Author Archive | luna-c

Kniteforce Radio Launch! Sunday 6th August 5pm

Whoop! And its about time. Well, actually, I guess it is within the 4-8 weeks I said it would be. But man, it has been a crazy bit of crazy getting this sorted out.

So lets give you the skinny on it…

First up, there is no link to the station right now. I will send a special email and make a post on Facebook on Sunday the 6th of August complete with links and final details etc.

I have chosen a deliberately low tech look for the radio station. We have got a high quality server and service, but when I want to listen to a radio, I want to be able to get on it easily without going through a bunch of pages and links. I also like to get to the chat room easily, without any messing about. So the radio and the chat room are on the same page, all you have to do is click “play” to hear the music, and you can join the chat just by typing in your name in the box provided. Easy. No need to register or any of that malarky. it looks nice and clean, and it works nice and clean! Whoop!

Some of the Djs will be doing Facebook live when they play. Some will not. Some will chat bollocks all over the mic. Some will not. Because, you know, the radio station is an extension of the label, and the labels ethic remains in effect – that is, diversity is key, so everyone should do their thing the way they want to do it 🙂

The various Djs all have their own time slots, and will advertise themselves no doubt. Our current line up is:

Alk-e-d, Brisk, Sc@r, Futureshock, Luna-C, Saiyan, Idealz, Jimni Cricket, Doughboy, Dave Skywalker, Lowercase, Ant To Be, Jedi, Ponder, Genki, Deluxe, Scartat, Bustin, Patience, Shadowplay, Clayfighter, Paul Bradley & Kaytaro. Mannik & Kingsize are joining later in the year.

Its very exciting. What can you expect from the radio? Oh, you know. Kniteforce stuff. We will all be playing whatever we feel like, as always, with the aim to be covering all the music from old skool to gabber via jungle, d’n’b, upfront hardcore and more.

Its a pretty epic line up if I say so myself, which I do 🙂 Not only do we have hardcore heroes like Brisk and Sc@r, we also have people from all eras – the newest such as Kaytaro and Ant To be, old skoolers like myself and Alk-e-d, and everyone in between. My dear friend Dj Patience, from my old Influential Records days, will be dropping some fierce d’n’b, we have the US and Canada faction with Scartat and Saiyan and Doughy bringing the new skool, Jimni Cricket and her turntablist skills, modern old skool masters like Dj Jedi, lunatics like Dave Skywalker…I am thrilled to be honest, its like all my friends are going to play together!

For the first night, we will have a special line up that will be revealed closer to the time. All I will say for now is that I will be opening the station and  my opening set is going to be all brand new KF material that most people wont have heard, not even other KF artists. I will have tracks by Hyper On Experience, Sanxion, Dj Ham, Gothika Shade, Ant To be, Shadowplay, TNO Project, Mannik, Idealz, myself, and more…its gonna be an hour of totally exclusive tunes, basically. Some of which arent going to be out for months, because it takes time to vinylise things.

Also, many of the KF crew both old and new will be in the chat room as well throughout the night.

All in all, its going to be a wicked Sunday night, and then a lot of good music at your fingertips form there on out….

So Whoop! in a hoop that goes boop!

Nice one,

Chris / Luna-C




A Misunderstanding Between Friends.


Here is a post that Dj Vibes put up a few weeks back:

I made it clear that I was unhappy about it, and it was removed. But still, I know it was seen by a number of people because a number of people sent me screen captures and asked me what the fuck? Which, incidentally, was also my feelings on first reading it lol.

Shane Vibes apologised, and replaced it with this one:

Its all good, I understand how things can come out wrong, so no big deal. The dudes a legend, I have known him for years and I am not about to start a tedious and childish grudge with one of the few hardcore Djs who has stayed true to it all this time. So there are no hard feelings.

Nevertheless, the original post upset me. It upset me on two levels – the first was the implication that I had ripped Vibes off – which I have since been assured was an unintentional implication. And the second was the massive over estimate of how much money was made on that release. If someone like Vibes, who is a veteran of the industry, can get it so wrong, then many people must also have a false idea of  the profits the old skool made.

And because some people read it, I want to correct some of the things that were written. And also, its a good opportunity to tell people about the way the industry works because there is a great deal of misconception about it. I may well do a series – this one was triggered by an ill-worded post, but I have read plenty of arguments online about the music industry and found myself wanting to should at the screen “IT DOESNT WORK LIKE THAT” lol. So I am going to break the first post down, and tell you all the bits that are not accurate 🙂 I am even going to go into actual costs and sales figures, all be it roughly. Its a bit long…sorry!

