James Swift – Killbots have feelings too out now on itunes

It’s hard to know what to say about James Swift’s album, ‘Killbots have feelings too’ without sounding too gushing.

I’m reviewing it while at work and have it on bud earphones in a busy office. I can say two things about it. 1. It’s transformed my mood from angry to calm, and 2. I drift in and out of actively listening to it, only to be occasionally jolted by how wicked it is.

It’s electronic, its glitchy, its jangly, its smooth and it hits the spot.

He breaks it down: “All the tracks at least in part follow a theme I tried to sum up in thetitle.

“Machines, moods, art versus technology, journeys, and a little bit of humor so as not to take myself too seriously. Sometimes I try and imagine what future robots folk would sound like and go for that. I’d be interested to see if you identify the same themes in the tunes.

“Also there are a couple of longish tunes that require patients and I think there is a pay-off after several listens. The only sad thing with the advent of mp3s is the slow death of the grower album so to write one (obviously, in my opinion) feels great. I think enough people will find it too harsh at times.

“Musically I like to play with obscured melodies and subtle variations. I personally love sounds that sound kind of half traditional and half machine noises. Then again it’s fun to just write something simpler and fun and not take everything so seriously, hence the closing track.

64barmusic friends and family will recognise Hesitant Pressure from being on fourth 64 bar challenge mix, however, for his album he’s given it the extended mix treatment and the result is a silky five minutes with the familiar jauntiness of the original embossed with a chunky ass kick drum and a haunting string section that hits the spot.

He tells me he made this album whilst on the move on an epic tour that began in his adopted home of Australia, and touched down in Mongolia, Kazakhstan, Uzbekistan, and ended in Iran.

It clearly provided some cultural inspiration that build on earlier exposure to the likes of Orbital, Meat Beat Manifesto, Scanner, early Underworld and a lot of that 90s electronica after the pure fun days of the early 90s rave era.

But what about his method, how the fu*k does he put this sh*t together?

“Most of my recent tunes I did in Ableton Live. Some of I bang out on an microkontrol midi keyboard and some of the more natural rhythms I did on a MPD16, but it’s all hooked up to Ableton Live. On the road I’m limited to a cheap little netbook and it’s a completely different and challenging way to write music. No keyboard and no processing power for more then 1 or 2 effects in real time. So I have to bounce the tracks down a lot to wav and so on. Time consuming but it’s a good exercise to write with limitations. Too many toys can be distracting.

His album is available on itunes here, I suggest you buy it before you die.

For now: check it on Soundcloud


Becy10 set to drop on VIM Records

Becy gettin busy
Red wine. Good stuff, we all know this, it’s a drink dear to the heart of me, the writer of this blog post, and also to a groovy lady called Becy, who has written a bunch of tracks whilst under the influence of said liquor – and by darn, they’re feckin good.

And now her inebriations have been rewarded with release coming out on VIM Records
a remix of Julson’s track titled Ni Ya Ba Saba.. and there it is

Mike Jules – Ni Ya Ba Saba (Becy Remix) 128kb by becy

So, what’s her style and who is she?

Quite honestly, no one knows better than her and she says: “I’ve been writing a lot of deep, dark, bassy prog over the past couple years, but lately I feel myself branching out into melodic, ambient soundscape styles with less emphasis on the 4 on the floor kick and driving bass, and more on vocals and atmospherics… We’ll see how it goes.

Here’s a link to the progressive kinda sound she’s built her reputation on…
Becy – coburg’s favourite son by becy
But what about her collab with Julson? What’s it all about?

She explains: “My friend Mike Jules is a tech-house producer I’ve been friends with for years in Australia, he just moved to UK and has been DJ‘ing around there a bit and making his own productions as well.

“We were getting pissed on cheap red a month or so ago and we blearily posited the idea we could do a remix of each other’s work. His track had just been accepted for release, so we began with that.

“With this remix Mike sent me the stems and I played around, whacking effects on them, distorting and playing around with the vocals, and adding some new elements into the mix…

It worked out well and with Becy neck deep into creating her 64:5 track, it seems Mike will be twisting up her track into a dubstep style

As with all good home producers, her lab is awkward, “I’m usually sat down in a properly uncomfortable spot with my laptop balanced precariously somehow, like now, for example, perched on the end of the couch in a freezing cold lounge room, computer on a ricketty magazine stand.”

How does one make cookies?

“I use Ableton and a bunch of vsti’s to create tracks. I’m in the middle right now of rendering all my previous decent tracks into stems so I can get a bit of an epic liveset going. I’m interested in reworking all those bits and pieces and combining them together to get one hour long new creation out of all those individual songs. Another thing that interests me production-wise is the effect of limitations on creativity – my view is it stimulates it.

