Well, the Box Set is sold. What next?

Well, this is long overdue. And so it will probably also be a long blog post, but there is quite a lot to say, so I might as well fill you all in.

Firstly, I wanted to talk about the Box Set. At this point, all the orders have gone out except to a few of the artists, and it is officially sold out.
This release has taken up a great deal of time, and I enjoyed very bit of it. It was made possible by so many people other than me. For a start, everyone who did a remix excelled themselves. I had had people remix tracks for the label, obviously. And sometimes, I have to admit, I don’t always like what they do. That doesn’t stop me putting them out, because what I like and what everyone else likes is not always the same.
But with this project, all the remixes are stunning in their own right. For me, there are remixes which are amazing, and remixes which are even more amazing, and nothing else lol.
People came out of nowhere to offer remixes, and those that I specifically asked to do remixes came through spectacularly, except for one or two who simply couldn’t get it done in time. But we ended up with 29 remixes in all, if you include the 3 secret ones I added, and thats pretty impressive right there.
Then there is Jimni:-

Jimni Cricket worked wonders. I dropped her into a whole bunch of professional situations that she had not experienced before, and she rose to every challenge. The poster is remarkable, quite apart form the artistic skill, it was also done under pressure and with me critiquing as she worked.
Then she had to do the mix. Mixing an hour of music isn’t really that difficult. Mixing specific tracks for an album is much harder because you cant do any of your “go to” tricks (every Dj has them). And its even harder when you have such a bonkers collection of music, a time limit, and its your first time releasing a mix on CD. Its a different skill to mixing live to a crowd, or mixing at home, and a lot of pressure as well.
But those of you with the box set should have a go at doing a mix and including all the tracks. It is very difficult. When I make a Supaset, I plan and build tracks that change speed etc etc, but doing it without the help of a studio? Thats a whole other thing. Even without the speed changes, so many different styles and personalities are on display in this collection that it is a challenge. So big up, and huge thankyou to Ms Cricket *bows*
Then there was Stefan. He designed all the box set artwork, except for the bits that Jimni, Oz, or I provided.
I met Stefan because he send me this out of the blue, and for no reason at all:-

I loved it. I immediately wanted to have business cards made, just so I could have it in physical form….even though I would never remember to give them to anyone lol. Then I thought maybe it would be nice to do a mix of the old skool sounding KFA tunes, and use this artwork for the MP3, if Stefan was up for it. So “Just Like It Used To Be” came about….but Stefan provided artwork that was far to excellent to be a poxy MP3 logo lol. So I thought I would do a CD, just for fun. I didn’t think anyone would buy it particularly, but sometimes you just have to have the physical object regardless of the cost. And I thought, well, if I like this enough to want a physical product, others will too. Which led to me thinking it would be nice to do the other side of the coin…a mix of the future sounding KFAs, with future styled artwork. And once again, Stefan made something brilliant.

When the box set came about, I asked him if he was willing. My pitch was pretty simple “I am thinking of doing a box set. It will be loads of work for no money, under lots of pressure”. Most people would probably have told me to piss off, lol, but once again Stefan just did it. And I think it is easily one of the finest looking releases on the label. It sits next to KF032 (Future Primitive DAT machine sleeve) and Luna-C project 7 (Gatefold Turntables), maybe even above them. And you can tell I didn’t have much of a hand in the artwork, because there are no mistakes lol. If you are interested, here are a few of the mock up designs he put together in a few days, none of which I could put together in about a million years lol:-

The success of the Box Set caught me by surprise, I have to say. I mean, I hoped it would be popular, but I knew it was going to be expensive. I started to pay for the content back in July…much of it you had to buy a minimum of 300 units. Well, you could buy 200 in some cases, but it would be like $10 in difference. This was the case with stickers and posters. So there is some excess stock. Other parts were ordered to specific numbers, such as the actual boxes and the unmixed CDs.

I am almost sad about it, because I think I could have sold another 50-100 without too much difficulty, and a number of people have emailed me upset that they missed out. I hate not being able to make sure everyone gets what they want – but on the other hand, it was always going to be limited anyway…and an extra 50 copies might have killed me lol.
As it is, I had expected to sell 50-70 but had to order 150 boxes as a minimum. So the fact that I sold more than 100, and the rest went to artists was fantastic. I had been expecting to maybe cover costs on the box set, and then use the excess stock to make a small profit. Instead, the box sets have paid for themselves and given me a little extra to invest in the next things for the label.

Speaking of which…

I am going to be sending everyone on the mailing list a survey. I really hope you will fill it in as accurately as possible. The reason is that I am not sure what to do next with KFA and Kniteforce, so I thought I would try a little experiment…I am going to ask you what you want, and then I am going to try and do it. I will be asking questions such as “What style of music should KFA concentrate on” and “Should Kniteforce be rebooted and release Kniteforce type tracks – breakbeat hardocre, old skool?”. I will also be asking about format – “Would you like the releases on CD? Vinyl? Flac? MP3? Wav? Enhanced CD with all the samples for each track as part of it?”

