood for that. When Shane Saiyan said he wanted to do a new True Skool E.P, I knew it would need a new Radiophonic Oddity track. And that is why this EP was slow to happen. Shane wanted it as one of the first “new” KFAs, but I just wasn’t ready to make a new R.O.

And then I was. So I did.

And its one of my best, if I say so myself.

And yet, it almost doesn’t deserve to be the lead track on this EP. Because it is surrounded by phenomenal tunes, all of which are both modern breakbeat and unique in themselves. I found myself repeatedly playing the test press when it arrived, and massively impressed by all the artists featured.

Of course I knew Doughboy’s contribution would be wicked. I have long championed Doughy on KFA, signing him years ago, and always loving his releases. I think he is one of the most under rated artists in the scene and it just boggles my mind that he is not a headliner at all the main events. Rock Deh Riddum is a departure from his usual style, being a more breakbeat affair, but god damn is it good.

Both Innercore and Evolutionize bring stunning tunes to the EP. Both are mental in the best sene of the word, and honestly, if you don’t dig these tracks then I simply dont understand why you are reading this blog. They are both exactly what KFA stands for – new and old, proper, inventive hardcore. All in all, this is one of the strongest True Skools, and I am super excited to have this release in a full sleeve and on vinyl!!!

Breed22 – Paul Bradley – ‘Kin Cosmic EP

It is probably not widely known, but Paul Bradley is one funny fucker. It is rare for me to meet someone who makes me laugh, and Paul does so on a regular basis. This is not a good reason to release anyones music, but it is the icing on the cake when it comes to Pauls work. A thread of ridiculous humour runs through most of his tracks, and he seems to take a real pleasure in throwing in the most bizarre samples and ideas in the middle of what might otherwise be an (almost) normal EP. Quite aside from that, Paul has quickly become a close confidant within the label, often helping out with artwork for KF Digital, and generally being an all round good egg.

I was a bit miffed that his first EP did not sell billions, honestly. Maybe it was that his tracks appear too normal at first glance. I assure you, they are not. Paul is deceptively weird, and he makes deceptive hardcore, in that it can seem almost obvious, but it is in fact incredibly clever. And probably a little sarcastic too.

Maybe its because he uses his real name – Paul Bradley. Its a bit normal, isnt it? Which doesnt suit him at all. I think he should have kept his original moniker which was the much more amusing “Captain Triceps”, but I understand outgrowing a name (suck it, Eko).

So I thought “Right! We will give his new EP a proper good sleeve, and then maybe people will take more notice!”

And here it is. So take notice!

This EP is brilliant. I pushed “Bradders” to get out of his safety zone a little, and you can feel this EP is a huge step up from his last one, both in content and execution, plus it has more variety. It does, of course, still have its daft moments, and those just elevate it to a whole ‘nother level in my humble opinion.

This EP is blinding, and if you miss it, then you are ‘kin daft mate.

And thats the three vinyls. I am not going to talk about the Triple Threat Teaser. Instead, have a look at the track list, and then imagine how good this is. And then imagine this idea spread over a triple pack vinyl. And Triple CD. Did I mention, one of the CDs in the Triple Threat album is mixed by Dj Brisk? no? Well it is.

This bundle and the Triple Threat release are both amazing, basically. So feel free to drooooool…..

1

The Luna-C & Lowercase EP and How to Get On Kniteforce Records or Radio!

WARNING – THIS BLOG POST IS VERY LONG!!!

I wanted to write a post about my new record with Glyn Lowercase. And I also wanted to talk a little about how people become part of the label or radio station, and I thought it would be good to combine those two things, seeing as Glyn is a main part of Kniteforce now even though I had never even spoken to him before about two years ago. How did that happen? Did he pay me on the sly? Was it blackmail? Wizardry? Charm? Talent even?

Nope. Well, a little of the last of course, ha ha, but mostly nope. Talent is important, but…honestly? Many people seem to think it is the only thing that matters, when in truth, and for me at least, it is one of the MANY things that matter, and it isn’t even the priority. That might sound weird or counter intuitive, I know, but it will make sense. Probably.

But let me explain in my usual, roundabout sort of way, using Glyn as an example so that hopefully, in the future, I will get many less actual music submissions that don’t stand a chance, and many more appropriate submissions that do ha ha! If I have linked you to this blog after you sent me some music, all the things you need to know are here!

It is important to understand that I get quite a lot of music submissions, and a fair number of people send me music each week. I also have very little time to listen to anything, what with two children that I look after much of the week and running three labels (Kniteforce, Knitebreed and KFD) plus overseeing the production / physical side of those AND KFA. Shane Saiyan does the important music and artist bit on that label, and without him KFA would cease in a second at this point, but I still oversee production etc lol. My days are so full, I sometimes have a tiny bit of time with nothing to do and it freaks me out.

Thats not to mention my own music and studio, plus the day to day stuff, dealing with customers on the stores (While again, Lee Idealz does the bulk of the actual sending out of orders in the UK while I handle the US ones, but I tend to handle all customer inquiries) and so on and so forth.

All in all, on an average week, I will probably get: 10 random submissions, plus at least 5-10 tracks from one or more of the nearly 50 artists on our labels roster. Not to mention the remixes and outside artists involved and planning future projects and paying bills and etc etc.

Basically, a lot of things are always happening. I absolutely love it, but if you have new music for me to hear, and want to be on the label or on the radio or involved somehow, you will need to be patient, and to have the things I am looking for.

Because here is the thing: I am Kniteforce. I run the label, and all the major decisions on it are made by me. i do take advice and ask other people on the label their thoughts, but the buck stops here lol. And I DO NOT do it for profit, although I do like to earn money. And I DO NOT run it for fame or ego – I had that with Smart Es and I hated it. I also DO NOT run it as a favour to anyone, or out of obligation, although I do people favours and I have obligations. No. I run the label for one reason alone:

Because I like doing it.