“One of the experiments I did in that area was to take the shittiest drum loop I could find (here: http://soundcloud.com/becy/04-1) and create a new track out of it – fx and stuff allowed, but all sound sources had to come from that loop. The result was this

Virtual Original by becy

She’s also been getting good feedback for her cover version of  “Just be Good to Me”.. so here it is.. via the magic of soundcloud
Becy – JustBGood2Me by becy

After impressing with a sleek techno number at the heart of 64:4, and with her 64:5 track in the pipe, plus the forthcoming release on VIM, its good times down under, she puts it simply: “It’s an exciting time to be alive over at my place, that’s for sure.”

Bobby Corridor lays down the edutainment

The Fresh Start To The Meek show, presented by Bobby Corridor, on Mondays on Ustream has produced some gems of hip hop mixduggery. So, your man BosBos has kinda hosted them all in one place. It’s huge and will only get bigger as the weeks’ continue.

Bobby Corridor is one of the true hip hop historians/rap recounters.  He found his way onto 64:1 with a brooding, and stealthy tune and then practically owned 64:2 with four tracks making the final mix.

But he is most widely known for his table skills. The  melancholy flowers mixes soothed many a broken heart, but for the FSTTM project it was his aim to go back, way back… and dust off a stack of records from the late 80s/early 90s for your listening enjoyment. Some tunes from the FSTTM series you’ll recognise, others have been dug so deep they’ve practically been buried way below the streets of Brooklyn/Los Angeles for the past few decades. Time to hand it over to Bobby C… class is now in session.

BC: “In a vain attempt to get a few more listeners to my regular(ish) Monday night Ustream ish, I decided to “theme” them up a bit. Everyone loves a theme, put things in a box and it’s easier to follow than if you leave it all over the floor. And putting things in a box has been very enjoyable too. Not only have I been able to vaguely justify buying and storing old records, it’s also lead to some reflection on the past, the best what eva done it and so on (and on and on, to the break of dawn).”

Click >>this<< to listen to the mixes

the crane puts out new ep through bandcamp


The Crane, aka Stephen Hedley, who has been on both 64:1 and 64:4 has put out a rather dapper ep via Bandcamp.

It’s a collection of ambient/glitchy tracks which he made in the  summer .

He explains:  “It’s the first time I’ve deliberately tried creating several pieces with a similar feel and sound palette.

“The idea was to do a lot of tracks without any ‘proper’ beats in, as they’re always the weakest point in my productions. I didn’t think there was any theme to it, but when I came to the point of gathering the tracks together I noticed that a lot of the track titles obliquely refer to a girl-related heartbreak scenario which took up a lot of my headspace while I was writing the music.”

The big poof.

He continues: “That accounts for the somewhat melancholy vibe and the (rotten) punning title. I hope people enjoy it, anyway. “


Click >>– dj-kovas-timeframe-2009-. << for the beats

Let’s remind ourselves of this gem from Kovas from last year. It’s a selection of works from kovas’ vaults from 2006-2009, and is a electronic flow through the darklands of  his imagination.

He says: “I look at Timeframe as my long overdue debut album. It’s 17 tracks, including a few interludes that I had been working on for a couple of years, here and there. It got to a point where I realised I had a body of work which was coherent enough to put out as a single piece.

“The mood is mostly sinister, and at times downbeat. For some reason I just don’t tend to write euphoric, or uplifting songs. I like the darkness, I like tunes to have space to breath and I think that comes through in this.

Standout tracks include True Force and the Blanket, both from 2006.

Kovas says:  “I suppose The Blanket was me testing out a mood than some would describe as post dubstep, its a real nightcrawler and has tons of atmosphere. ”

There are a few tracks on the mix that made it onto other projects. Cutt (track 6) featured on the 13 Point Shuriken Hur this (track 12) was on Benevolent Beats and God’s plan (track 3) was on 64:1

killer tomato makes ANOTHER UK dj final

So, our  boy KT is set for another UK final, following on from his recent appearence at the UK DMC‘s. This time he’s in the Red Bull 3style final.

Here’s the scoop from his blog:

“Last week Redbull‘s international DJ comp rolled into Cardiff for the South west leg of their UK Tour. Headed by Kissy Sellout, the competion focus more on mixing and tune selection than your normal DJ battle. If anything its quite a refreshing alternative to the head to head turntablist battle. The rules are as follows, play a minimum of 3 genres over 15 minutes, Djs are marked on crowd response record selection and technical ability.”

He continues: “I was up first. I had planned my set over two days and hit it almost perfectly. With few people in the club there was little crowd response so I managed to get through on technical ability and tune selection.
“So I am through to the UK final in Koko’s London on the 17th of November. If anyone would like to come down I have a number of concessions guest list places, email me and I will put you on the list. Hit him up through his blog
He says he’ll post a vid of his performance soon.

look at this


the official artwork for 64:5

Cover art by Remi/Rough


Here is the quite delicious cover art for the fifth 64 bar mix. Thanks to Remi/Rough for his efforts

moneyshot smashes solid steel

Solid Steel Radio Show 29/10/2010 Part 1 + 2 – DJ Moneyshot by Ninja Tune & Big Dada