I find that at this point in time, I am comfortable and enjoying making all sorts of music, and it might be fun to get a little more interactive with you guys and see if the label can get a little bit more direction. If it needs it. It might not. It may be that you all like it exactly as it is, and thats fine too lol. But yeah, I am going to be working on that over the next few weeks.

In the meantime, I am putting up some of the excess bits from the box sets. There are no copies of KFACD26 or KFACD27 left here, so they will not going online – those unmixed CDs (plus most of the music on them) are exclusive. I will be doing an EP of 4-6 of the remixes as an MP3 download late December.

Other than that, watch this space…well, not this space, the mailing list. Feel free to reply below – I always like to hear what you guys think!

Nice one,


8 Responses to Well, the Box Set is sold. What next?

  1. Trevor Jansen November 23, 2012 at 11:56 pm #

    Jimni Cricket…give a big shout out to Chris for showcasing you to a wider audience…Your mix was the bomb (All the remixes are off the hook big time), I mean it’s the best I’ve heard in a long time…kinda reminds me of the Rik Arkitech podcasts on the HBC (RIP), but more diverse…I love it, I now love you & Chris as always is a great chap…come to Boston sometime!!

  2. DesMoon November 24, 2012 at 8:43 am #

    What we won’t, that’s easy…
    Do some GIGS in Belgium 🙂

  3. thedjscoundrel November 26, 2012 at 11:10 pm #

    I love being part of the kf family……it rocks…bigtime

  4. Anthony November 27, 2012 at 9:06 pm #

    Just got my box last night..loving every aspect of this release (from Jimni Criket’s mix to the singles to the podcasts and the posters (I love the “game head” poster)).

    Im wondering, how do I find the secret tracks. Because you say there were 29 remixes but I only see 27 (13 on the “Kick those Drums” and 14 on the “Break those beats” CD). Are the other 2 included on the Luna-C’s personal picks folder on the DVD

  5. Matt November 29, 2012 at 3:33 pm #

    I gotta say, I love what you’ve done with KF mate. I know you often slate Sesame’s treet and stuff but if that track was genuinely a sell out then there would be no KF. Sell outs don’t do what you’ve done since, & what you’ve done has been f-ing epic. There ain’t much about the music industry that’s pure these days but, in a funny way, the digital revolution has enabled us to stick 2 fingers up at the music establishment once again (altho give me vinyl over mp3 any day, lol). So many whinge & complain, but KF has embraced it head on & this is what it’s all about. Music should be organic and should evolve – anyone can make a record & release it & then moan when copies get distributed over the net – but if you release a track and are capable to not only keep that track alive with supasets and remixes but do it to a level that keeps people coming back, well, then there should be nothing to complain about. And, at the end of the day, the more people exposed to this music, the better I say!

    Anyway, you know what, I loved Sesame’s Treet anyway, & still do, & I don’t give a fuck if it got popularised – I judge music on the quality of it’s production, not how popular it is. Besides, it wasn’t that which ruined rave, it was a whole bunch of stuff – The CJA was the 1st step in commercialising the scene, taking it out the fields & warehouses and into organised festivals & clubs. We continued regardless, setting up our rigs in the middle of nowhere or any abandoned building we could find but, whilst we kept out the rozzers, Ketamine & Crack was rife from the later 90’s on and the scene went from pilled up, fun loving, Sesame street pillow heads to dark & moody chavs trying to rob anyone who had gotten a little too messy. That’s what killed it for me. The older generation that had grown up on early, good time ravin’ were either shut down (like Exodus) or pushed abroad (like Mutoids and Spirals) & the newer generation only had these grim, dirty squat raves to influence them.

    That been said, I think it’s improving again now (although god knows how the new squatting laws will effect things, but I’m guessing not too much).

    I’m going WAY off topic now, lol! This post is flat-lining fast so I better get the digital defibrillator out and give it a zap.

    The point is, KF has been at the forefront of rave since the early 90’s and is still going strong. I don’t like everything on the label, but I don’t have to because you cover so many aspects of rave. You don’t pigeonhole yourself like so many labels who’ll ONLY produce techno or ONLY make Drum’n’Bass.

    I love how KF is always finding it’s own artists and doesn’t simply look for an established, big name to promote a release everytime – the label is used to promote the talent and therefore harvest new talent rather than talent being used to promote the label and harvest cash. The fact that KF has been able to do it this way and survive where much big labels have fallen speaks volumes of the quality & standards of the music you guys create.

    I truly think that KF is 1 of the few labels which transcends the music itself and pushes the rave message that has stayed true since those heady early days in the 90’s, that we’re a family, we’re a bit different, we’re part of something new & exciting and we just want to survive & have a good time . . . well, . . . a fuckin’ banging, non-stop, 24hour no toilet, no shower, let’s get messy and party on forever time anyway!

    • Alex (FP) Crossley December 2, 2012 at 10:54 pm #

      That was a very well written err… essay. So true throughout and I just had to say something as the last couple of lines had me rolling up with laughter – Nice one.

      Bertie – Future Primitive.

  6. Jimmers December 10, 2012 at 1:39 am #

    I always thought the Dj Jimni Cricket was a guy.

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