And the result of that is…I only do things I like doing with people I like doing it with.

Now, any good businessman will tell you, this is not the ideal way to run a business. And I will totally agree. Its not. And in some ways, Kniteforce isn’t a business. It is a hobby that became a business. I do all the things that a business does, and from the legal side of things, sure, it is a business. BUT it is run as a hobby.

Now don’t get me wrong – I do accounts, pay bills, I am organised and careful. But the core of what I do is, as stated before, a hobby and not a business.

This is very important to understand, because it very much effects what I will and wont do with music that comes my way. I will not put out music just for money, for example. I will not release music from someone rude or full of themseleves, no matter how good the music is. I do not work with people who are nasty or underhand even if it would be profitable. I don’t base those decisions on talent, in other words, although of course it plays a part.

It is also important to remember my background – I am a person who failed at music at school, and ended up with a chart tune and bought a studio and made a successful record label with my friends who also were not musicians in any sense of the word.

We made it work because we REALLY wanted to make it work. We had neither knowledge or skill. Like a huge number of our contemporaries at the time, we were lucky enough to have the two things you really needed to make hardcore: We had access to a studio, and the stubborn will and desire to make music. And that was it, and it was enough. The rest, we learned along the way. You can look back now and say I am talented at what I do, or that Future Primitive were skilled with the piano lines, or, or, or, but that came through relentless dedication, not inborn skill or talent. There are exceptions – Styles from Dj Force and The Evolution was always gifted musically, and Ham took to the studio like he was born into it, but the rest of us? Not so much. We just smacked our heads against the wall until we broke through it lol.

And this is why Talent isn’t the priority. Experience has taught me it doesn’t need to be. Circling back to Glyn Lowercase, he is a superb Dj and a good friend, but it wasn’t his talents that secured him his place within the label. And it wasn’t talent that made me take on Paul Bradley, Wislov, Shadowplay, Ant To Be, Alex Jungle, Sanxion, or even Pete Cannon, Hyper On Experience and Liquid, although it goes without saying all of them ARE talented.

No.

It was their love for the music, their dedication and enthusiasm.

And also, just being nice people without huge ego.

As the years have passed, I have come to believe more and more that dedication is probably the single most important key to success. And dedication only remains strong if there is enthusiasm. And ego ruins both. Ego and arrogance ruin all, actually.

Glyn Lowercase has dedication and enthusiasm in spades, and is both determined and humble. Its a good combination, and perfect for Kniteforce.

I first became aware of Glyn because he posted pics of his leg tattoos, which happen to be Kniteforce logos. So…thats dedication. More that I would ever ask for, and verging on the insane, sure, but still, you cant just scroll past someone who has put your record labels artwork into his skin. That person is dedicated and loves the label, so the least I could do was say  “oi oi, nice one” and have a little chat. It turned out that he was only slightly mad, and he wasn’t full of himself, and he had a weekly radio show (this was before Kniteforce Radio). So I tuned in once, then again, until it became fairly regular, and I was pleasantly surprised to hear well mixed tunes, and an enthusiastic host who was obviously very into the music, and Kniteforce played its part in that as well.

This is a key point.

I want to work with people that are into what we are doing. Almost everyone I have ever taken on to the label was already into the label, knew what we do, what we are about, and wanted to be part of it. Likewise, I almost always become aware of that person because they have already done something Kniteforce related off their own backs. It doesn’t have to be as bonkers as tattoos. It might be I see their name pop up int he store, buying each release. Or they do a Soundcloud mix of KF tunes, or sport a KF shirt at an event they are playing at. All of these things and many others show that the person KNOWS the label BEFORE they ask or are invited to be part of the label. Invitations are actually the most common way people end up as part of the label. It would not be far wrong to say I ask those people to be involved who are already involved lol. Its good synergy. It works well for me if those that I work with are as dedicated as I am to the good of the label, and NOT to their own good first.

When I get a music submission from someone who has no idea what the label is about, it is very obvious. People send me their “latest EDM Banger” and I am like “But why tho?”. Or I get messages like “I did this thing and I have done these things and I am gonna do these things and these people think I am great and I want to do this so why dont you put out my record?” and what I hear is “me me me me me me” and I think “errrr…no” lol. Its not that what you are doing doesn’t matter, its great if you are doing well, go you! – But I find myself asking “whats in it for me / Kniteforce?”. We work as a family or team in a real sense. We commit to the good of the label before the good of ourselves. And in doing so, we all make out well, with opportunities given and offered rather than fought for. Kniteforce is not a stepping stone for your career, although I would never dream of holding someone back if they out grow us. But if you are submitting music purely to add Kniteforce as one of the many labels you have released on, I am not going to be into that, and will probably pass.

When I get such messages, it is clear the people who send them neither understand the label or its ethics, so no matter how good the music, thats not going to work out for us.

Back to Glyn. At no point did he say “Can I do this? Lets make a radio station! Can i come to the studio?”. Rather, when I decided to do a radio station, I had already gotten to know him a bit, and I gambled that he would rise to the challenge of running the station, based on the fact that he had enthusiasm and dedication, was a solid DJ and knew a little bit about how a station should be run. I certainly had no idea how to do it, ha ha. But I didn’t know how to run a record label either. If you have the desire and the dedication, you will learn that shit, thats how it rolls and I trust in it. He had left his other station anyway, and so it was all easy. Here is an idea, here is an opportunity, here is a person who wants to do it. I bankroll it, help organise where I can, use what connections I have, then give it to that person and say “run with it” and then we see how it turns out.