So first up, the remix fee. It is mentioned in both posts, and I understand the frustration with this one. It is true that remix fees are a one off payment, and it is also true that this can be unfair. The problem is there is no other way to do it. Its a little complex, so bear with me:

The first option other than a stand alone remix fee is to give a royalty. The problem is, you cannot easily give a royalty for a remix because the remixer did not write the original track, nor did they do any of the promotion or work for that track, nor were they part of the deal when the track was signed to the label. The record label (me) did not sign Dj Force and the Evolution and Dj Vibes & Wishdokta.

Of course you could put that aside and give them royalties anyway, just because it would be nice, but it quickly becomes a practical (and maybe a legal) nightmare. Do they get a royalty of the entire track or just that remix? Because royalties are based on the track and all versions of it, not just a remix version, unless you are now going to make it a separate entity. But okay, suppose you do that –  what percentage is fair? 5%? 50%? And who decides this, and is it a standard thing? Are all remixers getting the same percentage – or put another way, are all remixers of equal value?

And do we do this with every remix that gets done of a track? Which would mean each time a remix was done, you would have to write a new contract, redo all the legal paperwork and forms, and change ownership and percentages of the recording.

This is obviously a terrible and impractical idea. One track might end up being remixed 20 times, which would mean the record label is, in effect, dealing with the original artist, 20 new artists, and all of their individual splits for each remix in each format.

Still, it could technically be done with the royalties from a record label, the money made from physical sales that is. It would be horrendous, but it could be done. Of course, you would then have to ensure the original recording artists and the record label were agreeable to that. But I cant think many artists or labels would want this arrangement. Even between the best of friends that is a nightmare of organisation, contracts, management and royalty accounting. I think in almost every case, if the remixer asked for a percentage or a royalty, the answer would be “you know what, I will get a different remixer” lol.

But even if all agreed to do that and were happy – there is publishing to consider, which is a whole other thing. Publishing is the ownership of the composition of the recorded work, and it remains in the hands of the person who wrote the music regardless of who remixes it. In this case, the publishing is owned by Dj Force & The Evolution – not me, not Vibes & Wishdokta or any remixer, not Kniteforce Records. It is usually collected by a separate entity (a publisher) on behalf of the writer. And the collection of publishing royalties simply does not allow for this situation. Someone wrote the track, someone else cant come in later and also have written the track, unless they actually wrote the track lol. It just doesn’t work like that, the end. Even if all parties wanted it to, it still doesn’t work like that. The worldwide systems for collecting publishing – the PRS and all the rest etc – are not set up to accommodate that arrangement. And again, if they were, what artist or record label would want that? Very few I think.

This is why remix fees are usually one off, single payments. To make it royalty based is extraordinarily difficult within the systems in place to collect money worldwide.

So okay, a remix fee is the best way, even though its not great. Its main problem is, a remix fee is paid for BEFORE the sales happen, before the remix is released. And no one knows how well a remix will sell. So judging how much you will ask for is very difficult to do. This is why the remixer usually sets the price, and the record label decides if it is worth paying or not. This is what happened in this case – I called Vibes, he set the price, I agreed to it, the remix got done, I paid the fee, the remix got cut, then the sales come in. Or not lol.

Its all guessing game based on the remixers pedigree and all the other factors that may help or hinder a release. In this case, I paid Vibes & Wishdokta a set fee and I got a brilliant remix for it. I cannot remember if the fee was £300 or £500. I do remember that Slipmatt was £500 back in those days, and he was the highest paid because he was the king lol, so it was most likely I paid VW £300, and I am certain it was not more than £500 for reasons that will become evident. It was a good deal for me, and actually a fair deal for Vibes & Wishdokta (although if you read this whole blog, you can come to your own conclusions about that).

However, lets use the other side of this particular release as an example of how it can all go wrong – I paid £600 – so more than Slipmatt –  for the Ramos and Supreme Remix because after agreeing to do a swap deal (where they remix for us and we remixed for them) they then delayed and delayed getting me the remix until after I had already printed the labels and sleeves, and then demanded £600 rather than do the agreed swap. For this princely sum, they made what is, in my opinion, a crap remix that no one plays and it is only on the record at all because it would have cost too much money and time to not use it.

I learned my lesson, and I have never let anyone put me in the position where I have to take whatever crap piece of music they farted ever again lol.

So in that case, I paid Ramos & Supreme a set fee and got a poo remix. It was a poo deal. I paid the money, and I lost out.

And that sums up the risk with the remix fee system. Some you win, some you lose. Welcome to the music industry, ain’t it grand? lol.