It has almost always turned out well.

Things like this show a persons true colours. Glyn was respectful of what we were about, and didn’t run around bragging or making a fool of himself. He worked hard to get the radio running smoothly, took the back seat that is needed when you are running a thing – you cant be all “me me look at me” cos if you are, the whole thing falls apart. Instead, you have to be here, there and everywhere, helping and coaching where needed. In doing all of that, he fit in with the rest of the label perfectly, and why not? His attitude is shared by the rest of us. And right there is another key point – attitude. It really matters. It may be the prime thing, because if you come to me with a shitty attitude, nothing else is going to happen. So in order:

01. Attitude

02. Dedication

03. Enthusiasm

04. Talent / Skill

05. Loyalty

06. Patience

07. individuality

To touch on the last three on the list. Loyalty is important. I am perfectly willing to invest in artists that cover the first four, and I will also invest in artists that make it clear they have other loyalties as well. I prefer exclusivity because it means we are all working together for the same purpose, but as long as people are upfront, I can work non exclusive. But if you want to be fully part of the label, loyalty is expected. Some might think this is unfair, but why would I trust Glyn to run my station, come to my house and work in the studio, if he is just going to go and take those things I have worked to help him with and go somewhere else? Again, I have to ask, whats in it for me? Kniteforce is not a stepping stone, as I said before. I give my all to the label and its artists, and if I am going to do that, I expect the same in return. Its a two way street, always, with loyalty and everything else. i back my artists, i expect to be backed in return. Having said that, loyalty is usually not an issue as it tends to be shown before it gets very far. I also firmly believe, in this era of “everyone running about everywhere doing everything” that loyalty to a single label is refreshing, and allows for a career and to build a solid base rather than taking a scattershot approach. Plus, this is my hobby, I work with my friends, if you are on the label, you are my friend, and in friendships, loyalty is an important thing.

Next on the list… 06 is patience. Things take time, and I take pride in the fact that I try to make sure EVERYONE who is a loyal part of the label or station gets given every opportunity to do ALL the things. But it takes time, with this many people and within a hardcore scene which, at this time, is still sadly limited as it is not a huge scene. Glyn was invited to come and make music with me after the radio station was rolling and I had gotten to know him pretty well and was confident we could work on music together and come up with something unique. It took 2 years for him to go from person I knew to person I work with on a daily basis and trust with the inside workings of the label and now recording artist. But it was worth the wait, for me, and I am pretty sure he would say the same.

Others have done the same thing or are in the process, although that makes it sound like a job interview or something – its not, its natural, never forced, just a progression. I took on Kaytaro and Thibor as Djs to the radio station because as well as being good Djs, the first was a regular customer and the second a huge supporter of the station from the get go. Both have gone above and beyond in filling slots when needed and generally helping Glyn with the radio. Kay will be coming to the studio soon, and Thibor will get to mix an album etc etc And this is how it rolls with us.

Shane Saiyan, who runs KFA for me, I met via an argument online ha ha. And that brings me to the final thing: 07 Individuality.

I am not interested in a bunch of music that sounds like I made it, or like Alex Jungle or any of the artists we already have because…we already have them. So its important to think about what you are sending me. Is it a traditional piano breakbeat anthem? Thats great…but…Ant To Be and myself can knock those out too. As can Liquid and Future Primitive and and…that doesnt mean it will get a “No” but it does mean the competition to make something outstanding is particularly high. I love the variety on the labels, and it is not an accident. When I say i want another Empyreal or Alex Jungle, I mean I want another artist who’s sound is so unique, as soon as you hear it you know who it is.

It is a high standard.

And it comes from people who are individual. No one arts like Jimni Cricket or Spudgunjuice. No one D’n’Bs like Idealz. My own work is (I flatter myself) unique in sound. We don’t have any artists you can easily mistake for any others. Gothika Shade does not sound like Ben Venom. We are not interchangeable, and if you want to be part of the label, you need to consider that. Dj Deluxe is a superb host on the radio, eloquent, funny, great at coming up with ideas and entertaining to listen to on the mic as well as having an eclectic and great taste in music. He is not Lowercase, who’s style is more manic and based on upfront promos etc. And neither of them are Idealz, who is silent, no mic, and jungle / d’n’b orientated. Or Dj Patience who is so Drum’n’Bass its weird to find out he likes House as well ha ha. Or, or or, you get the point. When sending something to me or Saiyan or Lowercase, you need to consider what you bring to the table? Is it a new and exciting dish? Then we are very interested. Is it another hamburger? We have those. So its gonna have to be a stunningly good hamburger, you know?

Thats where individuality comes in.

I am not interested in Luna-C clones, or sycophants – as I said, Saiyan and I became friends from a disagreement, and now he runs one of my labels. I can trust him to speak his mind. An that is ESSENTIAL for what he does. Glyn had to learn to be a little more…bold…sometimes. I am not a person that gets upset by disagreements, I am interested in other opinions and value the input from all of my artists. A bunch of like-me’s are no use at all, cos i already have me. And I am not all knowing, I am fallible and need help.  And I need enthusiastic, dedicated people involved because I am dedicated myself, but old, and have been around a long time. So enthusiasm is a commodity that is absolutely needed ha ha!

All of this is why KF85 – Luna-C & Lowercase “Heavy Beats” EP is a thing that happened. i am thrilled that I get to bring Glyn into this side of the business, and will enjoy watching him go from learning from me, to doing his own thing, as so many of my friends have done before. I hope there will soon be a Lowercase EP which he does on his own. But…after a few more with me, cos god damn it was fun making this one!

Mostly, I hope this blog has given you some insight into the label and makes you want to be involved. Whether as someone who buys the music, or plays the music or is directly involved – we see you. We see who supports, and we see who wants more, and theres nothing we like more than being able to make that happen!

Anyway, enough from me. Nice one,

Luna-C

3

The Creation Process…

So I got into a discussion with Paul Bradley the other night about the how and why I do the things I do, both creatively and with the label, how I make decisions on what goes out and why, that sort of thing. And when I tried to explain it, I realised  I had never tried to put it into words. I thought I would share this, what I said to him but expanded a little, to see what people think and what their methods are? Its really long. What can I say? Phoenix wont sleep in the day anymore which means all I can do is sit and watch him flop about and squeak lol.

Basically, when it comes to my music and career, I never have a real plan. Or if I do, I don’t know about it. Don’t worry – that will kind of make sense. But I never sit down and go “I will make this EP, then have so and so do that one, then put this out, and because of that, this will happen, and then I can do…”

I simply don’t work like that. In a way, I don’t really plan at all. I think maybe I subconsciously plan, or more like,  I am always planning and…for me, its like every part of the business, from musical concept to final release, is a rubiks cube in my head, and I am constantly moving blocks around until I get a whole side in one color, and then I am like “Ok, yes, lets do that”. The aim isn’t to complete the cube and get all the sides right – that will happen anyway if I get each individual side sorted out. And the cube is never complete anyway, there are hundreds of cubes with thousands of sides and infinite colors.

The point is, I don’t really know what color it is I am looking for, and its not done with a purpose. I just move it all about until it becomes clear, and once everything is in place, I can see what color I was always going to be making, and see that it is now complete.

I do that with everything from tracks on an EP, to overall strategy. If I am making a tune, I will only have the vaguest of targets – I will be inspired by a beat or a sound or a tune from back in the day. I will wonder about what would happen if I did this with a vocal, or can I make a beat out of 14 other beats? Or how would this synth effect that sample? Basically, everything I do starts with the question “what would happen if?”

If I am making an EP, mine or one of my artists, I just wait until the right 4 tracks arrive. Sometimes, thats the first 4 I get from the artist, other times it can take ages because the tracks dont quite match in my head. And with overall business, will this EP be on KF? KFA? Knitebreed? KFD? Will it be a download? On a CD? A mixture of formats? Part of an album? All of these questions will just be there, not being answered, until the answers presents themselves in their own time.

Sometimes, someone else on the label will suggest a thing and it is the final piece of the puzzle. Other times, their suggestion is the first piece and it all goes from there. It all spins around, always changing until it works itself out.

But here is where it gets weird. Very often, once the color is complete, it will turn out there was a plan after all, I just didn’t know about it. Let me give you a concrete example. Currently, we release a KFA CD and a KFD CD together every 4-6 weeks. KFAs are Shane Saiyans department, and I leave that with him. KFDs are mine to organise. I use the KFD label for a few things: 1. Many of my artists write music WAY quicker than vinyl releases can cope with so its a nice way to release the music and 2. It allows vinyl artists a little more freedom as the vinyl market is maybe not yet ready for some of the things they make. But ages ago, I thought “It would be good to get a Luna-C release on KFD” so it is not only new artists or whatever, and also I like to do all the formats, all the music. Its the way I am built. But I did not plan on one, I barely have time for anything atm, it was just a thought, one square of the 9 on the face of one of the cubes, not yet connected to anything. One thought or idea amongst 100s of others.

Some of you may have noticed a post I made recently where I was making some slower, old skool hardcore. I am really pleased with how it has turned out, its really good and…its…not really right for KF vinyl. Its quite different to my usual style. It was the genesis of an EP that is unsuitable for Kniteforce or Knitebreed, but is some of my better work. Perfect for KFD. You know what my last release on KFD was? Wonko The Sane – 4 slower hardcore tunes. That was KFD12. The The new KFD is number 24 –  KFD24 – and is slower hardcore. It was just released, and is Luna-C – “Wonko The Sane Vol.2!

Could I have planned the 12 and the 24? No. Is it just a coincidence? Maybe. But it seems to happen an awful lot with me, on both a small scale and a larger one, with individual elements in tracks and my career overall. Something that was in no way planned ends up being exactly the thing I need.

Which is why I said at the start – without planning, I seem to plan. I cant say how I know something is right, or ready, but I always know. Its like a little light goes off and I am like “there, its done, that is perfect!”

Like…I wanted to make some slower hardcore. There was no plan to do a Wonko the Sane 2, but here we are – perfect music for that EP at the perfect time for that EP.

I tend not to analyse it too hard…I feel like its something that functions well and needs to maintain its way of functioning without me prodding at it. If I mess with it, I might lose it. Or interfere with the process.

But I do manipulate it by doing things like…if I cant work out how something should be done, I do something else and I deliberately “not think” about it, to allow the subconscious to work it out for me. I constantly add little squares of color to the cubes, and then they just sit there…waiting…I know that sooner or later, another matching color will show up, and then another, and then suddenly, without warning, it is done and off we go.

lol I feel like a crazy person writing that. But still, its what I do and how I do it. Its not the best metaphor either, but there we are.

Right now, on various cubes, are two excellent jungle tunes that have been submitted to me. Both deserve a vinyl. But…how? I keep moving them around, not finding the right matching colors, and then deliberately not thinking about it while I wait. Will they be on the Jungly Pea 3? a brand new label? A relaunch of Influential? A Jungle EP on Kniteforce? Will they get split up? Will other tunes get added? When? How? I dont know. But I will. For now, they are just floating around, waiting for whatever it is they need to become a project. But when that project arrives, it will seem inevitable, like that was always what was going to happen lol.

Anyway, thats a long and boring post, but its a Sunday and theres not a lot else going on…and thats how I work, I thought you might be interested. If not, sorry to be boring you all lol!