One last note on remix fees: They are very hard to judge no matter how reasonable you want to be. Because in the end, the reasons this particular record did well are many and hard to categorise or value. It sold because Dj Force & Evolution made a great track, Vibes & Wishdokta made a great remix, it was one of the first hardcore releases of that era to have a proper colour sleeve, it was part of a series which featured Slipmatt who was the biggest name at that time, it came out on a label that was doing well already, and one that had a good distributer. All of these things helped. The Ramos & Supreme Remix might even have helped a bit I suppose lol. But I suspect…not…much. And what would have changed it? What if Force & Evolution did the remix? What if Tango and Ratty did it? What if there was no sleeve? What if it was a 4 tracker instead of a 2 tracker? So many variables that would have effected the sales for better or worse. But still, the excellent remix from Vibes & Wishdokta is a major factor, and the original track being brilliant is also a major factor. That is undeniable.

All of that long winded explanation is to show why a remix fee is paid as a single one off fee, rather than any other way of doing it. I can think of numerous cases where I have remixed for a fee and I probably should have been paid more. I can think of numerous cases where people have fallen out over a remix fee as well. I can think of one particular case where the remixers absolutely deserved to be paid as recording artists because the remixes were the only reason the record sold at all, and it became a huge anthem – but nothing could be done. The artist made a fortune, the remixers much less, and it truly didn’t matter what either artist or remixer wanted because the laws and rules are all in place and simply don’t allow for these sorts of arrangements and situations.

That was a behind the scenes shit storm I can tell you.

Bottom line? Its shitty. A single one off payment for a remix is not a good option, but its the least shit way of doing things out of the options available. I had no idea Vibes was miffed about it, but you know, thats the way it goes. It was Vibes & Wishdokta that set their fee, not me, and I paid it. That was the deal. Thats always been the deal.

Lets move on…

Im going to skip past the bits about the remix outselling the original. Once you add up represses, album licensing and digital sales over the years, I am confident that the original outsold the remix. But this is a minor quibble – the Vibes & Wishdokta remix is a stunning bit of work, more remarkable because it is very difficult to remix a bona fide classic like “Perfect Dreams” and do a good job at all – and they did a fantastic job.

I am also going to skip quickly through the “thanks” bit, because I did thank Shane outside a club a few months after the release. I remember it because other things happened that were only slightly related, and to recall all of that is pointless. Instead, I will simply say I don’t drink and never have, so I have never asked anyone to go for a drink in thanks or otherwise lol. Some of the KF crew occasionally dragged me to a pub where I would stay for an hour then go home to the studio. I am legendary within my circle of friends for “going home” lol. Basically, I am hopeless at the whole “socialising with business people” thing which is pretty obvious when you look at my career ha ha. I am content with it but I recognise it can seem rude to others. So it is possible I did not thank Vibes & Wishdokta enough, or gave the impression I was not grateful. And If so, my bad.

What I did do though is ask Vibes & Wishdokta to remix that track in the first place, which in itself was a thank you for the excellent work they had already done for me remixing “We’re Flying” and “Swift Half” by Future Primitive. Vibes & Wishdokta are one of the very few artists who were asked to do multiple remixes for Kniteforce. The list is short – Vibes & Wishdokta, Slipmatt, and Sublove…hmm…I cant recall any others from that time. There were VERY few people who’s skill and talent I respected enough to come back for more.

Moving on…

Okay, lets talk about sales: This is really the bit that bummed me out from Vibes’s post because it was so far from the truth. I would love to have made £12000+ out of that record. I definitely did not, nowhere near. I am, like most record label owners, guilty of exaggeration with sales figures from time to time lol. But if I am honest, I cannot remember how many we sold altogether, but I am pretty sure it was under 5000 because I remember we originally pressed 3000 of Part 1, which featured Slipmatt – then got another 2000 pressed of that one. At a later date, we may have repressed again on that, 500 here, 500 there. I think that first Remix EP ended up selling close to 8000, but it also easily outsold the others in the series. That release, KF27, was our best seller for a long time, maybe ever.

So I guess it is possible we sold 6000 units of KF28, the Vibes & Wishdokta remixes? I have doubts, I would guess nearer to 4000 – 5000. But anyway, lets be generous and go with the figure of 6000 that Vibes used. My memory is lousy and I fucked up a lot of things back then, so fairs fair lol. Here are rough profit and expense figures:


I sold to Mo’s Music Machine (my distributor) at £1.80 per record.