Nice one,

Chris

0

10  Pieces of Music that Totally Changed Me (One way or another lol)

10  Pieces of Music that Totally changed me (One way or another lol)

I wrote this because I found myself thinking about what records or pieces of music really changed me. not the ones I love the best (although there is crossover) or the ones that are the coolest or whatever but the ones that, when i look back, I can say “right there, something changed”. I thought you might enjoy….But if not, errr, I heard Gammer is doing something? I dunno. Buy a horse.

Popcorn

This is actually the very first bit of music I remember. I was a child when I heard it, and I remember being at my friend Stuart Clark’s house. We listened to it over and over again and danced around like the little kids we were. I had not thought about it until I thought of this article, and had not listened to it for years, so it was very strange to hear it again. Could this be the reason I like electronic music even to this day? According to the You Tube comments, this wasnt the first version of it, but it is the version i heard.

Kenny Rogers – The Gambler

Despite my career, I would not say I came from a musical family. I can recall my mum having and occasionally playing a Cliff Richard tape, but thats not really music ha ha! I grew up with my mum and step dad, and it was a great childhood, very happy. Just not…musical. i also saw my biological father a number of times a year, which was also brilliant. He was also not huge on music, but he did like both classical and country. So he would play the radio, and I would hear both this track and “Coward Of The County” by Kenny Rogers. Both of these pieces are basically storytelling in music form, and I loved them. Now that I think of it, my two main loves musically are: Electronic music, but I usually prefer tracks with no vocals, and folk styled music with something to say. So thats…interesting…

Musical Youth – Pass The Dutchie

Of course, I also like a bit of jungle here and there, so is it weird that this is maybe the first record I bought with my own money? In the UK, at this time, raggae was having a bit of a time in the spotlight, – I have fond memories of Eddie Grant and Bob Marley videos etc being on Top of the Pops. But this track got to number one, and stayed there for months. Man, this video is awful. It has not stood the test of time. And the song hasn’t done much better lol. But I played this so much as a kid, I wore the record out. Although, that might have been because my Grandad’s stereophonic polygramaphone machine had a needle like a nail.

Ice-T – Reckless

So maybe my current music taste is based on all the things from my youth combined? These first 4 tracks all massively influenced me, and they all occurred before I had any real access to the music of the world – they were all tracks that came at me through the normal channels – parents, friends, TV, and movies, and before I ever actively searched for what I liked to hear.

I heard this on Breakdance the Movie and have loved hip hop ever since. For many years, hip hop was ALL I listened to, all I bought. This record started me off, but throughout my school years, I was buying first the hip hop that got in the UK charts – Whistle “Im Only Buggin” and Doug-E-Fresh “The Show” and the like. It was all I could get. But as I got older, I found stores that sold Public Enemy and EPMD and Eric B & Rakim etc, and eventually found other stores that would sell imported vinyl from the USA. By that point, I was into hip hop of life. Although, yeah, when i say life, I kinda mean until 1990 when rave came around. My love for it continued through the 90’s, and even into the 2000’s, but I am not so keen on the current blah version of hip hop. but maybe thats because it doesn’t combine the magic elements – electronic music and meaningful lyrics. I like to hear stories, of the street or on a philosophical bent, or about personal feelings. Mumble rap doesn’t count and “guns, drugs, ho’s and also, I am the bestest rapper person” also got a bit tired a few decades ago lol

M.A.R.R.S – Pump Up The Volume

It was a tough choice between this and Erik B & Rakims “Paid In Full” (Coldcut Remix). I cant remember which one I heard first, but as Paid In Full is still hip hop, lets go with this. Both records used random sampling, but Pump Up The Volume was really new to my ears when i heard it. What was it even? It got in the UK pop charts, which is how I heard of it, and I was blown away. This record made NO sense at all. It was part of a wave of “house” (?) records that were all just mad. This, Steve Silk Hurley’s “Jack Ya Body”, Simon Harris’s “Bass, How Low Can You Go” and various others, all that used a sampler to make these random collection of samples into actual music. Again, the impact in my career is obvious and I remain a lover of all things bonkers and random. But still, this changed things for me…suddenly “dance” music was a thing, an interesting thing, when all i had ever loved before was hip hop.

Quadraphonia – Quadraphonia

Finally we move into the world of rave. Too many to choose from, but this track is one of my most vivd early rave memories. Hearing it at Club Labrynth the first time I went. It introduced me to the whole scene, even though I had heard bits and pieces, and with its rap section, this was like the logical progression for me as far as music went. it had all the things I loved – it was fast, noisey, had random samples, had hip hop influences, and best of all, it was EPIC. i have always loved dramatic music, and this track is both triumphant and tough and unrelenting and underground. Or was, for the time at least.

Smart Es – Sesames Treet

This is, of course, a list of the records that changed my life and my musical direction – how could this not be in here? But there is nothing new to say about it, other than before it, I was a huge fan of hardcore, but I did not really contribute to the scene, and after it, i was 100% involved and have been ever since

Hyper On Experience – Lord Of The Null Lines

Again, if you know me at all, there is not much to add to this entry. As an artist, I did not have any real…direction…musically. I loved elements of everything listed above, but it was only after hearing this, and earlier H.O.E tracks, that I understood there were levels of technical ability, and music was not always about how well it worked on the dance floor, but also about so many other things. I remain an artist and a person who is fascinated by technical cleverness, whether it is a youtube video by Cyriak or Aphex Twins musical car crashes or you name it…but that fascination, birthed with early tracks such as “Pump up The Volume” turned into an obsession with the work from H.O.E, and contemporay artists who were maybe not so clever, but were just as inventive – Sublove, Automation, etc….

Nine Inch Nails – Closer (Se7en OST)

All of these pieces of music are bridges to the next, its all about the touchstones that lead to the next progression. I paraphrase Bruce Lee “There are no peaks, just plateaus, but you must not stay there”.

So it is that I went to see the movie Se7en when it came out, and I found it profoundly disturbing – nothing good happens to anyone, and then it ends on a bum note. But what impressed me the most was the opening credits – before Se7en, movies did not have the clever opening sequences we see nowadays on pretty much every movie and show. They just had credits on a black screen or quietly over the opening of the film. But this sequence? And this music? I came out of the theatre thinking “what the fuck did I just watch?”. The music was just a random collection of screeches and rewinds and static, and it was incredible. My initial thought was “I need to sample that” but….what was it? No internet meant tracking it down was very difficult, but eventually I found out it was Nine Inch Nails, and from the album “The Downward Spiral”. This was a little misleading – sure, Closer is on there, but it is not the same version by any means. Still, the “damage” was done. I listened to that album on a CD listening post in a store in Australia, and it was like a whole new window opened in my mind, and whole new world to discover. Rock music could be like this? With samples and techno noises and incredible lyrics that actually spoke to me? Sure, I loved hip hop, but I was not a gangster from LA, I was not black, I totally empathised, but I did not experience that world. However, NIN spoke directly to the parts of me that no music had ever represented before. And I loved it. From there on out, I tracked down every Nine Inch Nails related thing, acts they worked with (Marilyn Manson) and people who influenced them…on and on…which brought me to…

Leonard Cohen – The Future

My insatiable appetite for all things NIN led me to the soundtrack for Natural Born Killers – because Trent Reznor put it together, and the film was pretty amazing for its time as well. The album was inspirational in the way it combined all different styles of music with samples and sound effect – the soundtrack is, in many ways, a musical version of the film. And there are two Leonard COhen songs on there, both of which fascinated me. Lyrically, they stood apart from everything I had heard before, and the style was…simialr…sort of…to some of the country music my dad liked. But that music never had lyrics like “give me crack, anal sex…” or “Im the little jew, who wrote the bible”. Obsessive as I was (and remain, when it comes to music I like) I was soon buying every Leonard Cohen album, and was now being influenced by both the hardest industrial rock and the most thoughtful and profound lyrics I had ever heard. To make…happy hardcore? I guess lol.

And thats sort of where I stop. Is it any wonder that muy musical career is so varied within the parameters of hardcore and dance music? My tastes range so far…and yet…I always come back to the key elements…a desire to create something with majesty, or something epic, that desire to use sound to tell a story, or just to make something work despite being absurd.

1

Dj Ham returns in The Amazing New KF Bundle!

Well, hello. Welcome to a blog post about the latest bundle, and the reasons for things and explanations and other stuff like that! So first up, here are the links:

UK / Europe / Bandcamp Store

KF78, KF79, KFCD12 and KFCD13 Bundle

KF78 – Dj Ham – Most Impressive EP

KF79 – Various Artists – Death To Digital EP

KFCD12 – Various Artists – Vinyl Is Better 4

USA Store

KF78, KF79, KFCD12 and KFCD13 Bundle

KF78 – Dj Ham – Most Impressive EP

KF79 – Various Artists – Death To Digital EP

KFCD12 – Various Artists – Vinyl Is Better 4

Okay, there are a number of things to explain, so bear with me. Or bare with me. I don’t know which is correct. I could google it I suppose? Wait, no, theres enough to go through without getting sidetracked. So, one thing at a time:

So, new Kniteforce Bundle – any good?

I may be just a little bit bias, but OMG YES. Dj Ham returns to the label with 2 absolutely killer tracks, Death To Digital 2 is on another level altogether, Vinyl Is Better 4 is amazing, and the bonus content is perhaps the best we have ever had, with a truly amazing bonus CD and tracks from Shadowplay. I think this one will sell out fast, because Hams stuff always does, and because its a brilliant Bundle, if I say so myself, which I do 🙂

Why is this Kniteforce Bundle so soon after the Breed Combo?

There are number of reasons actually. The first is, after the long delays with vinyl pressing stretching things out and dragging, now everything is speeding up and compressing. So it is that we got Breed19 delivered a while back, then Breed18 and JKF07 delivered at the end of last week, and I have an arrival date for KF78 and KF79 of Thursday this week. This is blatantly too soon, and I apologise. I realise this may well stretch your wallets – It is stretching mine as I pay for the records upon delivery and usually need time to sell some before I can pay that bill. But I cant do much about it. Because things are speeding up, we are also expecting KF80, KFA90 and Breed20 to arrive at the end of April. So I cant even sit on these newest releases for a week or two.

This is also why this is a pre-sale, even though I did not want to do those anymore. To make the next month or two work, we have to be super efficient with how we handle the orders. This way gives us up to 2 weeks to get the orders in and sent out, and some breathing space as well. Also, we now have distribution via SRD for excess stock. This is great, because we simply cannot reach everyone who is interested in buying the records on our own and SRD are a fantastic distributor (they did Smart Es back in the day). The trouble is, they work quite far in advance on each new release, and so they are pre-selling the Dj Ham and Death To Digital releases even though they wont have them for ages yet. And it just seems silly to have that going on and not have the pre-sale open on our store.

Why have the prices in the US store gone up a little?

Sorry about that. There is nothing I can do though. I pay for the manufacture of the records using UK pounds because they are manufactured in Europe. I base the prices in the US store on the prices of the UK store, converted to US dollars. So the vinyl prices are whatever I paid for them converted into dollars. But it does mean future releases will go down in price too. Its just one of those things. And also, after the new year, postage went up as well. Again, nothing I can do – you know I would if I could.