6000 x £1.80 = £10800.00 profit. So even without paying for anything, I wouldn’t have made £12000.00


Ramos & Supreme Remix Fee £600 (I am still annoyed lol)

Vibes & Wishdokta Remix fee – £300 (I will go with the lower figure of £300 – they did undervalue their work, thats for sure)

Record pressing £0.42 per unit x 6000 (I remember the unit price for sure, oddly enough): £2520.00

Cutting, processing metalwork, artwork design (had to be paid for back then, I couldn’t do it), films for artwork, full colour sleeve pressing x 6000, label pressing x 6000, promos, postage, shipping etc etc: Fuck knows. But at a guess another £1500 – £2000. Maybe less. Possibly more.

All those expenses add up big time, and we are looking at  roughly: £5420.00

Total profit from that record? Using these (admittedly rough) figures? £10800.00 minus £5420.00 =£5380.00

Of course, The Perfect Dreams Remix is only one side of the record, so it only earns half of that profit, so: £2690.00

And that gets split in half again, 50% KF, 50% Dj Force & The Evolution: £1345.00

Thats a good figure. But its pretty far away from the £12000+ claimed in Shanes post.

Oh, I forgot that i would have paid VAT tax on all the expenses – that was 17.5%. Sigh. I cant be assed to go back and do the math. So lets ignore it.

In the end, we got less than that £1345 figure, actually. If we sold 6000 units. Because lets not forget, this figure is the high end – it would be much less if we sold 4000 units. And sure, it would be a bit more if we did 10,000, and maybe I have some of the expenses wrong. But even then, it would still be a far cry from the £12000.00 mentioned. Also, I want to point out the label wasn’t paid in one lump sum. This is the sales over a period of months, and years actually if we are including sporadic repressed which we are to reach anywhere near that figure.

And I wouldn’t have seen any of that money until months after paying for the entire project to be pressed, including paying for the remix fees.

Now, finally, the big question: Should I have paid more for the Vibes & Wishdokta Remix? Maybe. I paid Slipmatt extra for his when it went on to sell so many by just giving him another couple of hundred pounds. And honestly, I feel like I probably should have given Vibes & Wishdokta a “bonus” for the remix as well. An extra couple of hundred maybe. To be clear, I was under no legal, or even moral obligation to do so. But still, it would have been a nice thing to do. If it was me now, thats what I would have done. I am older, wiser and maybe a little kinder than I used to be.

So why didn’t I back then? I don’t know. Maybe because I was very upset with Ramos & Supreme’s nonsense on that same release, and it soured me on that particular EP – that’s not Vibes & Wishdokta’s fault at all, but there it is. Maybe I was going to give them extra and just forgot. Its not like there was Paypal – you had to actually meet up with cash or send a cheque. Maybe I was skint – those 2 releases were a huge upfront expense, and I was also paying for the next releases after that – KF29 and KF30, and Remix Records releases, and the Slipmatt Remix of Take Me Away was selling faster than the VW remix, so my confidence in it was higher while my wallet was slimmer. But it took months to get paid after you spent the money to press back in those days and I was fucking terrible at accounts. All of those things may have played a part.

Or maybe I was just being greedy. I was greedier back then, and more selfish in a number of ways.

Simply put, I don’t know.

But what I do know is: Dj Vibes post upset me. And it had a lot of incorrect information in it. And after I got over being annoyed, I realised there are so many misconceptions about how things work in this industry, so perhaps it was a good way of explaining some of those things. And also, I thought I would clear it up because it made me feel bad. Finally, I hope it makes Shane feel better too – I would hate for him to feel like he was ripped off. I know that feeling well (hi Suburban Base! lol) and its not very nice.

Lastly, after getting over my annoyance, I want to make it very clear I have no ill feeling towards Shane Vibes. I am just sad he felt like this and could not say anything to me directly. This is yet another problem with the industry – it is complicated, and it is hard to know if you are in the right or wrong, and then it is hard to say anything. But there we are. With any luck, this should clear it up.

Thanks for reading,



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

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.


Shane Saiyan




Welcome to the Amazing Kniteforce Raffle Results!

But first, the annoying bit you have to read to get to the results lol. Seriously though, it is kind of important. I want to say a huge thank you to everyone who entered – it doesn’t matter if you did it for charity or to win a prize, its amazing that you entered and I am very grateful to you all. The response was way beyond what I expected. I had hoped to raise $500, and I would have been very pleased with $1000, and am over the moon that we managed to raise over $1500 in total, just from the raffle, and those of you who chose to give via the GoFundMe page (which is still open) have added another $800 to that total already, taking it higher than $2300. Thats just…I dont have words.