As ever, I am very grateful for all the support, and its going to be a little crazy for a bit, but absolutely worth it. We have so many superb releases lined up, big plans for the rest or 2018, and some projects that are going to blow you away, believe me!

Nice one,

Chris / Luna-C

1

The New Kniteforce Studio

Occasionally I am asked about what equipment I use for my music and etc, so I thought, as I just set my studio up in a new place, I would do a little studio thing with pics and list what equipment I have…So here we go…

My Dj set up:

I use:

2 x CDJ900

2 x Numark TTX1

1 x DJM800

And I have a dedicated laptop for Serato, because it got old and couldnt do much, and I had to buy a new laptop anyway, so I ended up with one I could use simply for that. I also have a decent Sennheiser mic, and I made a little platform to rest my other laptop on for radio shows so I can actually see whats going on in the chat room!

As for the studio…

 

I have a Mackie 32 track mix desk, and even though it has some built in effects, I grabbed an Alesis Midiverb 4 for extra effects. Much of what I have here mirrors the old Kniteforce studio, or improves upon it. The Midiverb 4 was my go to for effects back in the day. Other than the Genelec speakers and subwoofer (not pictured) I have a MOTU midi express giving me 128 midi channels, and a Metric Halo soundcard which I love to bits as it is stable and excellent. Then there is:

Roland U220 – classic rack unit for strings, used by The Prodigy in their early material but I also had one back in the day.

Yamaha TG500 – This is a rack unit of the SY85 keyboard I used to have as my master keyboard in the KF studio. The sounds on it are unique, and there is no VST that is comparable.

Roland JD990 – this is a new addition. I had the Roland JD800 for a while, but found I rarely programmed it and only used it for the classic piano sound (the one used by Sonz Of A Loop in Far out, amongst many many other classic tunes) so I switched it for this. It is the same sounds, only more of them, and is much more compact.

Emu Vintage Keys – Not the greatest rack unit, but it was one I had for all of the early KF years, and so I wanted it here for the original sounds.

The keyboard above the mix desk is the Alpha Juno 2. This is a good keyboard with nice presets, but it becomes a brilliant keyboard if you also have the PG300, which is the gray unit on the right. The PG300 is how you edit the Alpha Juno 2. The Alpha Juno 2 is the source of the original hoover / mentasm noise. I did not know this back in the day, and did not have one in the KF studio originally, but I LOVE it and I love having it available, even though it can be a bitch to work with at times.

Below the PG 300 is the Boomstar 5089, which is like a Moog rip off box of tricks. Its an impressive bit of kit, new school analogue, and I have only scraped the surface of it. My previous set up did mot give me easy access to this unit, and my new set up rectifies that, making everything available.

Alright…four new additions. As I sold my other Boomstar and my JD800, it gave me the cash to buy some extra goodies. So I bought 4 Roland Boutiques. I got the TB-03 because I used to have a 303 and I miss it occasionally. i also used to have a TB-3, but I sold that too. So who knows if I will keep this unit? But I expect I will. i have literally only had 15 minutes to play with all of these, so they are all in a trial period lol. I bought the SH-01A – the boutique version of the Roland SH101 which I have. I am hoping this will allow me to sell the original keyboard, as it is valuable and why not? If the boutique version is as good, of course. So far, it seems like it, but we will see.

Then there is the D-05. I had wanted a Roland D-50 for ages, as Joey Beltram and other heroes of mine used it back in the day. But the original D-50, like the Alpha Juno 2, requires a PG1000 to edit it. And like the Alpha Juno 2, the PG editor is often more expensive than the keyboard. When Roland bought out the D-05, I discoveded it is possible to edit it on my iPad, plus it comes with every sound ever made for the D-50. I have yet to do any iPad editing, but it was a no brainer to try out the D-05. My brief scan through the sounds says to me “classic, old skool synth” so I think i will love it. But then, it is Roland, so I should maybe add “Also a bit of a dick to use” before I get too excited.

And lastly, a TR-09. This was not really needed – drum machines are the most easily replicated as a VST and I have all the 909 sounds on my computer…and yet…there is still something to be said for the infinite variations available via the hardware as opposed to the often static sounding kick and snare on a VST or as a sample. So I got one anyway.

Below that is the Access Virus T2 which is criminally underused in my studio. It is full of excellent sounds and cleverness, but there is so much of it that I often forget it is even there ha ha! I use it as my master keyboard.

And then there is the Nord 2. I had a Nord, and a Nord 4 over the years, but the Nord 2 is widely regarded as the most raw and aggressive of the options, and I like to have one to hand. But at the same time, and like the Boomstar, I did not use it much in my last studio as it was not easy to get to. Now it is. We will see if it becomes an essential piece of gear or just something I might sell in the future…

Next to it is a Sledge. This big orange monstrosity is great because I hooked it up to my computer and filled it with old skool sounds, which I can then use to the keyboards filters etc. It…hmmmm….softens? the stab noises, makes the samples sound like “not samples” and gives me a wide range of tricks to play with. Its big, ugly, and very useful.

Below that is a JP8000 – another keyboard I never had back in the day but always wanted. And another one I have not had enough time to really play with. Famous for its “super saw” it is also the definitive keyboard for making trance music, and was a regular feature in many a “mid” skool hardcore studio. And again, it is now in a more prominant position so will no doubt be used more in forthcoming Luna-C tracks.

Next to it is the Korg Minilogue. I almost sold this one. Its good, a very useful synth, and easy to store sounds etc, but I dont know, its not very exciting to me. We will see.

And below that, the original Roland Sh-101. Nuff said!

 

I hope you enjoyed my little studio tour. More than that, i hope I get to make some music in it soon….

 

Nice one,

 

Luna-C

3

Dj Saiyan Becomes KFA Label Manager!

Well, in a way the title of this post says it all lol. Simply put, I have decided to step down from running KFA and pass it all to Shane Saiyan.

He is now officially the head of the label with all the power (ha!) and responsibilities (ha ha!) that entails. He will be deciding what is released on the label, and when. He will be choosing and ordering artwork, setting up projects, and be busy with all the organisation that goes into that. I will be handling just the practical / simple side – uploading files where needed and paying artists royalties.

I am, in effect, a silent partner.

The only reason I am writing this post is to explain why I am so happy about it and why you should be too, and also so that, should anyone question Shane about it, he can say “here – read this”. But for those who are interested, here are the details:

There are two main reasons I have asked Shane to take over, both of which are vitally important to the health of KFA as a label. And each of the main reasons have little but important reasons sitting next to them.

The first main reason is that, since I restarted Kniteforce and Knitebreed as vinyl labels, I have found my groove, found what I should be doing. If you are reading this, you know I like to experiment with music, you know I like to try lots of different styles. But the last 8 or 9 months making music have been the most joyous I can remember in a very very long time. I can make modern hardcore, and I love that style. I can rock out to d’nb. I love a good bit of gabber. But man, when I am making old skool, its like the planets align and I feel the same elation I felt back when I first got into this industry. Its an indescribable feeling of being in harmony with myself. This is my why, my what for. I understand it on a fundamental level. I lie in bed thinking about it. I am excited to get into the studio, even to do the menial jobs like working out what catalogue number is going to be assigned to a project, because I love the whole process. Getting the sleeves together, planning the entire release from concept to sale, regardless of if its my music, or if I am doing the artwork. I absolutely love it.

But its a lot of work. And it is time consuming.

Not only that, there is the forthcoming Kniteforce Radio. And in about 3 months Cindy and I are expecting another baby (whoop!) so I have limited time and what time I have needs to be managed well.

All of this has meant KFA has been…not neglected as such but…not at the front of my mind. I refuse to make the same mistakes as I made with Kniteforce. One of which was to let certain elements slide out of my control because I did not pay those elements enough attention but refused to trust anyone else with them. I have learned my lesson from all those years back – I cannot do it all. And I shouldn’t do it all. And I don’t need to do it all because I am surrounded by awesome people who would love to be doing the things I don’t have the time or skill for. I had already handed the artwork to Annika Jimni Cricket years ago, and Shane is already doing the promo list for KF and KFA. Idealz handles all the shop orders for the UK bandcamp. Delegating work to others is something I never did with Kniteforce, and it led to disaster because I simply could not do it all.

This way is much better.

And that brings me to the other reason: I am no longer the right person to run KFA. I have stopped Djing out since Wilder was born because it became too impractical. With Phoenix on the way, I don’t see me playing out much more in the near, or even mid-term future. Djing live was important because it exposed me to the newest music in the scene. And I needed to hear that to keep KFA running. How can I run an upfront hardcore label when I hear none of the upfront music and am immersed in old skool? I dont think I can. But…let be even more brutally honest here. Kniteforce and Knitebreed have shown me where my skills lie, and its with the old skool. It just is. I like some modern hardcore, but I don’t follow it, I am not immersed in it. And now that Kniteforce and Knitebreed are basically hogging that sound, KFA has to define itself on new terms. It deserves to be able to grow and become its own entity. As a label, it never had a clear direction – it has veered from old skool to modern via everything else over the years since it started. And I dare say it still will do that to some degree.

However, I honestly feel Shane will do a better job than I can in taking it forward from here. He loves modern hardcore and knows it in a way I do not. He has the skills and the time and the knowledge and the vision to move the label onward and upward. I have absolute confidence in him. Other than the fact we are friends and I have gotten to know and respect him over the years, he also has the will to challenge me where needed, which is important because I can be wrong quite often lol. So I feel this is exactly the right thing to do.

So give him a big internet round of applause and wish him luck, and if you have music you want released on KFA, from now on, he is the man to speak to 🙂

You can contact him via Facebook on the new KFA Facebook Page page which he set up (please click the link like the page)

Or you can email him on his Kniteforce email address saiyan@kniteforcerevolution.com

or via his old email or his own FB page.

PS, and finally, after it being a joke for so long, things really will be Shanes fault from now on. Thats the third main reason, actually lol.

Meanwhile, Shane wanted to say some things, so….

*************

Hello friends! For those of you don’t know me, my name is Shane, or Saiyan if you prefer. I’m from Toronto, and have been a purveyor of hardcore and hardcore accessories for more than half my life.

Before I get into what I aim to do with the label, I’d just like to express my gratitude to Chris for giving me this amazing, mildly horrifying oppourtunity. And then take it because because he stole my “everything really is my fault now” joke, robbing me of my witty opening line. Dick.

But in all seriousness, I am immensely grateful for the oppourtunity to do this, and humbled that Chris felt that I was the right person for the job. I hope I don’t let him down, because he knows Kung Fu, and I like my organs in their current configuration.

I started writing this blurb with the intention of giving a brief rundown of my goals, ideas, and plans for the label. As it turns out, I had quite a lot to say. Brevity has never been my strong suit. Suffice to say, I’ve been doing a lot of plottin’ and schemin’ behind the scenes since taking the job, and I have a lot of exciting new ideas that I hope you’ll be as excited about as I am. I’ve gone into excessively long-winded detail in a Facebook post on the new KFA page that Chris linked to above, so come give us a like, yeah?

It’s an exciting time for KFA as a label, and the KFA family as artists, and I look forward to sharing what we’re all working on with you very soon.

Cheers,

Shane Saiyan

 

5

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

 

7
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