Many of you were very generous, with a few of you lunatics giving 3 figure sums, but regardless of the amount, it all made a huge difference. And I think I saw every single name and person I have ever spoken to via the various KF sites and emails over the years. I saw names I haven’t seen appear in a very long time. And it has been genuinely touching, if you will forgive my sappy use of words, that not only are you guys still around, you put your hands in your pockets and helped. I have got really squishy since Wilder was born lol so i will stop now. But much gratefuls. And yes, thank you all, so so much. Not just from me, but from Travis and Jaren and their gorgeous little boy Wrigley, who, by the way, came through his surgery with flying colours and is now at home with his parents. Thats how amazing modern medicine is, how quickly a baby can heal if a problem is caught in time, and how strong he is already!

                                     “Im really tired, but Im going home!”


So yeah, very grateful to you all.

Now then, here is the list of winners, in reverse order:

07. One of two huge Kniteforce banners: Phillip Gill

06. All KFA Digital Promos for a year: Andrew Cressy

05. All Kniteforce Vinyl Promos for a year: Nigel Murphy

04. A Complete Kniteforce collection: Nigel Tilli-Pauling

03. A Complete Digital KFA collection: Joanna Gidziela

02. A personalised Dj Intro created by me just for you: Jan Hagedorn

And the ultimate winner is:

01. A personalised exclusive Dj Luna-C track to be sold by you, or given away for free, or kept secret forever – whatever you like: Aaron Rooney


I will contact all the winners in the next few days to arrange delivery of their prizes.


Which just leaves me to say one last huge THANK YOU 🙂


Nice one,


Chris / Luna-C






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?”



Nice one,




The Relaunch Of Knitebreed Records

Mythical Interviewer Billy Bob-Bobblob:

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

Dj Luna-C:

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

Billy Bob-Bobblob:

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

Dj Luna-C:

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

Billy Bob-Bobblob:

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

Dj Luna-C:

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

Billy Bob-Bobblob:

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

Dj Luna-C:

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

Billy Bob-Bobblob:

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

Dj Luna-C:

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

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

Billy Bob-Bobblob:

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

Dj Luna-C:

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

Billy Bob-Bobblob:

“When are the first two due for release?”

Dj Luna-C:

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

Billy Bob-Bobblob:

“So when can we hear soundclips?”

Dj Luna-C:

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

Billy Bob-Bobblob:

“Thank you for your time!”

Dj Luna-C:

“Word to the mamma-jamma!”


5 Things The New Old Skool Vinyl Scene Needs To Do

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

1. Don’t Try To Force A Name On It

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

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

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

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

2. Welcome All The Styles

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

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

3. No Rip Offs And Less Remixes Of Old Tunes

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

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

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

Okay. Now for Remixes Of Old Tunes:

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

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

4. Don’t Do It For Free

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

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

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

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

5. And Lastly…As Always….Support

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

Nice one,

Chris / Luna-C

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


Podcast 51

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


Dj Luna-C Mix

01. Worldwide Epidemic – Contrast

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

03. Dj Jedi – Bring the Beat Back

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

05. Dj Doughboy – Come On

06. Sanxion – Waiting On My Feelings

07. Dj Luna-C – back To Cause Mayhem

08. Ant To Be – untitled Riddim

09. Shadowplay – Born Again

10. Timme – Forbidden

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

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

13. Clayfighter – PK Rockin’

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

Dj Lowercase Mix

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

2 – N-Zo & Invincible – Take Me Away.

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

4 – Luna-C & Reeve – A Million Miles.

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

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

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

8 – Robbie Long & Devastate – 24 Track.

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

10 – Dj Luna-C – Piano Obsession.

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

Inappropriate song of the month

Leonard Cohen – You Want It Darker


Podcast 50

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


Dj Luna-C Mix

01. Alex Jungle – Dance & Hover

02. Cru-l-t – I Cant Forget

03. TNO Project – The Orphange

04. Paul Bradley – Nobody Else

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

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

07. Ant To Be – Nobody Likes Me

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

09. Idealz – Run The Tune

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

11. Shadowplay – Calling Me

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

Dj Lowercase Mix

01.  Saiyan & Cru-L-T – Magic.

02. Dys7 – Neon.

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

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

05. Timme – Four.

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

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

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

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

Inappropriate song of the month

Grandmaster Flash – Adventures On The Wheels Of Steel



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


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

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

And, of course, Hyper On Experience.

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

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

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

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


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

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

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

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

Which makes me happy.

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

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

Yes. It is quite good.

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

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

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

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

So yeah.

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

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

Tuesday 28th February 2017
17:30-19:00 [UK TIME]
App player for mobile:

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

Nice one,


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